Category: Individual Reflection

Final Summary

13421070 / / Individual Reflection, Learning Outcomes

(Clickable learning outcomes throughout this post will transfer to a reference list at the bottom)

This post reflects on the successes and failures of the project in detail using my original learning outcomes as signposts.

Our group aim was to manage the process of creating five film soundtracks collectively, and deliver these soundtracks to a good standard and to the client’s specifications. We succeeded in this without any doubt – All of our clients were happy with the work we presented (feedback is available from all of them to this effect), the soundtracks are diverse and of good quality, work synergistically with the pictures, are produced to recognisable technical standards and follow client directions and specifications discerned throughout the project. This evidence also speaks to the achievement of learning outcomes GR3, GR4 and GR5 – all of our clients praised our professionalism on set in their feedback and several noted the quality of music or specific aspects of their film’s audio, and I believe our work in all the distinct audio areas of the films we’ve made is more or less up to scratch.

Only one film slightly lets down the artifact we have delivered in terms of audio quality, and this can largely be put down to the inexperience of the directorial team in choosing horrendously noisy locations and in ignoring our advice about these during recces etc. Beyond this, the raw location audio (which most of us had a hand in at one time or another on set) was also technically flawed in some areas, leading to some issues with dialogue takes in post which couldn’t be rectified to our satisfaction. The film was a dog from the word go, but we did everything in our power to rectify it’s audio problems and if any mistake was made this resides in taking the job in the first place, since there were misgivings from several sides about the script and team.

Addressing group outcomes GR1 and GR2 which are concerned with the internal processes and acting as a company might – I believe we have successfully collaborated as realistically as possible in the sense of a company or partnership in this academic context. Weekly production meetings, a centralised google calendar which was kept up to date with room bookings and workflow plans throughout, supervisors for each film reporting weekly and then daily on their responsibilities and requesting more resources as and when they require them are all testament to this fact.

As a part of the above, I believe I have also fulfilled my more specific research learning outcomes PER1 and PER2, which required me to develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects and the wording and content of contracts, rates and rate cards offered in the film audio field. We’ve also variously researched and applied many of the fundamental aspects of running a business, with my own focus being on furthering my understanding of the complexities of agreements, contracts and IP in a complicated partnership situation, as well as the more practical aspects of collecting consistent and useful client feedback and structuring data in a way accessible for others who may have to use it – in this last there is much to be learnt from the organisation techniques used in game audio.

The collective process was not without it’s drawbacks however. The administrative burden of managing multiple productions is much greater, and any issue can become a deluge of reorganisation very quickly indeed. The decision to appoint a supervisor for each film also had unexpected ramifications in two ways – the first was the tendency for supervisors to end up isolated with the preproduction ideas and planning processes, which we dealt with through an extra round of regular meetings to read through scripts and collectively input ideas, as well as involving as many of the group as possible in meetings with production teams. The second was the personal investment in what came to be seen as *their* film on the part of some supervisors, which meant that the supervisors tended to want to do the ‘credited’ jobs (such as the dub mix) themselves. Reflecting here, it would have perhaps been more realistic to appoint specialisms on the basis of our research roles within industry, and require that those specialisms fulfill a certain percentage of the work on x number of films within that specialism – for example, I only mixed Descent and some of Remember, to truly represent a dub mixer specialism in my work here I feel I should really have completed at least two full mixes.

Nonetheless, I can certainly say I have fulfilled learning outcome PER4 which required me to contribute extensively to multiple film productions. My contribution – encompassing preproduction input into all of the films, location work on three of them, and significant post production work on Descent, Immort and Remember as well as the ever present administration, ancillary support and meetings – should be evidence enough of this. This blog also provides ample evidence of the management process for Descent, which was arguably the smoothest of all the films until the later post-production phase which required some relatively minor remixing, allowing me to claim learning outcome IN1 as fulfilled. Improvements I would make here were mainly technical – mono mix on location – and, as usual, I would have liked to have had a hand in co-composing the music for the film, but there simply wasn’t time.

The final three learning outcomes IN2, IN3 and PER3 deal with my wish to expand my understanding of techniques deployed in similar works and I have succeeded to my satisfaction in two of these. In learning about and practising mixing to R128 standard I have expanded my knowledge of dub mixing in the post industry, and I have already referred to my contribution to the artifact in that role. My work on the sound design of Immort (street scene and some of the specialist spot FX) and the research which underpin these are evidence of me bettering my understanding of sci-fi sound design.

It is only in PER3 that I would have liked to have done more work. Whilst the study of the film Hannibal is relevant and represents a partial fulfillment of the criteria here, I have had the film Shutter Island sitting next to my DVD player for three months, unwatched. I had intended to draw influence for Descent from this film and present a similar comparative study to that of Hannibal but was unable to find an opportunity to sit down and watch the film.

In final analysis, the intention of the Omni-Gaffer project was to enable us to complete more work more effectively this term and we were fully aware that this would present it’s own unique set of challenges and requirements which I believe we have overcome and fulfilled. I think it’s fair to say the project was successful and justified, since it would not have been possible for this group of students to complete these films – the best part of one hour’s worth of diverse and complex picture – to the standard we have presented whilst working seperately or in smaller groups in my view, but that the extra group size was slightly more useful in the early pre-production and production stages for ideas and spreading the labour intensive production process more evenly, and towards the end as feedback and critical listening became important to drive better quality.

So, for Omni-Gaffer productions it just remains to say thanks for a great degree course and goodnight.

Final Pic

———– 1000 words

 ——– Learning outcomes, for reference ,


Group Aim

To manage the process of creating the above soundtracks collectively, and to deliver these soundtracks to a good standard and to the client’s specifications.

Group Objectives

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
  • [GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
  • [GR4] To conceive, compose, source and / or produce music to client specifications that synergistically supports the other components of their films.
  • [GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.

Outcomes and Learning in the context of Moving Picture Industry roles

  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)
  • [IN2] To develop a better understanding of the craft and industry of a Dubbing Mixer, and to contribute to the dub mixing required for presentation of the artifact – (Dubbing Mixer)
  • [IN3] To better my understanding of sound design with at least some reference to the science fiction genre – (Sound Effects Editor)

Personal Learning Outcomes

  • [PER1]  To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.
  • [PER2] To develop a better understanding of the wording and content of contracts, agreements and rate cards offered in the film audio field.
  •  [PER3] To expand my knowledge of the theory of and audio techniques deployed in films similar to or influential upon those we will deliver.
  • [PER4] To contribute extensively to multiple film productions.

 

 

DESCENT – Final Appraisal

13421070 / / Descent Contrib., Individual Reflection, Process Management

(Outcomes – GR 1,2,3,4,5 + IN1 + PER4)

Having completed the final mix of Descent, this post will comprise an appraisal of issues with the artifact as it stands.

The main issue was with dialogue during editing and premix, with the close shot scenes around the kitchen table particularly problematic as the room they took place in has the most horrendous honky reverb which acted like the classic tiled bathroom reverb on all the dialogue, worsening as the actor’s projected more. This reverb was largely removed with Izotope RX, and some EQ’s applied to the dialogue at the same time. However, the dialogue takes were presumably not tested together prior to the mix phase (dialogue edit and mix were carried out by two different people), where it was discovered that any dialogue which is both boomed and collected from a radio mic on the same actor is close to 180 degrees out of phase, obviously closer to this amount relative to the shot, as the boom was able to be placed closer to the actor.

IMG_0398

You can clearly see the reversed phase in the photograph above. I can surmise that the outputs on the university radio mics and the MKH boom microphones are wired to opposite polarities, and this wouldn’t have been noticed on set because the master mix I use when monitoring the incoming audio was always split into stereo, with one side comprising radio mics and the other comprising the boom and other mics. When these were mixed together in the scenes however, noticable phase cancellation occurs. The combination of this and the processing in RX left the dialogue lacking body, and dangerously thin in places, whilst attempts to correct this using channel EQ consumed a large amount of time in mix. This finally necessitated the recutting of the main dialogue-heavy kitchen scenes after the first pass mix had been completed as we collectively felt it simply wasn’t up to standard, and the dialogue is still not perfect in the finished version. [GR3,5,IN1]

The mixture of production audio and foley is also a fine art and Descent uses a lot of audio from the set for the busier scenes. It was not always possible to perfectly match the perspectives of the actual set with the sounds we created in foley, and the artificial reverbs and different room tones are occasionally noticeable.

Moving on to the effects of our collaboration on the production of Descent, this particular film was very much a group effort. The script and planning phase benefited from a great deal of input from other team members, I had the choice of two composers for the project and was able to go with the one whose approach best suited the director. In post, both foley and dialogue editing tasks were split to other group members, and the final mix was heavily collectively appraised, overruling my preference and leading to an 11th hour dialogue remix which improved the issues described above. This film would definitely have been worse without the group approach, and my own time would have been less efficiently spent for certain. [GR1, PER4]

In terms of feedback on the production, I sent the following to the director and producer:

“The core team for Descent were exceptional, transcending the standard of many of the student productions with which I’ve become acquainted this year. All communication was prompt, consistent and professionally managed, production plans and details were communicated with plenty of time, and included opportunities for audio recces of the set and a sensible regime of pre-production meetings and test shoots. The production team engaged early with the process of designing the audio dimension of the film and were creative and professional in the way ideas and plans were formed, communicated and allowed to evolve.

On set, the extended production team worked cohesively and largely to a strict schedule with little apparent stress or evidence of issues. Location audio work was a pleasure to manage from my perspective. I strongly recommend any member of the team for roles in future productions and would be pleased to find myself working alongside any of them again in the future.”

In turn, we received glowing feedback from them for the service, which can be viewed in it’s entirety here. [GR1,3,4,5 + IN1 + PER4]

At 17 and a half minutes, the piece is reasonably long for a short student film created in a single term, and I’m proud of managing to sustain the work of carrying this film’s audio through from inception to completion. Whilst it still has a couple of rough edges, I believe it stands up as the first piece of film audio work worthy of portfolio use. One major piece of practical information I have learned from my work here is always monitor and mix your location in mono. The film editors who receive the raw audio before sending back the compiled lists do not benefit from stereo, and monoing at either point would have allowed me to pick up the phase issues on-set and saved time in post. [GR3]

——— 740 Words

KEY POINTS – 

Discussion of some issues in the final mix of Descent – Individual Reflection

  • [GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
  • [GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.
  • [PER4] To contribute extensively to multiple film productions.

Group involvement in the production of Descent – Process Management

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [PER4] To contribute extensively to multiple film productions.

Feedback between groups – Professional Practice

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
  • [GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
  • [GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.
  • [GR4] To conceive, compose, source and / or produce music to client specifications that synergistically supports the other components of their films.
  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)

Reflection on process and learning – Individual Reflection

  • [GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.

P + P -DESCENT: The Radio Scene

13421070 / / Descent Contrib., Individual Reflection, Process Management

(Outcomes – GR5, IN1, PER3)

This post demonstrates the process of liasing with Descent’s director, and an example of how research into the film Hannibal informed Descent’s audio practically.

The director requested a radio be playing from the first kitchen scene very early on, and provided a list of popular songs that might be played for this cue which they felt signified the story of the film prior to the arrival of the script. We immediately advised them against trying to get clearance for popular songs based on our experiences last term, a discussion which didn’t really lead anywhere conclusive.

It was resurrected upon our receipt of the script, however. A number of music cues had already been agreed by this time but the director decided that we should run the diagetic radio cue from the beginning of the first kitchen scene to the end of the final one, which comprises about 80% of the run time of the film and compromised a number of the music cues we’d agreed and which had already been roughly composed.

We’d also pointed out that the picture should refer at some point to the source of the diagetic music – with a music device in the background for example – and that one of the characters would presumably at some point have to the have the opportunity to turn it on and off, and that the requested length of the cue wasn’t conducive to the latter, since the music was expected to drop out somewhere around an active scene for the characters. The length issue was finally solved when we were given the choice of deciding where the cue should drop out after pointing out how badly having this cue in could impact the rest of the score for the piece and, whilst seeking further guidance for the device, the director requested we make the music function like the following scene from Hannibal – [IN1 + GR5]

;

The score here shifts from diagetic piano music to the sinister synth based stuff fairly seamlessly. I passed this scene to the composer, and our final attempt at it can be seen below (please skip to 4:00 if the youtube embed below starts at 0:00 on your browser) –

The editor also chose not to refer to any kind of visual source for the music and, whilst I had initially felt this would be problematic, watching the outcome I believe it works fine. I’m aware that I can be slavishly insistent on realism at times with devices like this, but have learned that this is not always necessary as long as the visual scene (in this case, an obviously romantic dinner) is set strongly enough. Audiences can be relied upon to ignore minor incongruities in this situation. [PER3]

———————– 450 words

 KEY POINTS – 

How I liased with the director and the group to arrive at the outcome for this scene – Process Management

  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)
  • [GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.

Personal reflection on minor incongruities between audio and picture  – Process Management

  •  [PER3] To expand my knowledge of the theory of and audio techniques deployed in films similar to or influential upon those we will deliver.

DESCENT – Sound Design + Feedback Process

13421070 / / Descent Contrib., Individual Reflection, Planning, Process Management

(Outcomes – IN1, GR1, GR4, PER1)

In my capacity as the supervisor for OG Productions managing the film Descent, I’d solicited a list of ideas from the films director about the audio dimension within a week of agreeing the services we would be providing for the film. These were perfunctory in terms of specific links to the film, as would be expected as this stage since no script or storyboard had been completed, but were detailed in terms of reference points from other films. There was also a list of potential choices of diegetic source music tracks for a song playing from a radio at some point in the potential script, as a reference point. At first glance many of these were highly unlikely to be clearable in the context of the film as the film-makers were keeping their options open and requested we clear any material required for the soundtrack for use at film-festivals and for online use in portfolio. [IN1]

Upon arrival of a script and storyboard for Descent some weeks later, the audio team read through the script together in round-table fashion. I’d insisted on this process for OG Audio’s three longer films as it was obvious that our collaborative approach to work could very easily have translated into creative isolation for the supervisors responsible for the less ‘desirable’ films (for example, as some scripts appeared stronger than others, or because of genre preferences for the team) in the pre-production stages. In the case of Descent the ideas session gave rise to two different directions for music for the film, a minimalist approach from Matt and a much more aggressive underscore heavy idea from Alice though with plenty of crossover in terms of pallette and timbre between the two – I felt Alice’s choices were likely better for the film initially. Potential recurrent motifs and key scenes for audio were isolated and a scratch sound-plan with an overview of these ideas created. [IN1 + GR1 + GR4]

Set Recce + Audio Script Meet

I was keen to solicit as much feedback as possible throughout the process of liason with the film group, so this plan was then cross-referenced with the director on a page by page basis at the set-recce and meeting pictured above, enabling me to tweak the plan more to their liking with almost everybody involved in the production present. For example, my preference for a relatively music heavy film was overturned as the director clearly preferred the subtler, more minimal approach to the music design as we described it, and as such I asked Matt to provide the score and music for the film. The meeting also yielded useful discussion on several overall balance issues within the sound design of the piece, such as how far we should be ‘borrowing’ from horror and thriller genres influencing the piece, tropes which were initially suggested by the original reference material provided by the director – It’s more thriller than horror, but only just. [GR4]

This session basically concluded formal pre-production on sound design, though some later correspondence and a second meeting were required to finalise specific elements and introduce a late addition to a scene suggested by the director in the form of an inner monologue which wasn’t present in the script, and which required specific recording time. This became one of several bones of contention in the sound design throughout, the other being scene 3’s radio music cue.

This process enabled me to piece together a master document of specific devices and the general audio arc drawn from the rough sound plan formed the basis for any team members working on the audio for the film in post, and which can be referred to by the director throughout the production.

However, no battle-plan survives contact with production and elements of this sound-script were dropped or changed in reference to the pictures as they arrived, and as the film moved into post I kept up the informal opportunities for the director to feedback on our work as they would often pop in for a listen whilst we were working on the piece. I concluded the feedback process with one more formal meet with the production team post picture-lock and after dialogue editing, foley and composition were complete but prior to mixing, roughly a week before deadline. I also requested our formal feedback at this time by way of the online feedback form I constructed for our use – The responses for Descent can be seen here – which was universally positive, best summed up in the response to an open question which I’ve lifted as a testimonial ‘…the team are extremely professional and skilled at what they do, they have the ability to transform a simple idea into something exceptional.’ [IN1]

Reflecting on this process, it was a good example of a creative collaboration between this audio team, and the director and her team. Ideas, approaches and plans were constantly being tabled, revised, filtered and discarded and the design input was spread roughly as evenly as the workload. The music decision was the main learning aspect for me, since having two composers working on the project in preproduction enabled me to present to vastly distinct approaches to the project in the early stages in some detail, thus prompting the director to a stronger vision of her musical requirements. [PER1]

———————- 900 Words

KEY POINTS – 

Process of liasing with director about sound design requirements during pre and post production – Professional practice, Process Management,

  • [IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)
  • [GR4] To conceive, compose, source and / or produce music to client specifications that synergistically supports the other components of their films.

Driving the collective creative process – Process Management

  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.

Reflection on learning – Individual reflection on learning and team role.

  • [PER1]  To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.

 

RESEARCH – Deciding My Rates + How Much OG Was Worth

13421070 / / Contribution, Individual Reflection, Process Management, Research - Company

(Outcomes – PER1, 2, 4, GR1)

As part of this final term project I decided to fix a set of rates for work which I intend to use as guidance for my actual rate-card post-university. This also enabled me to convert the work I carried out on the project this semester into an approximate monetary figure.

I asked Grant Bridgeman for a copy of his rate-card to use as a basis for this though as a multi-award winning location recordist and post-sound bod, Grant is already well established and hence so my own rates would be relatively low. I’m also going to dispense with equipment hire costs etc (though these are furnished in detail on Grant’s rate card) for the purposes of this calculation, since I’m interested in the labour aspect of the equation here, really, and am considering the situation as though I am charging the time back to a central body (so, if Omni-Gaffer were a limited company, for example). [PER2]

Grant’s rates are in line with BECTU’s, the entertainment sectors trade union, which I have also studied and as such I’ve pitched at slightly above the trainee rate therein:

Daily Rate

Sound Recordist rate is £150 per day, up to 10 hours, additional hours charged at £25 per hour or part thereof.

Weekly On Set Rate                                                                    

5 Day Week, 10 Hour Day – £750

Post Production Rates

Daily Rate, 10 Hour day (inc studio) £150

Hourly Rates (inc studio) £15 per hour

Post production rates here are the rates a studio I work for charges for recording and producing bands at present.

Next to convert the Omni-Gaffer project into monetary terms using these rates, we first need to know what amount of time the project consumed and how many of these hours are realistically chargable. I’m thinking of myself as invoicing a central body (like a limited company) for my time here, in reality any financial rewards for a project like this in the real world would be split up according to the OG Audio agreement.

My calculations since February 1st of the hours I invested in this project are below:

Total Hours Worked – 244
Total Admin / Meets – 67
Total Creative – 123
Total Location – 52
Total Other – 2 [PER4]

Only location and creative work (which encompasses everything taking place in the studio for post work, essentially) are directly chargeable, as admin and ancillary work would be expected to be built into the hourly charges for the services. As such, we can break down the chargeable costs as follows –

1 x 5 day week of 10 hour days on-set = £750
2 x additional hours on set at £25p/h = £50
12 x 10 hour days of studio time = £1800
3 x additional studio hours @ £15 = £45

This would bring my invoice total at the rates above to £2645 which can be divided by the creative and location hours (123+52=175) to give the hourly figure of £15.10p/h, as per the rate care. However, when divided by the actual number of hours the project has consumed (including the administrative time etc), this equates to £10.84p/h. This would also be subject to income taxes etc, depending how my personal business was set up.

In reflection on these figures, it is easy to demonstrate that administrative tasks eat away at profit in an enterprise such as this which begs the question – did the increase in organisation and administration justify working collectively in this way? If we assume that the income from the five projects would be enough to cover this invoicing-for-hours-worked approach for a moment, the boon becomes the fact that working with my colleagues in this way has enabled us to complete multiple projects at all (I could not physically have invested more time in this project during the period) which in effect multiplies the income potential in return for a relatively modest increase in administrative and organisational time. [PER1]

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KEY POINTS – 

Researching industry rates of pay – Research

  • [PER2] To develop a better understanding of the wording and content of contracts, rates and rate cards offered in the film audio field.

Exposition on hours worked – Contribution

  • [PER4] To contribute extensively to multiple film productions.

Interpretation of contribution through hourly rate and reflection on interaction with group collaboration – Individual reflection on learning and team role.

  • [PER1]  To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.
  • [GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.