Sound is a vital aspect of any successful modern motion picture. It can add to and develop pace and emotion. The audio in our opening was comprised of various features: ambience, dialogue, effects (foley) and music.
Ambience:
We discovered that with our original footage, the audio we had recorded of Trafalgar Square was rather inaudible and could potentially ruin the continuity. Therefore our solution was to abandon the on-site audio for most of the clips, and replace them with non-copyright online ambient soundtracks, which we lowered in volume to increase the prominence of the dialogue. The ambience replacement was very successful, as it sounded incredibly close to the original track and we were very proud at how well it turned out. What would have made it easier and more realistic would be if we had set the camera down in different places around Trafalgar Square and recorded the ambience, so that we wouldn't have to create it in post and it would add the extra bit of realism.
Dialogue:
We decided it was vital to re-record all of the dialogue. This is known as ADR, which we recorded outside as to maintain the authenticity of the audio, which would be layered over the ambient tracks. This was crucial for various reasons, for instance to improve the quality and audibility of the lines, aswell as improve the performances, some of which we felt were lacking. Another distinct problem we encountered was that our actor's voices were too adolescent for the type of film we were going for. We also used this as an opportunity to record lines that had not been shot, or even appeared in the script, in order to provide exposition.
Effects:
Sound effects are most prominent during the brief but brutal fight sequence that occurs towards the end of the opening. We used a combination of non-copyright hit and punch effects to accompany the series of punches between Agent Davidson and his pursuer. To do this, we downloaded a royalty free package of sound effects from the internet that had a variety of punch, kick, fall and swiping sound effects. They were very realistic and they definitely added to the fight. The fight wouldn't have worked without them, as the audience wouldn't have been able to work out if the punch had hit, or how hard it had hit. Another sound effect that was used was when Yung is shot. It was hard to work out how to establish that he had been shot without a gunshot sound effect, that would obviously raise the attention of everyone in the Square. Instead we decided to use one of the punch sound effects, which helped the audience to realise that he had been hit.
Music:
The soundtrack was specially commissioned by us to be composed by the up-coming classical artist, our good friend James Richardson, whose list of musical talents exceed the length of his chin. We provided him with a number of film score tracks in order to help influence the themes and structure of his work, and he assured us the music was in good hands. And gee whizz, it was! Richardson scored a demo version of his soundtrack early in the stages of post-production and on first listen, it was one of the most exhilarating and exciting experiences in my life. The music was filled with pure intensity that evoked and encapsulated the thrill of the action in the film. We worked very closely with him in the composing and recording process and he kept us regularly updated over the course of the following weeks on the progress of his work.
When edited to the visuals, the soundtrack works even better in the context of the action and helps to improve the opening heavily. Throughout the sequence there are various moments where the music works not only to accompany the visuals but matches almost perfectly, for instance when we cut to the shot of Yung with Nelson's Column in the background, the music takes on an intense nature, that escalates appropriately. The film culminates with a dramatic, sweeping piano piece that contrasts with the grittiness of the action, with the reveal of the film's title scored with a somber, emotional piece that is reflective of the lead character's physical and mental state following the events of the opening.
When edited to the visuals, the soundtrack works even better in the context of the action and helps to improve the opening heavily. Throughout the sequence there are various moments where the music works not only to accompany the visuals but matches almost perfectly, for instance when we cut to the shot of Yung with Nelson's Column in the background, the music takes on an intense nature, that escalates appropriately. The film culminates with a dramatic, sweeping piano piece that contrasts with the grittiness of the action, with the reveal of the film's title scored with a somber, emotional piece that is reflective of the lead character's physical and mental state following the events of the opening.