Bronze Wall Media Group
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Sound Design & Editing
Good post production sound begins on set. No editor is a magician, though I am sure most of us wish we were. Like most film roles, it is an art and a science that requires granular precision at times. If done right, it can make the difference between an unwatchable project, and a life changing experience. Good sound design is often invisible, but there is a lot that has to go on behind the final mix. Below is just a handful of examples of projects that I worked on that do just that.
Example 1 - Foley
Spring 2020 School Project
This was a old project that I had worked on during my college days, and is an excellent example of foley. In this assignment our group was given a silent clip from a TV Show or a movie that we had not seen and had to recreate all of the sounds ourselves. Only 10% of the sounds used could be taken from stock assets, the rest we had to record (which I will note was part of a sprinkler and some ambience).While the recording process was a group project, the full edit was done by me, and was recognized as the best in the class for this assignment.
Example 2 - Editing & Sound Design
Return to Silco(Arcane Scene Recreation) - Dir. Avery King
This project was an acting/directing exercise that a friend of mine put together. I wore many hats on this production, being the on set mixer, editing the project and then doing sound design as well. Obviously, as a recreation, I could refer back to the original for inspiration. The top video is the final version posted to the directors Youtube Channel. The bottom is a screen recording of the timeline, highlighting and showing how every sound heard in the final mix is truly a layer of multiple sound effects on top of each other. Most of the sound effect were acquired from stock libraries, though some came from wilds recorded on set. This layering effect is, in my opinion, a staple of good sound design as it creates a more immersive experience.
Example 3 - Award winning Sound Design
Loose Strings Short Film
This short was made during the 2022 IFB 48 Hour Beat the Clock Challenge. I directed and edited the film, including the post sound work. The sound design in this film is simple and not invasive. However, despite this it won best sound design for the competition and also played at Phoenix Film Festival later that year. Not every film requires lengthy and complicated sound design. Good sound design should be invisible and in complete service to the narrative, and this project is proof of that
Example 4 - Fixing Bad Sound & Utilizing ADR
A Forest Dark - Dir. Casey B Davis
A Forest Dark was my capstone senior film project that I was producer on. This project was unfortunately plagued with many audio issues on set and in post. 2 different people were assigned to work on post sound and they both ended up dropping out for various reasons. Eventually, I decided I needed to take over finish the film, as sound design was the only thing left. And I believe it is one of my best works in post production sound.
I had to completely re-edit and re-design the sound from the ground up. This gave me a lot of creative and technical control over the audible landscape of the film. If you are interested, feel free to check out the full short in the top right. There are so many small things in the mix that I am really proud of and I think greatly service the story. Every single scene had a problem that needed to be fixed - from ground hum, to clothing rustle, to distortion, to who knows what else.
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I could pick literally any scene from this film to highlight, but I want to focus on the 5th scene of the film, which required completely re recording the actress' dialogue throughout. Second from the bottom is the pre ADR to give you an idea of what I was trying to fix, while the bottom video is the final mix with the ADR.
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.Additionally the video second from the top you can see a scene comparison for the first 7 or so minutes of the film, which include the ADR for scene 5 as well