Monday, 28 February 2011

Major Project: Soundtrack and VO v002

After a late night bodge up, here is version two of the soundtrack and VO. Adjusted the mood in places by altering the speed and layering up tracks. Works much better now, particuarly the opium den scene. After another round of feedback I shall adjust further. I've slowed the track down but I'm thinking the muder scene needs a bit more 'ooomph' to it. Let me know.


tutorphil said...

This might just be one of my favourite things in all the world right now! Okay - give me a few tics, and I'll come back with a total minutiae of feedback... watch this space!

tutorphil said...

On ‘I’ve give my soul for that’ (@1.17) is it somehow possible to insert a note of discordance, by slowing, or by layering? Really subtle, but as if the music has somehow ‘heard’ Dorian’s wish and reflects, for a moment, the darkness of the pact?

The fade out beginning @1.26 is a bit scrappy still – I know you’re looking to be done with it before the next phrase of the music – I’d suggest a cross-fade here, so that the edges of the edit are baffled.

When Sybil ‘bombs out’ at the theatre, the music still seems slightly non-representative of the Dorian’s cooling off – which, I’d suggest the score could reflect more thematically; @2.40 onwards, could you create a similar effect as suggested previously – a slight discordancy or distortion? The ‘went down on a titter’ should be an awful thing, but the music rises warmly just afterwards (@2.50) and makes everything seem okay again. You might consider having the end of this line ‘on a titter’ being spoken in a hard, non-soundtrack silence. Essentially you’re setting up Sybil’s demise here, with the music showing Dorian’s mood darkening – so as to set up the next scene. All of this just needs to portray a growing shadow. Similarly, Dorian’s rejection of Sybil could take a bit more ‘darkness’ – we’re not talking doomy horror, just a kind of ‘desaturation’? If ‘on a titter’ is spoken in silence, then ‘Humilated’ can be spoken in silence too, with the music coming in just after; it would ‘harden-up’ the feel here – make it seem more angry and seething.

@3.22 make the transition a cross-fade – not a long one – but again, to baffle the edges of the two pieces of music.

The ‘Where he went that night’ could also be ‘unhappied’ a little more? It works (it pretty much all works) but in a sense you’re trying to darken the tone musically from Sybil’s rejection onwards. I can’t know this of course, but I wonder if you could slow it down further – maybe quite a lot further to give it a slightly swimmy, feverish feel?

Opium sequence is GREAT! But the fade @ 5.26 feels too abrupt and very scrappy – again consider a cross fade here instead – just to keep everything silky on the ear.

I know the very last thing you want is to increase your duration – but I think the reason why the murder sequence lacks ‘oomph’ is because – just like the opium scene – it needs to be an instrumental moment – a specially created symphony of violence that will give you the texture to make a great montage sequence too – at the moment, the continuous soundtrack isn’t giving you the edges and corners and jags to truly reflect the content described. If if cut the talk track at 6.50 after ‘knife’ then create a 10 sec aural ‘commotion of murder’ and then bring the voice track back on ‘There was a stifled…’ you’ll get the oomph factor. The stabbing of the picture is also being underplayed here – and the soundtrack is burying the moment too – a similar instrumental approach to this moment would open it up visually too – giving you more room to make more of a climax out of this all-important moment; so, cut to a violent soundscape after ‘stabbed the picture’…

Finally, the ‘withered, wrinkled – loathsome’ still needs greater impact – more silence perhaps – with the music coming in as the final image of your film fades?

Anyway – this is such a strong piece of storytelling, so rich in atmosphere, that I absolutely encourage you to make this film into something really wonderful. I look forward to the concept art and seeing your unique and exciting approach to staging this classic faustian narrative.

Tom Beg said...

Thanks, Phil!

tutorphil said...

just listened to it again! :D

Tom Beg said...

I'll work on the adjustments tommorow.