The second intensive our group will be undertaking will be the post-production intensive. Coming into this trimester I knew that it was extremely post oriented, one of the reasons I was so excited about what we would be doing this trimester.
Starting at SAE I honestly thought we would only be studio related stuff, I had no idea that post was such a big part of the curriculum. It's just such an interesting behind the scenes thing to be involved in post, shooting foley is an art in itself and mixing sound for films sounds so intriguing so I'm extremely keen to get going in this intensive.
Some things I expect to get out of this intensive would have to be an overall taster for post-production. As I said I'm keen to get involved with it and give it a go, but from this intensive, I really hope to find out if post is something I want to pursue as a career. Another thing I hope to get out of this intensive would be a chance to score the film we are working on, music is something that I came to SAE to do and is something I always want to improve on and I think that expanding my horizons and opening different avenues is something that will me become a better producer, engineer and musician.
Upon doing some research I found that a show that I really enjoy had some interesting things done to achieve the sound design. All the foley and SFX for Stranger Things was created by Brad North and Craig Henighan. A specific example of what they did: during episode 3 of the series the mother of a missing child begins to lose her sanity and in an attempt to communicate with her son who she believed was trapped in an alternate universe, she strung an array of fairy lights in her house. Not only does the scene look incredible but it sounds amazing. This was brought to life by the sound designers of the TV show. In an interview Craig Hannigan remarks that “I broke some light bulbs and Christmas lights and I recorded the sound that the filament makes when you shake it a little bit. Of course, these are such low-level sounds – so I had to crank the heck out of them just to get them at a volume that I could use. So that was the two core sounds and then the other main thing I wanted to do, either when Joyce or the little girl was following the light bulbs, was actually have a little tone play. So I found a little tone in a synth patch and I used it for a little touch.” I thought this was a good example of how Foley can make or break certain parts of a film, without the sound design for this scene it definitely would not have been the same.
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