Sound Recordings List & Research
As the Sound Editor, it is important to know which key sounds are needed for the film before production, in line with the content in the script. For example, for a scene that involves a character hitting their head on a blunt object to be truly powerful, that *WHACK!* on the object needs to be clear and have an impact on the audience. So, when making note of all sounds in each scene, from dialogue, to foley (previously mentioned in a research post), to sound effects, it's crucial to know which sounds are necessary to be captured in-scene and which sounds need to be recorded externally with our audio equipment.Therefore, I needed to make a sound recording list for my Director and Sound Technician to use on shoot days, ensuring that all sounds that needed to be recorded externally would be. For example, the sound of car keys starting up a car, or the sound of atmospheric birds in the garden - having these sounds recorded individually and clearly will highly improve sound design in post-production. In the more crucial areas, examples such as characters whistling 'Twisted Nerve' in Double Exposure's script needed to be recorded outside of the scenes they featured in, so that in post-production the tune can play through the scenes, as if it were only recorded in scene, the sound would become cut up and out of sync when cutting between shots.
Before creating my sound recordings list, I conducted research to clarify just how important the Sound Editor's tasks are in pre-production...
"Instead of simply taking audio into consideration once you get on-set, you should be preparing to make your audio amazing before production begins." [1]
This is true of all crew members during pre-production, as while sound may be overlooked when focusing on the visuals of filming, it is just as important.
"Always schedule time to record natural sound while you are on-location. Picking up several minutes of nat sound* from every location is important for preventing choppy audio in post. Be sure to record additional nat sound every time the audio environment changes." [1]
*nat sound is also known as ambient. I.e. recording a track of the just the ambient sounds of the location - even if it's just silence.
As mentioned above, a Sound Editor, along with all other crew members need to remember that recording ambient tracks of each location are key for smooth sound in the edit of a film.
"During pre-production don’t forget the audio: discuss story elements, additional recording elements beyond the dialog track and plot strategies to capture the best sound at each location at all times." [2]
Research such as that gathered from the quote above was very helpful in prompting my discussions with the crew in pre-production that I would be creating a sound list, and that it's vital for the list to be used in production.
"Ten minutes on set a day recording Foley, Walla, room tone and backgrounds will give the picture editor an arsenal of sounds while creating the temp edit. All of those recordings forwarded to audio post will give the supervising sound editor and sound designer the raw materials to help you tell the story in the world that has been defined by all of the other recordings." [3]
"Don’t just get the shot, capture the audio universe of your shoot as well. You’ll tell a better story, have more creative resources available during the initial picture edit and save yourself a few dollars in post while enhancing the quality of the program." [3]
These quotes are extremely insightful on the ways that sound recordings greatly improve on capturing and telling a story alongside it's visuals.
List
Following my research, I created the list below for my Director & Sound Technician to use by re-reading the script word for word, and making notes of every useful sound to be recorded...
Sound Recordings List Download
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| Screenshot example |
While the sound list may be overly detailed, I wanted to be thorough, and I feel by providing my crew with this list, they were able to keep a clear focus on audio after each scene. In relation, I plan to create a list of sounds that need to be obtained on line to aid the sound design of the film, further into post-production.
Finalised Shot List
After receiving my alterations to the first draft shot list for Double Exposure, the Director and DOP proceeded to incorporate my notes and additions from the coverage list, and created a fine-tuned second draft, then sent it back to me. Evidenced in how much the shot list had improved on coverage and detail, it is clear that when the Editor of a film is involved in pre-production decisions, the overall decisions of the project can become much more detailed, with ideas coming from an entirely different perspective - one that focuses on the way the scenes will cut together.While the list was much more detailed in not only coverage, but with shot labelling and movements, I had some final and small additions to make to the list, including sound design additions. These sound additions were incorporated following my sound recordings list creation, indicating at the start of particular scenes where in-scene sounds such as an alarm clock beeping need to not be included, as they need to be recorded separately in post-production.
For the most part, the visual changes, notes and additions were based on what I felt could be effective shots added to scenes, parts of the list that seemed to be errors, and further coverage that was required for the shoot. I think in line with my sound additions and sound list, the materials that I helped to improve on for the film became much stronger and ensure a well covered film.
Here are screenshot examples of my final shot list changes...
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| Screenshot example |
And here is the link to the entire altered final shot list...
Final Shot List Editor Alterations Download
Following my alterations and the final script for the film, the above shot list was made the finalised copy.
I think that my input into the pre-production parts of film-making have had a positive impact on the production and post-production of Double Exposure. Focusing on getting as much coverage as possible, and ensuring that sound is made a priority and focused on just as heavily as the visuals during shoots. Also, by making the above lists and alterations, the dailies/rushes process and post-production will be benefited by the shots and sound changes and additions from undergoing these checks - as mentioned in my past research.
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