Music
Due to the track we used and our sequence not lasting the same length of time, we cut the music half way at a point we found appropriate to end on due to it being a quieter part of the track where only the 'siren' noise (hence the name of the song) was present, slowing the pace in absence of the fast paced drums yet upholding intensity, enigma and suspense at what may happen next. A straight cut to silence in the music would limit its ability to do this, so on the Premiere Pro timeline we faded it out gradually at the point where 'Dan' enters the house.
We decreased the volume level of our music proportionally so that at the end of the running sequence where the dialogue begins there would hopefully be a seamless or less obvious transition. If the base levels of the music and dialogue remained too much in contrast as they did originally, the audience would have far less potential to be absorbed in the product and to suspend their disbelief.
Dialogue
We often sound-bridged across cuts of dialogue, particularly in our uses of shot/reverse shot in the house where the protagonist attempts to explain his predicament. It was vital that our shot choices for this were tactical, as we shot dialogue from multiple angles and had to make sure that if we were to continue one line of speech while cutting to another shot (to view the other actor's verbal response and emotions) we would have to ensure the characters' mouths were synchronised with the bridged dialogue track or not moving when they are not speaking.
Sound Effects
Contrary to some of our earlier planning we used no sound effects in our sequence. A previous idea was to implement a metallic banging noise which would introduce the titles right at the end, in synchronisation with bangs on the door but fortunately our choice of music having the 'siren' noise in it gave us an effective option to use instead. Timing it with the entrance of our institutional titles at the beginning as well as our film's title also worked well.
Adobe Audition
We used this programme (shown below) to get rid of unwanted buzzing and camera whirring in the background. We reduced the noise level of parts of the sound clips which had inconsistent sound, and added atmos to make the sound level consistent.
Due to the track we used and our sequence not lasting the same length of time, we cut the music half way at a point we found appropriate to end on due to it being a quieter part of the track where only the 'siren' noise (hence the name of the song) was present, slowing the pace in absence of the fast paced drums yet upholding intensity, enigma and suspense at what may happen next. A straight cut to silence in the music would limit its ability to do this, so on the Premiere Pro timeline we faded it out gradually at the point where 'Dan' enters the house.
We decreased the volume level of our music proportionally so that at the end of the running sequence where the dialogue begins there would hopefully be a seamless or less obvious transition. If the base levels of the music and dialogue remained too much in contrast as they did originally, the audience would have far less potential to be absorbed in the product and to suspend their disbelief.
Dialogue
We often sound-bridged across cuts of dialogue, particularly in our uses of shot/reverse shot in the house where the protagonist attempts to explain his predicament. It was vital that our shot choices for this were tactical, as we shot dialogue from multiple angles and had to make sure that if we were to continue one line of speech while cutting to another shot (to view the other actor's verbal response and emotions) we would have to ensure the characters' mouths were synchronised with the bridged dialogue track or not moving when they are not speaking.
Sound Effects
Contrary to some of our earlier planning we used no sound effects in our sequence. A previous idea was to implement a metallic banging noise which would introduce the titles right at the end, in synchronisation with bangs on the door but fortunately our choice of music having the 'siren' noise in it gave us an effective option to use instead. Timing it with the entrance of our institutional titles at the beginning as well as our film's title also worked well.
Adobe Audition
We used this programme (shown below) to get rid of unwanted buzzing and camera whirring in the background. We reduced the noise level of parts of the sound clips which had inconsistent sound, and added atmos to make the sound level consistent.
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