I have several shared roles in the project with Shane Bailey.

For this project I am required to make sure all equipment is booked before planned on location recording days, making sure we have a Marantz, Sennheiser shotgun microphone, boom pole with pistol grip, a suitably long enough XLR cable and headphones. Record all location sound and log tracking sheets explaining what audio was recorded for each file on the Marantz. Carry out all audio post production, this includes, cleaning up the dialog, recording Foley, adding required sound effects and producing music.

 

Individual research

 

– Chion, M (1994) Audio-vision: sound on screen. Colombia University Press

Higher Education

– Carlsson, S. Film sound

Available from: http://filmsound.org/

– Bordwell, D. Thompson, K (2008) Film art: an introduction. New York London McGraw-Hill

 

For this project we are required to produce all the music for the film, which includes producing “a simple original soundtrack”. This is the one part of the project I was worried about as I had never produced music for a film, and knowing the importance of music to film, I wanted to make sure we used the right techniques to intensify the emotion of the certain parts of the film where music was going to be placed. Before producing the music, I carried out further research on the importance of music and how it is used to intensify emotions.

 

– Juslin, P. N., & Sloboda, J. A. (Eds.). (2010). Handbook of music and emotion: Theory, research, applications.  New York: Oxford University Press.

– Parker Tichko. Do tempo and pitch modulation elicit emotional responses in music. WordPress.com

Available from: http://parkertichko.wordpress.com/2011/02/26/do-tempo-and-pitch-modulation-elicit-emotional-responses-in-music/

– Peay, P. (2004). Music in film: Soundtracks and synergy. Wallflower Press