DUNKIRK

For my final second year Audio-Post submission I chose a scene from Dunkirk. This scene was chosen because it is absent of both dialogue and music and yet completely immerses the viewer in nothing but pure dread through highly effective sound design. Using fear based psychoacoustic techniques such as falling pitch contours; spectral variation to simulate approaching threats; powerful low end content which triggers ancestral fears attributed to perceptual threats from animals of a larger size; non-linear sounds which are commonly used as signals of danger such as the human scream.

 

Kill Bill 2

This project was my first steps into the world of Foley and Sound Design. I discovered a love for the energetic foley performances required to give the scene its human character - wearing different shoes and varying surfaces to achieve believable and distinguished sounds for each of the characters. The pure child like joy of smashing plates and chest of drawers for the impact sounds, and beating a walnut stuffed chicken with a baseball bat for the punching sounds. During the making of this project I was totally encompassed by the world of foley, finding myself up in the early hours of the morning in a dark studio covered in the remains of what was once a chicken.