After finding suitable copy-right free music, most of which came from Kevin MacLeod (The ones I used were ‘The Devil Rides Tonight’ (Which I used for the main title and the montage scene), ‘I Knew That Guy’ (Which was used for the section where Mallow was in his office alone for the beginning), and ‘Black Stockings’ (Which was used for Lotta’s (the fem fatale’s) theme.) These songs were also cut to size within the edit. I also used ‘We’re in the Money-The Gold Diggers Song’ from the movie ‘Top Hat’ (A very popular film from 1935, featuring Fred Astaire and Ginger Rogers) however I adjusted the speed and pitch to make it more comical, as well as only using a small section of it.
I then had to find suitable and royalty-free sound effects; of which I got from findsounds.com, sound-effect-library.com and pond5.com. The Diagetic Sound Effects had to be sourced, edited, and slotted in to match the footage. These included a DC3 propeller plane, which had to appear to be coming closer, louder, then moving away as it circled the globe of the One Rehearsal Ident sequence. (This was a parody of the Universal Pictures ident of the 1930’s and 40’s) Then there was the electrical short of the "neon sign with a nervous tick", which was a single, short spark sound effect, with I copied and arithmetically looped, to form the continuous sound throughout the office sections. This had to rise in volume when Mallow, the camera, and the audience’s ear, were closer to the window. Then there was the creaking wooden door, which similarly had to be louder when Lotta opened the door, as the camera was closer, than it was when she closed it during the two-shot. There were also various sound effects like a match being struck and the sound of Marshal’s leg hitting the chest of drawers which were added in as the footage looked bare without it. Finally, there was the freight train sound, with added doppler effect, and the specific sound of a gun being fired. All of the sound effects in the entire film were added in.
After I had all of the necessary audio that I requires, I used MixPad to mix the various audio clips and create the complete soundtrack - tracks including the Voice Over, Main Theme Music, Incidental Music, Foreground Sound Effects, Ambient Background Sound Effects, and, after the footage was filmed, I added the In-Camera Recorded Dialogue between Marshal and Lotta. All of these specific effects had to be precisely placed, and balanced for sound in with all of the other layers, so as to be audible, without overshadowing anything important. The Background Ambient Sound Effects Track was dedicated to the sound of traffic outside Mallow’s office. For this, I had to source the sounds of a variety of different car horns and engines from the era (1930s/1940s), together with police sirens, trams, bicycles, and such like, and layer them to create a realistic soundscape. No two vehicles are repeated, yet the sound runs throughout. Like the neon sign, the traffic ambiance has to rise in volume when Mallow is at the window, and also when his office door is open. Finally, the dialogue, recorded on the camera mic (after the visuals were filmed) had to be extracted, run through WavePad to convert it to mono and add the ‘old fashioned’ sound, then dropped into this soundtrack as the final track of the five, but precisely, so that the background music of Lotta’s Theme exactly matched that playing was already playing as a separate track, so that the later could be faded out without any noticeable jump in the sound. From here, all I had to do was to match the audio file with the video. However, while editing the footage I noticed that the transition the dialogue in each shot would sound odd; and sometimes the dialogue would over lap when I was trying to make the audio continue from one clip to another; so in Adobe Premier Pro I used the ‘Constant Gain’ tool to make the transition a lot smoother as this made the audio fade seamlessly over each other. After this, the error was almost completely unnoticeable.
I then had to find suitable and royalty-free sound effects; of which I got from findsounds.com, sound-effect-library.com and pond5.com. The Diagetic Sound Effects had to be sourced, edited, and slotted in to match the footage. These included a DC3 propeller plane, which had to appear to be coming closer, louder, then moving away as it circled the globe of the One Rehearsal Ident sequence. (This was a parody of the Universal Pictures ident of the 1930’s and 40’s) Then there was the electrical short of the "neon sign with a nervous tick", which was a single, short spark sound effect, with I copied and arithmetically looped, to form the continuous sound throughout the office sections. This had to rise in volume when Mallow, the camera, and the audience’s ear, were closer to the window. Then there was the creaking wooden door, which similarly had to be louder when Lotta opened the door, as the camera was closer, than it was when she closed it during the two-shot. There were also various sound effects like a match being struck and the sound of Marshal’s leg hitting the chest of drawers which were added in as the footage looked bare without it. Finally, there was the freight train sound, with added doppler effect, and the specific sound of a gun being fired. All of the sound effects in the entire film were added in.
After I had all of the necessary audio that I requires, I used MixPad to mix the various audio clips and create the complete soundtrack - tracks including the Voice Over, Main Theme Music, Incidental Music, Foreground Sound Effects, Ambient Background Sound Effects, and, after the footage was filmed, I added the In-Camera Recorded Dialogue between Marshal and Lotta. All of these specific effects had to be precisely placed, and balanced for sound in with all of the other layers, so as to be audible, without overshadowing anything important. The Background Ambient Sound Effects Track was dedicated to the sound of traffic outside Mallow’s office. For this, I had to source the sounds of a variety of different car horns and engines from the era (1930s/1940s), together with police sirens, trams, bicycles, and such like, and layer them to create a realistic soundscape. No two vehicles are repeated, yet the sound runs throughout. Like the neon sign, the traffic ambiance has to rise in volume when Mallow is at the window, and also when his office door is open. Finally, the dialogue, recorded on the camera mic (after the visuals were filmed) had to be extracted, run through WavePad to convert it to mono and add the ‘old fashioned’ sound, then dropped into this soundtrack as the final track of the five, but precisely, so that the background music of Lotta’s Theme exactly matched that playing was already playing as a separate track, so that the later could be faded out without any noticeable jump in the sound. From here, all I had to do was to match the audio file with the video. However, while editing the footage I noticed that the transition the dialogue in each shot would sound odd; and sometimes the dialogue would over lap when I was trying to make the audio continue from one clip to another; so in Adobe Premier Pro I used the ‘Constant Gain’ tool to make the transition a lot smoother as this made the audio fade seamlessly over each other. After this, the error was almost completely unnoticeable.
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