Sound Design
Abstracts of original sound design pieces.
Sountracks For Screens
The interpreted sound design follows the original evolution of energy and events. But this time, the audio tell a story, which makes the extract a “court metrage” on its own.
For this exercise, all sounds and music were recorded inside a single roomful of prepared objects and piano. No plugins were used on posts other than volume and EQ.
Gravity
directed by
Alfonso
Cuarón
Sound Effects mostly realized at home during the pandemic.
Music written-based listening transcription exercise.
Orchestrated within FL Studio using free VST instruments.
Pirate of Caribbean
directed by
Gore Verbinski
Binaural pieces, intended to be listened with Headphones
n.
The feeling that no matter what you do is always somehow wrong—that any attempt to make your way comfortably through the world will only end up crossing some invisible taboo—as if there’s some obvious way forward that everybody else can see but you, each of them leaning back in their chair and calling out helpfully, colder, colder, colder.
adj.
With every click of the shutter,
you’re trying to press pause on your life.
If only so you can feel a little more comfortable moving on
living in a world stuck on play.
n.
Nostalgia for a time you’ve never known
Imagine stepping through the frame into a sepia-tinted haze, where you could sit on the side of the road and watch the locals passing by. Who lived and died before any of us arrived here, who sleep in some of the same houses we do, who look up at the same moon, who breathe the same air, feel the same blood in their veins—and live in a completely different world.
Ambisonic pieces, intended to be listened to with surround speakers (player in binaural version, download for ambisonic version)
Demain dès l’aube seems like a love poem, then we realise on the last verse that the journey to the loved one lead to the cemetery.
I created a motivating (thus quite cold and curious) soundscape, which became focused on the journey, undaunted from the sounds of the world around.
When the train finally end its journey, the whole world around has completely disappeared, living us with a brutal sense of loneliness.
Do not go gentle into that good night has powerful verse on how to approach the end of life with dignity.
This time, the audio is not only a support for the image but becomes an integral piece in its own.
It is also possible to synchronise the audio to the spoken words of the poem.
Also, instead of making lot of sound bricks, the audio items were entire walls imported to the Sound Design project. Those items were design according to the timeframe and adjectives extracted from the related poem section
I found this approach a bit more time consuming, but more effective to focus on only one section/element/idea of the final design as I’m not distracted by the overall project and can “mess around” without fearing unbalancing, degrading a section that I’m not paying attention to.
The more you know who you are, and what you want, the less you let things upset you is a quote from Bill Murray’s character Bob Harris in the movie Lost in Translation.
The sound design is an audible representation of what a long relationship, with it’s cyclic ups and downs can be. Only concentrating on the “upset” elements (as in the dialogue scene of the movie), we begin with
the fire being slowly attacked by what seems to be distant water drops.
Then, as the disturb raise, and the fire source trying to escape from drowning, fragile but bright songs raise from under the water…
The end stays open to interpretation and contextualisation: did a “coup de grace” end the relationship, or instead, was the union strong enough to prevent anything from “upsetting” you anymore.