Abstraction.
Below are images from the production week where I undertook the role of Sound Recordist on set. This role saw me work through the pre-production and on-set stages of the film, where I first planned out what audio was required to be recorded in what scenes, this involved meetings with the director and marking up a script of the film.
The on-set role of sound recordist allowed me to gain an understanding of various new techniques and equipment in the sound realm. I was required to set up both wireless lapel microphones on the actors to record dialogue and a boom microphone to capture all the sound in-between. This equipment was then plugged into an audio mixer that recorded up to 8 different channels of audio.
Through a phone application that connected to the mixer, I was able to monitor audio levels and label each scene, making it easier for the post-production team to locate and edit the files recorded. At the end of each shoot day, I was required to export a sound sheet (see bottom of on-set photos), this allowed each recorded file to be easily seen on a spreadsheet that showed what file correlates to what scene and take.
My other major role for this production was in Post-Sound. I took upon this role on my lonesome, having to edit dialogue, create atmos, add in sound effects, foley recordings and music to compliment the stunning visuals of the film.
This learning experience allowed me to gain a great understanding of the Post-Production workflow as well as transferring files across programs.
I gained great insight into the use of ProTools, a professional audio editing program used by sound engineers around the globe, learning how to handle all aspects of post-sound for films. This ranged from setting up audio busses, mixing and mastering, editing dialogue using plugins and numerous more processes...
Below are a few screenshots of the ProTools session I ended with.
Below is a behind the scenes video coupled with two scenes from the final film.
The final cut