This AUS220 series belongs to an assessment from college.
- How are the skills that you are learning in you specific intensive transferable into other areas of audio/music production?
As much as I dislike group work, I recognise its importance: to prepare students to real-life collaborations, where our interpersonal skills are key to the success of a project and even a job. That said, I've been working really hard on improving my shyness in order to be as helpful and open as possible to my teammates. Doing that in the current post production scenario is quite hard as we're all making decisions as to what sounds could fit and how could they be processed to enhance the picture. The challenge here is really the 'language' inequality; whereas music is my teammates' way of commutating, film is mine. The situation is going to be exactly the same when we switch to the music intensive.
In the first couple of weeks I was very apprehensive to give opinions, try things out with them and look silly. I was also going through a hard time and my mood was all the way down. However, last weekend I seized the good weather to go out for a long walk, swim and do some yoga, and the outcome definitely made this week much better than I was expecting it to be. I've been waking up at 5:30 filled with energy and optimism. On Monday and Tuesday we had two great sessions where everyone contributed with excellent ideas to the overall outcome of the project.
I believe that having a positive attitude and being open to suggestions are the key skills that will make the next two intensives work out well.
- How is your soundtrack compared to the original and what changes could you make?
The original soundtrack is meticulously well designed. In many ways, the sound design has a musical tone and it builds up from being calm and gentle to intensive and dreadful. Being limited to using (mostly) our own recordings, we are being challenged into being as creative as possible with what's at our disposal.
We've decided to go with an abstract sound design, where hit points would be interpreted as a metaphor instead of the actual sounds. The way I see it, going with such approach is likely one of the best way to get into the world of sound design as it forces you to think outside of the box.
I don't regret any decisions that we've made so far. We're not trying to re-do the original soundtrack exactly as it is, but rather create our own 'voice' on top of it.