Professional practice: working with a director; working to a brief; working with a studio crew; working with a location crew; meeting audience requirements in relation to issues of taste and decency.
Firstly, I did not need a studio/location crew, as sounds were to be recorded individually by using our own devices. Of course, each sound has to be recorded perfectly - even if there are any slight issues, it can distort the view of the final production to the audience rather than what I was planning for them to hear. So if there was an issue with the take, I would redo it as many times possible.
As you can see from the storyboard plan below, I used timecode to mark how the soundtrack would be as well as when and what type of sound effects would come in. This helped me organise the sounds I needed for recording into an ordered list, as well as making it easier to composite onto Cubase. Each sound would match the action, for example if the train got further away, I would use the equaliser to make that effect.
Once I finished editing/compositing the video's sound, I would let my teacher (for directing) listen to it. I would take any feedback and change it accordingly, then ask again if was OK. Also, feedback from my peers is very useful too, as I could get an understanding from a different perspective, as tastes can be rather different and one's view will always be different to anothers, especially since multiple people can watch one production.
Components: dialogue; recorded music; pre-recorded music; SFX, eg pre-recorded, public domain, licensed, own; library, eg, audio CD, CD ROM, internet, public domain, licensed material.
The Wallace and Gromit video clip we had to devise a soundtrack and SFX for, already has pre-recorded dialogue from its official voice actor. Therefore this is licensed by the creators of the film and would be a breach of copyright if I was to call it my own material.
Planning: capabilities of the available locations; recording equipment; software; recognition of various
audio formats and their compatibility; copyrights; documentation
Because of copyright issues, all sound effects have to be recorded by myself. The reason for this is because if I used other people's works without permission, it would not be classed as "fair use" and they could make a dispute.
For the sound effects of the air I had to use a wind-shield for the microphone. This was not too hard to do as the sound of the wind is pretty much constant when the weather is correct. In addition to using wind-shields, I had recorded real sounds of trains that pass by at the station. For this I used my phone (HTC One X) to record the sound, as it is more portable. The rest of the sound effects were made using objects that were located inside my house, for instance using an old toy train to make the "Toy Train" sound.
Because I want to minimise having to trim sounds when compositing together on Cubase at college(saves time), I decided to do it all on Sony Vegas Pro 11 at home before it. I can also make sure the sound levels and EQ are correct too. I would then render it out to my USB device as an mp3 file to keep good quality and a low file size - rendering in wav format is lossless/uncompressed, therefore the file size will be very large and may not be compatible with the software.
Intellectual property: public domain; internet downloading; licensed music; licensed SFX; Mechanical.
The final edited video gets blocked for Copyright Infringement when uploaded to YouTube because of matched visual content and pre-recorded dialogue. YouTube put this into place so the official creators are given "fair use" and will not dispute towards the website. The file size is also too big to be uploaded onto Weebly, therefore I have placed the file on the Music Drive at college.
If any of the music or sound effects were pre-recorded and downloaded freely from the internet without permission, this would be a violation of the Copyright, Designs and Patents Act. To avoid this, written permission is needed from the official creators or a license should be paid to use any pre-recorded material in a production. The software/hardware used may also be credited, for instance I used my iPhone as a microphone, and Cubase and Reason to edit/compose.
Performing Right Society
What is PRS for Music?
PRS for Music is home to the world's best music writers, composers and publishers. Formed as The MCPS-PRS Alliance in 1997 with the PRS for Music brand adopted in 2009, the organisation brings together two royalty collection societies; MCPS and PRS. Both organisations are ‘not for profit’ and only deduct a small administration/commission fee to cover operating costs.
They exist to collect and pay royalties to our members when their music is exploited in one of a number of ways – when it is recorded onto any format and distributed to the public, performed or played in public, broadcast or made publicly available online.
Why is a license needed?
If you play music in your business or want to include it in your product you need clearance to do so from the owners of that music. PRS for Music and MCPS represent the owners and can get you the clearances you need.
Where does the money come from?
Money is due to PRS for Music for any public performance of music, whether live or recorded, and from radio and television broadcasts and online.
MCPS generates money through licence fees from the recording of the company's members’ music on many different formats, including CDs and DVDs.
Where does the money go?
PRS for Music and MCPS pay money collected to their writer, composer and music publisher members. Both organisations are ‘not for profit’ and only deduct a small administration/commission fee to cover operating costs.
Firstly, I did not need a studio/location crew, as sounds were to be recorded individually by using our own devices. Of course, each sound has to be recorded perfectly - even if there are any slight issues, it can distort the view of the final production to the audience rather than what I was planning for them to hear. So if there was an issue with the take, I would redo it as many times possible.
As you can see from the storyboard plan below, I used timecode to mark how the soundtrack would be as well as when and what type of sound effects would come in. This helped me organise the sounds I needed for recording into an ordered list, as well as making it easier to composite onto Cubase. Each sound would match the action, for example if the train got further away, I would use the equaliser to make that effect.
Once I finished editing/compositing the video's sound, I would let my teacher (for directing) listen to it. I would take any feedback and change it accordingly, then ask again if was OK. Also, feedback from my peers is very useful too, as I could get an understanding from a different perspective, as tastes can be rather different and one's view will always be different to anothers, especially since multiple people can watch one production.
Components: dialogue; recorded music; pre-recorded music; SFX, eg pre-recorded, public domain, licensed, own; library, eg, audio CD, CD ROM, internet, public domain, licensed material.
The Wallace and Gromit video clip we had to devise a soundtrack and SFX for, already has pre-recorded dialogue from its official voice actor. Therefore this is licensed by the creators of the film and would be a breach of copyright if I was to call it my own material.
Planning: capabilities of the available locations; recording equipment; software; recognition of various
audio formats and their compatibility; copyrights; documentation
Because of copyright issues, all sound effects have to be recorded by myself. The reason for this is because if I used other people's works without permission, it would not be classed as "fair use" and they could make a dispute.
For the sound effects of the air I had to use a wind-shield for the microphone. This was not too hard to do as the sound of the wind is pretty much constant when the weather is correct. In addition to using wind-shields, I had recorded real sounds of trains that pass by at the station. For this I used my phone (HTC One X) to record the sound, as it is more portable. The rest of the sound effects were made using objects that were located inside my house, for instance using an old toy train to make the "Toy Train" sound.
Because I want to minimise having to trim sounds when compositing together on Cubase at college(saves time), I decided to do it all on Sony Vegas Pro 11 at home before it. I can also make sure the sound levels and EQ are correct too. I would then render it out to my USB device as an mp3 file to keep good quality and a low file size - rendering in wav format is lossless/uncompressed, therefore the file size will be very large and may not be compatible with the software.
Intellectual property: public domain; internet downloading; licensed music; licensed SFX; Mechanical.
The final edited video gets blocked for Copyright Infringement when uploaded to YouTube because of matched visual content and pre-recorded dialogue. YouTube put this into place so the official creators are given "fair use" and will not dispute towards the website. The file size is also too big to be uploaded onto Weebly, therefore I have placed the file on the Music Drive at college.
If any of the music or sound effects were pre-recorded and downloaded freely from the internet without permission, this would be a violation of the Copyright, Designs and Patents Act. To avoid this, written permission is needed from the official creators or a license should be paid to use any pre-recorded material in a production. The software/hardware used may also be credited, for instance I used my iPhone as a microphone, and Cubase and Reason to edit/compose.
Performing Right Society
What is PRS for Music?
PRS for Music is home to the world's best music writers, composers and publishers. Formed as The MCPS-PRS Alliance in 1997 with the PRS for Music brand adopted in 2009, the organisation brings together two royalty collection societies; MCPS and PRS. Both organisations are ‘not for profit’ and only deduct a small administration/commission fee to cover operating costs.
They exist to collect and pay royalties to our members when their music is exploited in one of a number of ways – when it is recorded onto any format and distributed to the public, performed or played in public, broadcast or made publicly available online.
Why is a license needed?
If you play music in your business or want to include it in your product you need clearance to do so from the owners of that music. PRS for Music and MCPS represent the owners and can get you the clearances you need.
Where does the money come from?
Money is due to PRS for Music for any public performance of music, whether live or recorded, and from radio and television broadcasts and online.
MCPS generates money through licence fees from the recording of the company's members’ music on many different formats, including CDs and DVDs.
Where does the money go?
PRS for Music and MCPS pay money collected to their writer, composer and music publisher members. Both organisations are ‘not for profit’ and only deduct a small administration/commission fee to cover operating costs.
Below, I used the EQ to edit the treble of noises as the subjects got further away from the camera. This makes the sound effects more realistic instead of sounding like plain stock sounds. I also changed the volume of the different sound effects so that when an object got nearer, the sound of it got louder giving the video depth of sound. Also, the sound of my train had a lot of extremely low tones to it, and it wasn’t realistic because it didn’t sound like a small train. Because of this I decreased the low tones using my knowledge of EQ.
Storyboard | |
File Size: | 1897 kb |
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wg_train_chase_script.pdf | |
File Size: | 521 kb |
File Type: |