Post Production Showcase: GCRS · · 2015-03-18atonal audio is meant to strike a chord with the...
Transcript of Post Production Showcase: GCRS · · 2015-03-18atonal audio is meant to strike a chord with the...
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Post Production Showcase: GCRS
By Jake Young
Recording
18 SEPTEMBER 2014
Were pleased to reveal that GCRS is among the six post-production houses
that have made the final list for the first ever Audio Media Post Production
Showcase a feature highlighting the varying work across the field of audio
post-production for feature films, shorts, TV, and advertising.
GCRS pitch comprised The National Autistic Society Sensory Sensitivity, a
strong 70-second film that efficiently showcases the challenging experience of
sensory sensitivity that a person with autism faces on a daily basis.
We spoke to GCRS Munzie Thind, sound designer of The National Autistic
Society Sensory Sensitivity.
What was your brief/concept for this?
I have collaborated with director Steve Cope (Rattling Stick) many times in
the past and he brought me in at the start of the process to get my thoughts
on how we should approach sound for this National Autistic Society spot.
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The concept was to create something that would bring to life the experience
of sensory sensitivity one of the challenges that people with autism face
every day.
My starting point was research, talking to people, reading books and articles,
and finding out everything I could about sensory sensitivity and the way it
affects people with autism. I took a different approach from my usual work.
Instead of aiming for the beautiful, I wanted a soundscape that was really
annoying. This unnerving feeling is reflected in the visual and the end result
is really powerful.
What was the sound design process like?
The sounds were looped and manipulated to disrupt the listener. By doing this
we wanted to make them feel uncomfortable and alien the repetitive and
atonal audio is meant to strike a chord with the audience, communicating the
message in an unnerving manner. I messed with the tempo of recorded and
library sounds to add that arresting factor.
In order to achieve a stark contrast with the rest of the film, I cut it dead at
the end to surprise the viewer, as the film cuts to a shot of Chi, who is
autistic.
Can you run me through the technology set-up?
I used Pro Tools as my editor then Structure, Omnisphere, and various plug-
ins to manipulate the sounds from our library. I recorded sounds outside the
studio using a Sound Devices 722 portable recorder with a Sennheiser MKH
416 gun mic.
How long was the production process?
Actual studio time for the project was roughly around two days. Thats
including edit changes to the picture.
What special challenges did it present?
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I felt it was vital to start by researching the experiences of people with
autism, so that I could strive to put myself in their shoes and create
something that would truly reflect the challenges they face every day.
How was the response from the public?
The film has been very well received by the public and industry media alike.
Most importantly, the response from those with autism has been
overwhelmingly positive, with people telling me that the film and sound
treatment gets this experience spot on.
Lastly, what are you working on right now?
I've just finished working on various spots for BT Sport. It was a really
interesting project as it combined live action Premiership moments with
commentator responses, cut into shots of Premier League players and fans
sitting at home, in clubs, and out and about. We used an incredible tribal
sounding track Electric Pow Wow Drum from A Tribe Called Red to bring it
all together and build to dramatic crescendo. As a football fan myself it was a
huge pleasure to work on. www.gcrs.com www.autism.org.uk
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