This is with the finished sound. I think some of the effects actually needed to be louder, for listening without headphones, but they’re still just perceptible enough that they add texture to the scene. I’d say the weakest sound design is the first shot - the hands and feet move around so much that it was hard to know where exactly to place the scuffle/impact noises. I really like how the ambience in the second scene turned out, and I ended up finding quite a fitting sound for the footsteps on the log, even if it took a lot of messing around with one of the rain clips.
The final shot’s footsteps are less effective, I feel, but I’m really proud of how I timed the tiny sound of the knuckle crack. The movement of the sticks, too, feels nicely realistic, despite the slightly cartoonish whip sound. I left in the car engine at the end to try and nod to my initial concept for this character: she’s travelled from a wild, windy perch on a tree, to a tranquil forest, to finally somewhere where the human and machine presence is much, much more audible.
In terms of editing, I found it was most effective to have some of the next scene’s sound bleed into the previous one, instead of vice versa. I’ve read before that this gives the audience an easier time processing the transition, and always wonder if it has something to do with the comparative speeds of light and sound.
