On Set Production
Critical Reflection - Critique of Final Work
I have chosen to focus on ‘Calculated Affection’ for my critical reflection. This draft of the film is unfinished as it has no sound design. I think this works perfectly for analysing my role as On-Set Sound Recordist as it makes it easier to listen to the sound without sound design on top of the recordings I made on set.
The main aims when recording sound on set is to get clear, balanced audio with good levels to give to the post-production sound team. Consistency between mics, performance volumes and shots/ scenes are vital for sound as not only does it make the film sound better, more realistic and cohesive, it will make the sound design easier, ensuring coverage is usable instead of having drastically different audio between shots. I believe this was achieved in this film. There is consistency between takes and setups both in the wide angles and close ups and the audience is not disrupted by any changes in volume. There may be very small differences in volume between the characters throughout, however, this is not very noticeable as it feels almost natural within the scene, and it did not take much effort for the sound designer to smooth this out a bit in post-production.
The changes in volume and performance flow smoothly through the film. Moments when the actor’s performance changes and their voice is raised or quietened, feels natural and like you would expect to hear if you were in the space with them. For example, this is seen when Gracie finally has enough and becomes frustrated in the scene (03:55 - 04:04) and begins to raise her voice before being interrupted, the increase in volume and performance are blended well and this doesn’t stick out or take the audience by surprise. There aren’t moments where the sound peaks and there doesn’t seem to be moments where the audio changes drastically, taking the audience out of the scene.
One of the more noticeable issues in the sound is the noise of the dolly moving, this was unavoidable and will be removed during the sound design process, either by trying to remove the noise itself or using the lav mic recordings, which the noises aren't as noticeable on.
One drawback from this film having no sound design is the lack of atmos. There were atmos tracks recorded which would’ve added to the design and are fundamental elements of on-set sound recording, however, these are unavailable in this current version for analysis.
The Happy Birthday track (04:13 – 04:31) does not fit totally smoothly into the mix at this point. In the layers of audio there is a separate recording of the cast and crew singing happy birthday which was quickly cut over the in-scene audio tracks. This doesn’t sit well just yet as there is some overlap and lack of mixing, however, this track was recorded on set in similar seating positions to those laid out in the scene to make the singing fit the room and feel more realistic. This will make it easier for the sound designers to blend it in.
Moving to the cutaway shots (01:08 – 01:36 and 02:47 – 03:19), where Gracie is having an ‘out of body’ experience these shots do not use linked audio, but instead use the ‘room tone’ track recorded on set. I think this recording gives a good base for the ambience that will eventually be created in the sound design.
One aspect which I would like to have put more effort into would be recording more wild tracks and location spot effects for the edit to add to the realism instead of the designer using sound libraries.
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Note: I am incorrectly credited in 'Calculated Affection' as Production Designer, where I was actually On-Set Sound Recordist.
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Link:
'Calculated Affection':













