As far as sound is concerned, the two films on which I have been working have required very different approaches. 'Departures', my primary project is a very true-to-life drama so the sound, I feel, has to reflect that realism. All of the sounds are captured on set to create a cohesive relationship between the audio and the visuals. The biggest challenge I have faced in assembling the sound for this film has been capturing clear dialogue in a moving car without allowing any recording equipment to enter shot. The way that I achieved this was to lay a jumper in the passenger footwell of the car, place a weighted mic stand on the jumper and aim the shotgun mic between the two actresses to get as even a level for each of them as possible. I also made sure to capture sufficient wild-track to cover any edits in sound.
'Baby Steps', on the other hand, takes itself much less seriously. This allows for much more flexibility in the sounds used to create the drama and comedy. The film involves a pastiche of Film Noir, which for a sound designer, is a complete joy to assemble. I tracked down some smooth jazz to set up the first layer of sound, before adding the sound of water gently lapping on the sides of a boat. Finally, before adding the monologues, I layered in a few seabird calls to complete the scene. Because they are in a dream sequence of sorts, the monologues were recorded in a studio environment to better separate them from the on-screen location. Putting the sound for this scene together was almost like building a radio play to superimpose onto a film.
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