My instinct and guiding principal was to try to draw that out with musical elements and also create a layer of depth that would progressively draw the audience in.

With reference to Darrin’s reading in week two, he describes synchrosis as “the tight structural alignment of a successfully fabricated audiovisual relationship (Chion 1994: 58)”. With reference to that, the soundscape and score I created was essentially designed with the principal of syncrosis in mind. Every cut of the video is synchronised with a sound event. These, along with other stimulus, help to make the sound almost feel like location sound, even though in some cases, it wasn’t my intention to just design a foley track.

I wanted to address the themes in the video. To me it felt like the climax of the piece was the cut to the exhibition building at the two third mark in the video. The video was (according to Dan), the most colourful of the videos available to score. My instinct and guiding principal was to try to draw that out with musical elements and also create a layer of depth that would progressively draw the audience in.

The basic soundscape is based on a sound effect that I had previously created for atmospheric for a short film I made, containing lots of birds and really ugly wind. I ran a highness on those to basically just keep the birds and added some rustling leaves and very distant wind. For the cuts to the more foggy, deep shots, I chose to use more wind and accentuate the low end.

 

The footsteps progressively get faster and softer as the clip progresses to the midpoint was a decision I made to really draw attention to the rising tension and cross-cutting between the foggy, almost rainforest like shots and the floating ground shots. This sound was particularly hard to create because it sounded far too sharp in the initial edit and so I added the sound of mud being stepped in just softly underneath to beat it up a little.

The entire video felt like a sort of poetic (A – B – A – B) journey to the exhibition building so I wanted to herald that arrival with a something big, bright and colourful (like the video). The decision to use strings (which I composed in Logic) was relatively simple. I toyed with the idea of using lots of synthesisers and very synthetic textures but not only were most of my classmates doing that, they were responding to very different videos (at least tonally). I didn’t want to score a video that was entirely shot in nature with digital, fake instrumentation.

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