Responsible for creating the sound and blending and editing sounds in post-production. This includes creating sounds such as Foley, non-diegetic sounds and ambient sounds and editing them into my film to enhance the tone or the narrative. Sound is used in film for many reasons like to reveal the movie’s story, to provide audience awareness and expectation, to express a point of view of storyteller or character, to provide rhythm, to provide emphasis to provide characterization or to provide continuity.
Professional Inspiration
My inspiration for sound is Mikkel E.G. Nielsen’s use of sound in the film Sound of Metal as it is a very interesting artistic interpretation of a musicians struggle with going deaf and the technical use of sound is very astounding. His use of sound is very creative
The role of sound in film can be split into two sections: the sound editor and the sound mixer. A sound editor records the sound required for a production. This can be done in a multitude of ways, including composition of music; Foley sound, the art of mimicking and creating new sounds for film pieces in a studio; as well as on set recording. The other side of this is sound mixing. A sound mixer makes sure all the sound recorded by the sound recorder are put together, layered and are cohesive within a production. Sound mixers can incorporate techniques such as fade-in/outs in sound; J and L-cuts; narration and scores into production.
American film composer, Nicholas Britell, is famous for his work on films such as 12 Years a slave, (2013), Cruella, (2021) and especially Moonlight, (2017). His work on Moonlight, directed by Barry Jenkins, in particular inspires me due to his confidence to create and utilise scores to enhance the power of some scenes. For example, there is the intense music that reoccurs whenever Chiron remembers his Mother screaming at him in the corridor; or the emotional track the follows when Juan takes Chiron to the beach and teaches him how to swim. In each scene, the score turns into a compilation and almost acts like a non-diegetic ‘needle-drop’ moment.
