Soundscape Reflective Statement
This 'Soundscape' project gave me the opportunity to focus on the auditory side of the animation pipeline. This involved the use of new equipment, such as the Olympus sound recorder, and Adobe Audition, helping me broaden my 'immersion' toolkit.
Gaining an understanding on the production of sound has enriched adjacent projects, such as 'From Script To Screen'; both my Animatic and Pre-Visualisation include intricate audio tracks filled with sound effects, supported by the workshops from this Soundscape project.
I've learnt how effective audio can be at communicating an idea, since I have created three soundscapes that translate a visual into an audio with relative accuracy. This was a new concept to me prior to Soundscape. Sound-focused projects no longer seem daunting or out-of reach.
Now that I have more confidence working with sound and Id like to give audio more attention in future projects, and also develop my knowledge on technical aspects e.g. what other sound recording tools are at my disposal?
I found my research into Randy Thom (sound designer) surprisingly interesting, and I gained an appreciation for Thom and his range of modern and vintage recording equipment. The artist outlined the idea of 'new isn't always the best', as I learnt how many older pieces of audio software and recording microphones have characteristics not accessible in newer technology. This 'rustic' perspective made me more open to simplicity when collecting my own sounds for this Soundscape project.
I'm thoroughly pleased with the three soundscapes I was able to complete, and I think they accurately reflect their original source images.
For my first soundscape, I wanted to communicate deep, viscous and muffled sounds. This approach was inspired by the images' organic, cellular appearance and I therefore pictured the spherical mass in a 'deep-sea' situation (most likely internal). I believe that rich, reverberating sounds best reflect the dark tones of the picture, this is supported and accented by some sporadic noises to potentially translate the orange tendrils moving and stretching. Another important element I wanted to communicate was the unusual blue 'cells' that are scattering about the top right of the larger mass. I immediately perceived this as an 'invasion', and applied this to my soundscape with scratchy, and hectic 'murmurs', which help to break up the continuous 'deep' and low-toned sounds, which could become monotonous and dull when left by themselves.
Gaining an understanding on the production of sound has enriched adjacent projects, such as 'From Script To Screen'; both my Animatic and Pre-Visualisation include intricate audio tracks filled with sound effects, supported by the workshops from this Soundscape project.
I've learnt how effective audio can be at communicating an idea, since I have created three soundscapes that translate a visual into an audio with relative accuracy. This was a new concept to me prior to Soundscape. Sound-focused projects no longer seem daunting or out-of reach.
Now that I have more confidence working with sound and Id like to give audio more attention in future projects, and also develop my knowledge on technical aspects e.g. what other sound recording tools are at my disposal?
I found my research into Randy Thom (sound designer) surprisingly interesting, and I gained an appreciation for Thom and his range of modern and vintage recording equipment. The artist outlined the idea of 'new isn't always the best', as I learnt how many older pieces of audio software and recording microphones have characteristics not accessible in newer technology. This 'rustic' perspective made me more open to simplicity when collecting my own sounds for this Soundscape project.
I'm thoroughly pleased with the three soundscapes I was able to complete, and I think they accurately reflect their original source images.
For my first soundscape, I wanted to communicate deep, viscous and muffled sounds. This approach was inspired by the images' organic, cellular appearance and I therefore pictured the spherical mass in a 'deep-sea' situation (most likely internal). I believe that rich, reverberating sounds best reflect the dark tones of the picture, this is supported and accented by some sporadic noises to potentially translate the orange tendrils moving and stretching. Another important element I wanted to communicate was the unusual blue 'cells' that are scattering about the top right of the larger mass. I immediately perceived this as an 'invasion', and applied this to my soundscape with scratchy, and hectic 'murmurs', which help to break up the continuous 'deep' and low-toned sounds, which could become monotonous and dull when left by themselves.
My second soundscape focuses on plant life, chlorophyll, photosynthesis and moisture. This is reflected in the track's 'montage' style; instead of using multiple 'continuous' or 'repetitive' sounds, I tried to separate and disperse noises, to suggest imperfection in nature. The sounds I have incorporated aren't necessarily organic, but I chose them with confidence that they reflect the original image which, to me, shows an organism that never stops moving, working, and fully embraces being 'alive'. The unusual scratchy 'hum' is to signify the components of life that are always at work e.g. breathing, photosynthesis, cell reproduction. This is accompanied by scratching, dripping and clattering to show the organism at work.
My third soundscape, in my opinion, is the most unusual. I was eager to reflect the artificial spikes and unnerving abyss that is seen in the original image. The outcome I produced reminds me of an 80's sci-fi or horror film track, possibly out of the 'alien franchise'. However, the static accents give the track a techno style, and it's therefore a strange mix of inspiration, creating a confused and anxious sound (what I had intended). The idea of 'surprise' in the soundscape is represented by sound effects only heard once, listeners are unsure what they will hear next. I aimed to include sounds that reflect the spiky biology of the original image; guitar strings, car keys, toothpicks and anything that might make a listener curl up and cringe. The concoction of a scratchy hum and echoing prickles create the sense of delusion...are we about to faint? This is an uncomfortable sound track for an uncomfortable and anxious image.
I dont think its fair to choose a favorite out of my three outcomes, as they're each unique and sensitive of their own original image. The purpose of this project, for me, was to ensure I used variatey and ensured that each soundscape had it's own identity. I don't think it's appropriate to choose the 'better outcome' from very individualistic tracks. I am happy with the work I've produced overall. Together, I think my soundscapes are strong, clear, imaginative, and create environments through enhancing the emotions felt when looking and the original three images.
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