Creative Capture

Nostalgia and Escapism

 

In this production log, I'll write about how I learnt to be a sound designer through several projects that let me try out both linear and nonlinear soundscapes. I started by working on an audio track for a Vue Cinema trailer with a group that had already been put together. Following that, I focused on my own horror-related projects. I worked with a former UEL student on both a linear analogue horror piece and a nonlinear interactive experience. These conversations let me learn more about sound design methods for numerous genres, including horror and immersive environments. Along with other useful skills, working on a project with people, using technology, and sharping my imagination all helped me This production log will show how I worked on each one including the design choices I made, the problems I ran across, and my honest views on how the projects turned out.

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I began my journey a bit late into the project where the group was tasked with delivering an audio track for a Vue Cinema trailer. By the time I joined, the group had already started working on the scenes, and I was informed that I had been assigned two scenes based on the group's meeting notes. The first was the sequence where a liquid transforms into solid, cracked rocks, followed by the camera flying through a crack into the next group member's scene. My second task was to design the ident at the end of the trailer.

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I wasn't sure how I wanted to handle the sound design of the liquid changing into solid rocks at first. I discovered the motivation I required after looking into sound design strategies for ice magic in video games. I wanted the liquid-to-solid transition to sound both mystical and natural. I decided to create most of my sounds using Vital synth, modifying pink and white noise to create the effects I desired. As the liquid solidified and fragmented, I was able to model how the states of the microscopic particles changed.

As the project progressed, I learned that I was not the only one working on the ident at the end of the trailer. Jamie and I had both independently worked on it, but after sharing our work with the group, we found that our sounds meshed well together. This fortunate incident underscored the crucial role of collaboration and adaptability in group projects.

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Following the cinema trailer, we were assigned to propose both a linear and a non-linear project. I decided to focus on horror themes for both projects. For the non-linear piece, I worked in partnership with Mollie Barbe, a former UEL student. Mollie had written a dissertation on creating interactive experiences, and she had a concept for a project where the player audibly follows a character on a night out that goes wrong. Mollie had already created concept drawings, thus this cooperation let me start with a clear vision.

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One of the first areas I worked on was designing the ambient sounds for various spaces the player would navigate through. One of the key areas was the "Hallway of Memories," which would set the scene at the beginning of the experience. I wanted to keep the atmosphere light-hearted at first, so I focused on creating a playful and nostalgic mood using subtle, soft sound cues, which the sound cues would be activated by the audience. The plan was to have spotlight speakers which would activate as the audience walks beneath them. The corridor where you would wait sounded like you were queuing outside a club, with thumping bass and faint noises from other customers. To accomplish this, I used footsteps, crowd murmurs, and a high-pass filter on the music to emphasise the bass, giving the impression of being in a loud, dynamic environment.

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Keeping the sound more stationary, I concentrated on footsteps and muted music emanating from the walls for the club environment. I wanted to create the impression of being outside the club, listening to the music but not really feeling it. Crowd noise and pounding bass combined to envelop the gamer in the atmosphere.

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Apart from these two sites, I designed a "Detox Room" close to the journey's end. This was a non-linear piece of sound design where my focus was creating a peaceful environment to give the player a break from the tension of the previous rooms. The sound design for this room included ambient and relaxation music to help the player recuperate from the more frightening rooms earlier in the journey.

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For my linear analogue horror project, I wanted to create a world full of atmosphere and suspense. I started by looking at the elements that make analogue horror films successful. I focused on analysing films I thought were really good, looking at how they used sound to generate suspense and fear. Using "The Lurker" and "The Spider as the principal threats, I set out to create my own analogue horror universe from this basis.

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Making the sounds for "The Lurker" presented challenges. I blended an alligator growl with the traditional Wilhelm scream to sound frightening and ominous. Reversing and deepening the scream produced a unique sound that matched the tremendous, throat-crab-like quality of the Lurker. The goal was to create a sense of discomfort using a distorted, artificial vocal sound.

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For “The Spider”, I wanted to make a clicking and creaking noise inspired by the Predator's hunt sounds. This was more difficult than I expected, as I struggled to locate the appropriate pieces to produce the precise tone I want. I experimented with several recordings of little objects creaking and combining them with synthesised noises to create an eerie, carnivorous atmosphere for the spider.

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After finalising these sounds, I used them in a slideshow as part of my discovered footage movie for the analogue horror presentation. The lack of visual representation of the creatures made the sound design even more important, since the noises had to express their presence and menace without being seen.

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Finally, these projects provided tremendous learning opportunities in both the technical and creative sides of sound design. From the collaborative effort on the Vue Cinema trailer to the separate projects combining a linear analogue horror piece and a non-linear interactive experience, I realised the power of sound to enhance narrative, mood, and audience engagement. I believe I've come a long way in terms of understanding how to use sound successfully in a variety of scenarios.