Hello! For whoever not familiar where this article comes from, you can read the first one here. In there, I ask a lot of questions for an evolving documentary film where I have the luxury to have a lot of time to think of. Recently, we made a video teaser-like, in which some of the ideas thought of before, are answered.
<p><a href=”https://vimeo.com/111066235″>Iterance – Trailer.</a> from <a href=”https://vimeo.com/sergiomiguelsilva”>Sérgio Miguel Silva</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>
It has been wonderful to finally put in practice all the research done since months ago. And did I? Although I consider extremely important to think, intuition and immediate impressions while viewing the film are unique pieces for a sound designer’s work. Space representation in a manner that is made to evoke specific sensations, doesn’t necessarily mean that an incredible hi-fi recording will solve the case.
There are shots that are purely just there, still and untouchable, carrying so much meaning by themselves. Have a sneak sound peak:
Is this the result of a direct recording? Of course not. The essence is there for sure, it is still rain drops in that place, but besides cutting out some traffic, there are some spices in there, as you probably can hear.
Some of the sounds of the shots you will see don’t even belong to that particular place. They simply don’t fit. Some of them have layers and / or reverberation and delays added at some point.
About the time dimension, although what it is represented appears in a very particular situation, we used archive sounds. And those sounds are so old (around 1940’s) that one won’t probably question their modernity. The other approach was to use the reverse-reverb technique mixed with the original recording. It is all so discrete, but working.
I should stress that I don’t believe that any of this would work out of this context, or without the support of the picture. Here, they are both equally important and they are both evoking emotions, one just backing up the other.
Another thing that was immediately intuitive, was the need for supporting musical tones. And those were evoked by the intrinsic musicality of the field recordings. Music does not impose itself over anything, but it fills very well, punctuates and allows the film to breath and flow.