Case Study: A Trip To Granny`s Overview A Trip to

Case Study: A Trip To Granny’s
Overview
A Trip to Granny’s is a student 3D project created and animated by Aaron
Conover and Chris Evans. The story explores the experience of visiting an
elderly grandparent through the POV of a young boy. Parodies of television
programming and associated cross marketing are used to deliver supportive
narratives. The director utilizes misdirection as a means of moving to and from
the implied reality and the child’s fantasy world. In the end, we are left to wonder
what is real and what is the product of the child’s imagination. The overall tone of
the animation was intended to be pensive and unresolved.
Pre-Production
The preliminary sound design began at the pre-production phase with voice-over
recordings for several mockup commercials. There were no pre-score elements
needed for the project. The animators developed a comprehensive production
website which included a storyboard, concept art, production schedule, and a 2D
animatic. There were no funds available for sound design. The production
schedule was set at ten weeks to coincide with the academic quarter. Many of
the final renders were scheduled for the tenth week, therefore the sound design
would have to occur in-progress rather than waiting for post-production.
Extensive temp tracks were added to the animatic. Many of these elements were
subsequently approved and remain on the final soundtrack. Two video formats
were selected for the final release, DV and DVD. A discrete stereo mix was
requested for DV tape (festival format) and a 5.1 mix was requested for DVD
(demo reel format). Various work prints were delivered throughout the quarter
though the original timings remained locked. All work prints were delivered as
320 X 240 QuickTime video using Sorenson compression. The frame rate of
29.97 non-drop was maintained throughout the production path. A time code
burn-in was provided to help with spotting sessions and to check for sync drift.
Once delivered, these files were converted (transcoded) from Sorenson to
Aurora so that they could be viewed with an external monitor. The Pro Tools
application was used to develop the soundtrack. The session was set up at 24 bit
and 48 kHz using Wav file format. The Wav format was selected for PC
compatibility, the platform used by the animators. The stereo DV file was
delivered at 16 bit, 48 kHz. Both the discrete stereo and 5.1 audio files for the
DVD were delivered at 24 bit 48 kHz.
Shot Lists: A Case Study
The shot list provides a valuable starting point for sound design. During the
production, many changes are made to clarify and alter the storyline. However,
the shot list is a valuable introduction to the narrative and serves as the focal
point for brainstorming efforts in the area of sound design. The following shot list
was used in this production. It was invaluable throughout the pre-production
phase.
Annotated Storyboard (Shot list)
Treatments
Shot 01
00:08.22
Potential Sound
Length:
SFX: Rickety moving car from internal
perspective panned from left to right to
match the camera move.
Music: Title music to play the bored or
sad expression. Title music could begin
as source music (mono) from car radio
and transition to underscore (surround).
This is a shot looking out the car window from the child’s POV
in an economy car. Any credits will be shown in the blurring
scenery that passes. The setting is suburban. The child’s
reflection in the window reveals his incredibly bored
expression.
Shot 02
Length:
00:06.15
SFX: Moving car (off-screen sound)
engine slows to idle (squeaky brakes) to
promote the “economy car”, hard effects
for car door, Foley movement for
passenger exiting.
Music: Title music continues as
underscore in full 5.1 surround.
Fade to black, show titles, we hear the car slow; door opens
and closes.
Shot 03
Length:
00:04.03
SFX: Car accelerates and pans from
center to left, car still off-screen and
driving off, lots of bad muffler noise.
00:04.03
center to left, car still off-screen and
driving off, lots of bad muffler noise.
Ambience: Just before car sfx dies off,
introduce ambience. Light wind, rustling
of leaves to establish the fall season.
The camera tilts up a bit, moving back and to the right, playing
the mother’s POV. The boy’s posture and expression pleads
for his mother not to leave him. He does not immediately
move and stands there in disbelief.
Shot 04
Length:
00:05.00
Music: If possible, music should lightly
play the boy’s disappointment (subtext
scoring). Music should begin to fade out
as we add more hard effects and
transition from title sequence to the story.
SFX: Foley footsteps shuffling on
pavement panning left to center and
ending on the porch (hollow sounding).
Ambience: Wind to play desolate feel.
Perhaps off-screen sound of a raven to
enhance the pensive mood.
The boy reluctantly approaches the porch shuffling his feet,
perhaps kicking a pebble along the way. His body language is
“pensive.” He enters from frame left and slowly approaches
the porch staircase and heads toward a worn screen door.
Shot 05
Length:
00:01.15
Music: Pensive score. Subtle yet
menacing score as camera frames the
old house. Orchestral Hit for knocker if
presented as an insert shot.
SFX: Consider compositing some lion
roars very quietly in the music to
accentuate the head piece of the knocker.
Ambience: Ambience fades as music gets
established.
Music: introduction of music cue, ambient
and tick tock like. As the camera zooms
in, the volume increases and the pitch
goes up.
This is a frightening-cliché-horror-slow-zoom-in to the knocker
itself. This is one of the initial shots that sets up the tone of the
entire encounter. Possibly some sort of orchestra hit or
something on this shot to denote and add to its menacing
nature.
Shot 06
Length:
00:04.25
The child opens the screen door and attempts to reach the
knocker. He quickly realizes that he will have to jump to reach
the knocker. He loses his balance, falling through the screen.
There is a momentary pause of recognition as he tries to
regain his balance. This action should look more humorous
than painful, or perhaps both. He is then interrupted by the
noise of the locks unlocking.
SFX: Foley porch movement to play
unsuccessful reaching for knocker.
Rickety screen door. Aerosol spray for
sound of hand going through the screen
fabric. Falling foley, book bag for impact.
Composite screen door hinges into the
fall. Once the impact sound clears, add
unlocking sounds of multiple bolt locks
(all different pitch and weight) like those
of New York apartments. Perhaps even a
chain lock as well.
Music: Ambient music continues, possibly
composite orchestral hit lightly in the
impact sfx.
There is a momentary pause of recognition as he tries to
regain his balance. This action should look more humorous
than painful, or perhaps both. He is then interrupted by the
noise of the locks unlocking.
Shot 07
Length:
00:04.00
SFX: Exaggerated bolt-like sounds to
play the off-screen unlocking of the door.
Music: Music can rise in pitch as the
camera pans upward. The camera angle
calls for exaggeration.
There are numerous clicks as the door is being unlocked from
behind. This is a high-hat shot to make the house look largerthan-life. It is also very close the characters very own
viewpoint looking up from the ground.
Shot 08
Length:
00:04.00
The door mystically opens just before the boy has a chance to
open it himself. This shot is set up to look and feel like a
classic horror film shot. The hand, tensed to open the door,
reacts as if surprised when it slowly swings open, his hand
then wavers pensively as if not completely sure of what to do
next.
Shot 09
Length:
00:03.00
SFX: The sound of a door creaking open
on its own (creepy). Perhaps add a slight
air compressor sound as if a pressurized
vault has opened. If the hand moves
away fast, it might be covered with a
Doppler effected whoosh.
Music: suspenseful homage to Bernard
Hermann. Consider using a gliss on a
diminished chord instead of the hard
effect of a door swinging open. The gliss
will cover the door swinging.
SFX: Perhaps Foley footsteps if they can
be performed to sound tentative.
Ambience: develop and introduce an
interior ambience.
Music: Eerie but sophisticated, not B
monster movie music. Consider covering
the footsteps with a violin pizzicato on tritones.
He slowly enters the house, taking small steps and looking
side to side. His shadow cuts the light into powerful shafts that
illuminate the dust the air coming through the long unopened
door has churned up. The outside is extremely blown out to
emphasize the eerie darkness inside.
Shot 10
Length:
00:05.28
SFX: hinge sound as large door swings,
large vault sound. Hard effects are
panned to the center.
Ambience: Since the door is still open,
consider maintaining external ambience.
Music: Still pensive music, perhaps music
pizz to cover the footsteps. Music is
panned in stereo.
pizz to cover the footsteps. Music is
panned in stereo.
This is a long pan of the character walking through the front
room of the house. He is backlit with a very strong rim light
from frame left where the door is open. His mind is racing with
questions. He moves with a purpose but it fearful of the
darkness. Suddenly, the door slams shut like a bank vault,
causing the lights to go out.
Shot 11
Length:
00:02.00
SFX: Fade in the sound of a worldized
television. Create a mock commercial
with dialog and music. Perhaps some
sounds to cover the light flickering.
Dialog: Voice-over for mock commercial
Ambience: Perhaps an old clock and a
refrigerator hum.
This is a transitional shot as not to violate the 180 degree rule.
He enters the living room/kitchen from the dark front
room/foyer. This room is mainly lit by the television in the
living room (to frame left). He slowly emerges from the
darkness. We can hear the TV coming from the other room.
The light flickers in colors.
Shot 12
Length:
00:02.00
Music: Underscore fades out to leave
room for television, perhaps source music
from television.
SFX: Futzed or worldized television fades
up.
Foley: should footsteps be covered, if so
should they be musical or hard effects.
Music: Source music from television.
He cautiously explores the house looking for his grandma. His
body relaxes each time he fails to locate her.
Shot 13
Length:
00:08.10
SFX: Television gets louder as he visually
takes notice of it. Grandma’s walker
composite including an anvil with a
earthquake rumble, followed by a wicker.
The granny walker sound gradually fades
up but is panned to the center.
Foley: Backpack being dropped. Sitting
on couch (what kind of material).
He enters the living room; illuminated by the TV, he stops, and
looks at the TV. He then walks up towards the left side of the
couch. He puts his backpack down on the floor and climbs up
to the couch where he turns around and sits down. You now
start to hear the grandmother’s approach from the hallway.
She makes a metal hitting plastic, dragging noise followed by
heavy wheezing. The boy cocks his head to the side and tilts
right to see what the noise is.
Vocal Effects: Wheezing and random
mumbling (as if talking to oneself).
to the couch where he turns around and sits down. You now
start to hear the grandmother’s approach from the hallway.
She makes a metal hitting plastic, dragging noise followed by
heavy wheezing. The boy cocks his head to the side and tilts
right to see what the noise is.
Shot 14
Length:
00:06.00
SFX: Voiceover television commercial,
stereotypical programming targeted for
elderly audiences. Granny’s walker fades
up signaling her approach.
Music: music is menacing and builds as
granny approaches.
POV shot from boy’s perspective. We see the TV and the
hallway to the left ; each contributing to the lighting of the
scene. The TV has some kind of commercial on it. In the
hallway we now see the shadow of a figure emerging. The
shadow looks very menacing. The noises increase as the dark
figure walks closer into the light. Enter: Granny.
Shot 15
Length:
00:12.02
Grandma reaches the boy, he looks up at her. She comes
closer and stops short of him; as if awaiting something. He
now gives her a sort of forced hug. They sit down, Grandma
takes a while positioning herself just right above the “drop
zone” where she will sit, and the boy has already seated
himself long before she begins to sit. All the cushions and
padding squish under her weight and bow out, raising him up
on his end of the couch. After a few seconds she lifts the
remote and changes the channel once, or a few times, and it
cuts.
Shot 16
Length:
00:09.00
SFX: Exaggerated stretching element like
a balloon being stretched to play the
stress that her weight exerts on the sofa.
A series of mock television programs
need to be developed as channel surfing
follows.
Music: Sync point, as grandma stops
walking, we go to a pedal point for
suspense. The pedal point might consist
of an inverted string pedal in the key of
the preceding underscore. This could be
derived from a sample library. The music
rather than sfx can play the forced hug.
SFX: More channel changing until she
stops on Ninja slug commercial. Sonify
the Ninja stars being thrown, exaggerate
with jet flybys. Whooshes and impact
sounds.
Dialog: Voice-over for television title
sequence.
Grandma unwittingly changes the channel to the Mighty
Morphin Toxic Ninja Slugs show which happens to be the
boy’s favorite. In this show intro there are a few hard guitar
riffs and the name of the show is screamed. The look and
sound should suggest Anime.
Shot 17
Length:
00:01.15
Music, jump cuts into metal rock or
cheesy Kung Fu music to play the
aggressive nature of the characters.
Temp Track, Joe Satriani, if they like this,
we will need to request licensing.
Music: the music must be upbeat to play
the release in tension that the scene
implies.
00:01.15
CU reaction of the child’s face. His face literally “lights up.” He
loves this show! Things at granny’s might not be that bad after
all.
Shot 18
Length:
00:01.20
the release in tension that the scene
implies.
SFX: Perhaps warning sirens.
Dialog: Voice over for commercials futzed
to sound like coming from stadium public
address system.
Music: Transition from Rock to Military
style underscore.
Cuts to a loudspeaker, "ATTENTION JUNIOR SLUGS" yells
"Sergeant Slug” in a growling drill sergeant voice.
Shot 19
Length:
00:01.15
Another CU of the child’s face, "they never interrupt the intro,
this must be important" [he thinks]
Shot 20
Length:
00:03.00
Music: Continues for continuity
SFX: More sirens, pre lap the homage to
Terminator with laser guns and
explosions.
Dialog: Voice over for commercial
Music: Music continues but ducks down
for dialog (side chain compression).
Cuts back to the TV "WE NEED YOUR HELP TO DESTROY
THE EVIL ROBOT MENACE," he tells them. "Help Destroy
the Evil Robot Menace" flashes on screen.
Shot 21
Length:
00:07.15
SFX: Eggshells and Foley lifesavers for
skulls cracking. As the character turns,
add servo sound for the turning.
Ambience: Full battle with lots of added
off-screen sound like helicopters, tanks,
and weapons firing.
and weapons firing.
Music: Music stops at the cut to advertise
the shift. For the next few moments the
scene will be driven by SFX.
We cut to a shot of a pile of debris and skulls. The lighting is
all in shades of blue. [see: T2 wasteland battle] A robot's foot
steps down crushing some of them. The cam pans up and we
see the robots body, he is firing a weapon that looks strangely
like the walker the old woman has. The robot is firing to frame
left then he turns to the camera. Cut to robot assembly line.
Shot 22
Length:
00:07.00
SFX: Various servo sounds composited
for the robot assembly sequence. As the
eyes light up, sonify with a sound that
powers up and increases in volume. If
eyes move, sonify them but with very
mechanical sounds. Special sound to
exaggerate the teeth assembly.
Ambience: Industrial conveyer belts
Here we see the close-up of a robot’s face in “Pre-Activation”
mode. His eyes are dormant and not lit (normally glowing red).
An “Application Arm” extends and forcefully joins on the
“Dental Attack Apparatus.” The head sways with the shock of
the impact. The robots eyes light up when the teeth are
inserted; as if that is the final step in activating the bots. The
robot’s eyes light up, his brows move down possibly. He is
now ready for evil. We zoom out to see he was just one on a
large assembly line of killer robots.
Shot 23
Length:
00:12.16
SFX: Continue with servo sounds
Dialog: Voiceover for commercial. Play
on the phrase “look like ordinary people”
using sci-fi plug to morph the voiceover to
imply that he to could be a robot.
Music: duck the music down for voice
over but bring it back to full level
immediately after.
Sergeant Slug: "REMEMBER, THESE ROBOTS CAN LOOK
LIKE ORDINARY PEOPLE, SO BE ON THE LOOKOUT. USE
YOUR SLUG DECODER WATCH TO INTERCEPT THE
SECRET MESSAGE HIDDEN IN TODAY'S EPISODE FOR A
CHANCE TO WIN 3000 SLUUUUG ACTION FIGURES!"
Shot 24
Length:
00:02.12
SFX: Create sound design for slug
decoder watch (use telemetry sounds).
Music: Source music continues and gets
louder and more annoying.
Overhead shot focuses on his trusty decoder watch on.
Shot 25
Length:
00:01.21
The vivid colors and loud guitar riffs don’t amuse grandma.
Her facial expression suggests that corrective action will take
place.
Shot 26
Length:
00:02.20
Music: Source music for episode.
SFX: Ninja fighting, impact sounds
Dialog: Voice over using exaggerated
Asian yelling like in Godzilla. Create an
implied narrative for the source television.
Music: Source music for episode. Use
the Vari-Fi or Speed plug-in produce the
deceleration effect.
She raises the remote control and the boy realizes that she is
about to change the channel! At this point the images will
decelerate to slow motion as she slowly pushes the channel
changer. The boy watches in desperation. Possible intro
Carmina Borana type music.
Shot 27
Length:
00:01.06
SFX: fight sounds continue with impacts
and grunts
Dialog: Voice over continues and gets
louder
At this shot of the remote we begin to notice that time is
slowing down. She is slowly raising her finger.
Shot 28
Length:
00:03.09
Music: Source music from TV but acting
like underscore for the mock TV show.
Perhaps a musical isomorphism to play
the finger rising such as a timpani roll
while pressing the pedal to raise the pitch
over time.
SFX: make the finger sound like a
dinosaur.
Music: Vari-fi the music and sfx as if an
album being turned off.
Extreme CU of her finger. It looks like a huge shaky
brontosaurus neck, intent on changing the channel. The giant
leviathan moves in slow motion; like a whale underwater,
rearing its huge neck into the air. This is a high-hat shot up
from the base of the remote control. It makes the finger look
like a looming menacing figure, hell-bent on destruction. Still
in slow motion, it begins to fall toward the camera.
Shot 29
Length:
00:03.00
SFX: Television programming shifts with
the channel changer.
Music: plays child’s desperation and
shifts to complete the narrative of the
channel being changed.
The finger is still falling in slow motion. We see the boy move
into frame between the finger and the remote. This is a rack
focus DOF shot. The boy’s expression is that of complete
disbelief. We slowly zoom into the frame to see his expression
better as the finger continues to drop. The boy’s facial
expression and the shaking of the woman’s arthritic finger is
key here. The finger comes down. The screen goes to black
for an instant.
Shot 30
Length:
00:02.15
SFX: Click sound for channel change as
well as white noise for channel
inbetween. All audio from this point will
be back in real time.
Voice Over: Preacher, and random
congregation response Walla’s like “Amen.”
“CLICK”. This frame only lasts 1/10 of a second. It is a
transition to the next frame, a finalization to end the super
slow-mo sequence that just took place. It also ends the
dramatic music. Cheesy music, stays for the duration of the
next few shots, it is muted, in the background. With little
sayings barely audible like, “The lord’s gonna save yaaah but
he ain’t gonna do it for foreeeyah!” For the next while, the
backdrop audio is that of "Jesus Hour,” a preacher dishing out
forgiveness for $19.99.
Shot 31
Length:
00:06.00
Music: Gospel music but more like a
funeral than a revival. B-Organ
Dialog: continue with mock up TV
evangelist show. Try compositing a cash
register with the crowd responses to play
the focus on money.
Music: Perhaps use the music to
punctuate the sermon. Create a cue that
sounds like granny falling asleep.
We see the boy’s face of defeat. He’s angry, but he knows he
can’t challenge the decision. To his amazement, grandma has
instantaneously fallen asleep.
Shot 32
Length:
00:03.16
Dialog: keep the voiceover going only
played back at very low levels. At key
points spike the dialog up just a bit to
remind the audience that it is there.
Music: Keep the sound design for the
Jesus Hour but lower its volume and
introduce underscore which tick tocks to
play her getting sleepy. The music needs
to be dreamy in nature.
CU of grandma’s face, we see her sleeping and ever so
slowly her head begins to fall forward. As her head tilts
forward, her mouth slowly begins to drop. As her head comes
to a rest, her hair piece continues to slip downward.
Shot 33
Length:
00:03.00
SFX: foley for the remote control.
Dialog: Spike the dialog briefly, just as
she jumps from fighting sleep.
Music: The tick tock music continues
Granny’s arm tenses for a second. It shakes a little, then
loosens and drops. Her hand becomes limp the remote falls to
the floor.
Shot 34
Length:
00:01.15
SFX: sfx contributing to the various
television programs.
Ambience: reverberant television sound
as well as the ticking of a clock.
Dialog: Voice over for QVC type
programming.
Medium reaction shot of the child’s face. He starts looking
down and thinking.
Shot 35
Length:
00:01.15
Music: Tick tock music continues,
perhaps a subtle musical hit to play his
reaction.
SFX: Continue with narrative television
program
Music: Continue with tick tock
He looks up at her to see why she dropped the remote. He
wonders if something is wrong with her. Is she ok?”
Shot 37
Length:
00:01.15
Dialog: Granny coughs a nasty croupy
cough with wheezing to boot.
Foley: Composite squishy pudding or jello
sounds to exaggerate the flem in her
throat.
Music: Perhaps the music can be
interrupted to clear out for the coughing
or to have the music comment on the
action.
Quick cut to a CU of grandma
“GAAAAHHHKRAHHHKAAAH!” She seems to be choking on
her own spit. She’s having trouble breathing, emitting loud,
nasty, horrific gargling sounds. She slumps forward, shaking
her head.
Shot 38
Length:
00:00.28
SFX: time for a new mock TV show.
Perhaps the shopping network.
Dialog: Voice over for shopping network.
Music: Stinger? Lounge music for
shopping network playing anempathetically to the visuals.
He is completely caught by surprise! He jumps back in horror.
Shot 39
Length:
00:02.00
SFX: Continue with shopping network
design.
Dialog: Voice over for shopping network.
Have the content of the voice over be anempathetic to the action.
Music: continues
He realizes that something is really wrong with grandma, and
he gets up on the couch to try and help her out.
Shot 40
Length:
00:02.20
SFX: Organic sounds of her head
gradually morphing to a mechanical or
robot-like sound, then going back to
organic.
Music: Tick tock theme.
Grandma’s head starts shaking, she’s changing color, and her
head rears back into the air. Her face is turning purple! Veins
are popping out on her neck and the choking sounds get
louder and louder! Her head falls forward and she spits up a
translucent mass of mucus and spit.
Shot 41
Length:
00:00.20
SFX: TV sound design
Dialog: The coughing needs to over the
top gross sounding to promote the
intensity of his reaction. Up to this point
the characters have not spoken;
therefore, it might be better to cover the
screaming with a sound effect or music.
Music: Music cuts out to allow the sfx to
drive the scene.
He has never seen anything this disgusting or scary!
Shot 42
Length:
00:03.22
SFX: Lots of nasty sounding foley, use
yogurt and Jell-O snarfing sounds.
Ambience: Strong room tone. High hiss
from bad television.
Dialog: Promote some product that is
beautiful, contrasting the visuals of
granny’s drooling.
We cut back to grandma to see her begin to fall asleep. She
seems to be drained from the experience. Yet she never woke
up! Her head slowly falls to the side and she trails off into
silence.
Shot 43
Length:
00:02.00
Dialog: Keep working the voice-over to
have a sound which is in stark contrast to
the image.
Music: Dreamy music is re-introduced.
He gives a sigh of relief and slouches a bit.
Shot 44
00:05.00
Length:
SFX: play only sounds that objects in the
mock TV show would make
Dialog: make sure the voice is very
monotone, to put us all to sleep
Music: Underscore in tick tock style.
We fade to this shot of him watching TV. His eyes are
becoming heavy and his head sways back and forth, ever so
slightly. The colors from the TV constantly shift; projected on
his face. He begins to nod off a little bit, but regains. We hear
the TV audio as he is almost trapped there on the couch, held
prisoner to the television, and his grandmother. Fade out.
Shot 45
Length:
00:03.00
SFX: Whatever is needed for new mock
TV show. Crossfade from the earlier
program to the current to play the
passage of time. Make sure the shows
are markedly different.
Dialog: Whatever is needed for mock TV
show.
Music: Dreamy underscore and possible
source.
Visual cross-fades into the first shot in the sequence to depict
the passage of time.
Shot 46
Length:
00:04.21
SFX: Whatever is needed for next mock
TV show. Crossfade from the earlier
program to the current to play the
passage of time. Make sure the shows
are markedly different.
Dialog: Whatever is needed for mock TV
show.
Music: Dreamy underscore and possible
source.
Fade to the second shot in the sequence to depict the passing
of time.
Shot 47
Length:
00:04.07
rd
SFX: Whatever is needed for 3 mock TV
show. Crossfade from the earlier
program to the current to play the
passage of time. Make sure the shows
are markedly different.
Dialog: Whatever is needed for mock TV
show.
Music: Dreamy underscore and possible
source.
Fade to the second shot in the sequence to depict the passing
of time.
Shot 48
Length:
00:04.15
SFX: Whatever is needed for the forth
mock TV show. Crossfade from the
earlier program to the current to play the
passage of time. Make sure the shows
are markedly different.
Dialog: Whatever is needed for mock TV
show.
Music: Dreamy underscore and possible
source.
Fade to the second shot in the sequence to depict the passing
of time. We now sees the height of his boredom as he does a
headstand on the couch.
Shot 49
Length:
00:05.14
SFX: Continue with last TV show. Use
twisting sound for head opening. Once
the head opens, have foley sounds for
brains and blood. Out the window we
have more of the earlier terminator
homage. TV sound goes away with music
hit.
Music: the music builds and hits as her
head opens up. Homage to Bernard
Herman’s Psycho.
This is from his viewpoint. He looks over to grandma. She is
sound asleep. Her head slowly swings down and left (in his
general direction), but as her cheek softly hits the couch,
some unseen hinge unlocks and her face swings open
revealing… AN EVIL KILLER ROBOT with eyes glowing red.
We now hear the sounds of large ships flying over the house.
Shot 50
Length:
00:00.27
SFX: More robot sounds and a
continuation of the battle sounds all offscreen and implied because it is a dream
not reality. Wet this up to give it contrast
from reality sequences.
Dialog: Even though he is visually
screaming, consider covering it with a sfx
or music. He has not spoken a word yet.
The sounds continue! It sounds as if a jet is landing on the
lawn outside. This is a quick cut to a CU of his face. He is
screaming for his life.
Shot 51
Length:
00:01.15
He turns to look out the window; there is definitely something
happening outside.
Shot 52
Length:
00:01.17
SFX: Off-screen sound to capture his
attention.
SFX: Window shades blowing and
exterior battle sounds. In the distance we
hear the metallic army marching toward
his house. The searchlight suggests
some type of warning siren as well.
his house. The searchlight suggests
some type of warning siren as well.
Ambience: Wind
This is a shot of the window from his perspective. The drapes
are being blown all over and a searchlight is shining in
through the window. The hunter killer machines are coming
for him!
Shot 53
Length:
00:03.24
SFX: A reversed compressed air sound
which creates a sonic vacuum as he
awakes and realizes it was just a dream.
Television returns as this sound is a part
of the reality.
Pan the previous scene in 5.1. As we
transition to reality, move all the sound to
the center (mono) just as he wakes.
We quickly cut to him waking from the dream. He looks to
where grandma/the robot was, and we zoom out a bit. There
is nothing there. He quickly turns to look out the window…
Shot 54
Length:
00:01.16
But there’s nothing there. It’s as peaceful and tranquil as ever,
if a bit aged and scary. [the furniture]
Shot 55
Length:
00:05.03
Dialog: Voice over for TV commercial
“fiber nut.”
Ambience: The sound design collapses
to just light ambience. We need a break.
SFX: Off-screen sound, bathroom activity
drawing boy’s attention and curiosity and
motivating him to move. Television
continues very low.
Ambience: Wind coming from open
window.
He doesn’t know where grandma went, but he hears
something coming from another part of the house; the
bathroom. So he gets up and walks across to frame right.
Shot 56
Length:
00:02.02
No music. The quiet helps contrast the
dream sequence and gives us a break
from wall to wall sound.
Music: Substitute a piano gliss for a door
opening. Have the gliss go upward as the
door opens. In surround, pan the gliss
from center to Ls Rs.
This shot is from his viewpoint. There is light coming from this
door in the hallway. His hand reaches up and slowly opens
the door.
Shot 57
Length:
00:01.23
SFX: Nasty gooey sound followed by
robot sounds.
Music: Use the teeth sound to mask the
intro for the final chase music.
Cut to a CU of the grandmother in front of the mirror in the
bathroom. This is a Ren & Stimpy-esque horrific detail shot.
Her saliva bridges the gap between her rotten gums and the
teeth she is removing. It makes a nasty, blood curdling sound.
Shot 58
Length:
00:01.01
SFX: The robot factory composite is
reprised for continuity.
Music: The music should be winding up
and propelling the pace.
Through the door (Grandma’s vantage point if she were to
notice him) we see the boy freak out! He cannot believe what
he is seeing! Grandma just pulled out HER FREAKING
TEETH!
Shot 59
Length:
00:04.00
SFX: More robot sounds
Music; Music continues to build.
Quick shots back to the robot assembly line. THEY HAVE
REMOVABLE TEETH TOO! GRANDMA IS AN EVIL ROBOT!
Shot 60
Length:
00:02.12
Music: Have music hit as he spins. From
this point, the scene will be driven
primarily by music.
Back in the hall outside the bathroom we see him spin around
to run to frame right, but he sees something that scares him
even more! He jumps back, losing his balance and falls to the
floor.
Shot 61
Length:
00:02.12
SFX: Low rumble and animal growl for
heater. The eyes of the heater sounds
like the eyes of the Robot.
Music: The tempo and pitch continues to
rise as the scene develops.
This shot starts at the top of the heater and slowly pans down.
Lighting is crucial here. The heater emits a red evil glow from
in its mouth. The knobs look like eyes and its grate like teeth.
When the pan completes at the bottom we see him
scampering back towards the camera.
Shot 62
Length:
00:01.00
We see that in his scampering backwards he bumps into a
coat/hat rack. This freaks him out even more as it sways
about to fall on him.
Shot 63
Length:
00:02.18
Music: the music continues to drive the
scene, occasionally hitting the action.
SFX: Do not cover the footsteps.
Music: Gets louder and more frantic.
He runs for the door, with his backpack in tow; he’s getting
outtah’ here.
Shot 64
Length:
00:02.24
SFX: Will the multiple bolt locks unlock
before the door magically opens? Strong
whoosh for the door opening. Another
vault door sound for the closing.
vault door sound for the closing.
Music: At its peak, pitching up with the
camera angle.
In this shot, the camera would be on the floor looking up.
When he reaches the front door, however, the knob seems
too high for him to reach. He cannot reach all the locks. He
turns, putting his back against the door. He is short on breath
and shaking uncontrollably. Right when it seems that he is
about to lose it, the door begins to swing open. Light floods
the room. There is a silhouette of a woman standing there.
Shot 65
Length:
00:01.28
CU of the boy (reaction shot). He knows who this woman is.
It’s his mother. He’s saved!
Shot 66
Length:
00:02.15
Music: strong but resolute.
Implied Sound treatment:
Dialog: Even though it is suggested,
suggest that it be avoided as there has
been no dialog up to this point.
Music: Continued resolution cross-fading
to opening credit music.
He practically runs over the woman; throwing his arms around
her yelling “MOMMY!”. She raises her arms and looks down.
What did she do to deserve such a welcome? What’s going
on? She can’t believe it, she takes this as his being glad to
see her, much unexpected. Fade out.
Shot 67
Length:
00:07.23
Dialog: since we have not used sync
dialog up to this point, it might be
inappropriate to break the silence at this
point.
SFX: Original car idling followed by
acceleration.
Music: Resolution until he realizes that he
has to go back tomorrow, a hit and then a
re-cap of the opening music.
Same shot as the first. The boy is happy to be done with that
experience. Time to go home. He never wants to go to
granny’s AGAIN! We hear the mother say [voice over] “Oh
hon, you left your backpack at Granny’s, it’s ok you can just
get it when you go back tomorrow.” His jaw drops. GO BACK
TOMMOROW!
Dialog: Suggest an insert shot to the
interior of the house to show that he has
left his backpack. This could be followed
up with a reaction shot showing that he
realizes this. This would eliminate the
need for dialog to complete this narrative.
hon, you left your backpack at Granny’s, it’s ok you can just
get it when you go back tomorrow.” His jaw drops. GO BACK
TOMMOROW!
Final Sound Design
The Dialog Stem
There was no sync dialog or narration required for this animation. However,
voice-overs were used extensively for the mock-up television commercials.
These voice-overs were recorded and processed (futzed) to emulate the sound
quality coming from a typical television set. The television plays throughout the
animation. To keep them from becoming monotonous, commercials were only
brought out (spiked) in the mix when they contained important story points.
Changes in programming were used to support a time-lapse sequence. During
this sequence, programming cross-faded in sync with the visual wipes to
represent the time-lapse.
1. Verti-Broil Commercial
00:01:31:00
Off-Screen moving to On-Screen
The Verti-Broil commercial is a parody on Ronco style marketing, promoting a
vertical toaster for steaks. This commercial called for over-the-top voiceover and
dramatic sound effects. The Verti-Broil spot begins off-screen to support the
boy’s movement into the interior of the house.
2. Ninja Slug Commercial
00:02:43:28
Non-Sync
Yeah Yeah Yeah’s have plosive, get it sung in key with source music.
The Ninja Slug commercial provided the back-story for the slug watch and t-shirt
worn by the boy. It also represents the kind of programming a typical boy would
be drawn to. The commercial was scored with pop-style music to establish a time
period and to contrast the tastes of the boy and the grandmother. It is soon
followed by a militaristic music bed to support the Patton-like voiceover. The
commercial is an important means of establishing the concept that robots are
really normal people in disguise.
3. The Jesus Hour
00:03:45:26
Off-Screen
The Jesus Hour is a parody of television evangelists. The voiceover called for a
southern preacher/slash used car salesman interpretation. Once the commercial
is established, its level is brought down to make room for other elements. The
voice-over is brought up (spiked) from time to time to deliver humorous lines.
4. The Shopping Network
00:04:18:20
Off-Screen
This commercial is a knock-off of advertising based programming like the
Shopping Network. The implication is that this type of programming appeals to
the elderly. To keep it sounding low budget, no source music or SFX were used
to support the commercial. The voice-over called for a female voice actor with
commercial background. At one point in the programming we hear the voiceover
describing a beautiful object while we see granny drooling over herself. This
provides ironic contrast for the animation.
5. Time-Lapse Sequence
00:04:41:14
Off-Screen
The purpose of this sequence is to compress time through visual wipes and
audio cross-fades. Within the space of a few seconds we transition from the
Shopping Network to sports programming, to daytime drama, ending with a
program spot. The original programming this sequence was recorded directly
from the television. For legal reasons, each program had to be reconstructed.
6. FiberNutz Cereal
00:05:03:08
Off-Screen
Fiber Nut is a product designed to help anemic people get energy and a bowl
movement. Two voiceovers were needed, one to epitomize the anemic consumer
and the other to deliver the upbeat sales pitch. Foley was used to create the
sounds for the cereal bowl.
Music
Without dialog, it became apparent that music would drive much of the
animation. Since there was no budget and the production schedule was tight, a
decision was made to use library music (fig 12.1) for the underscore.
Fig 12.1 DeWolfe Production Music
The students were covered under an institutional production blanket license to
use this library for demo reels and student animation festivals. In addition, the
blanket license could be re-negotiated if commercial opportunities arose. Most of
the cues were developed from the compositions of Tim Souster. Using the same
composer helps to create a sense of continuity in the score.
Cue 1M1. Arriving at Grandma’s
Styles #7. Music by Tim Souster
Start 00:00:15:29
“Streets of Palermo”. Romatic,
End 00:00:51:15
nostalgic, in the style of the
Total 00:00:35
Godfather.
The music for the title sequence established the emotional feel (Tim Burton
meets Pixar) for the entire project. The cue was edited to length to match the
opening camera movements. To achieve this, the Streets of Palermo was intercut (fig 12.2) to remove a significant portion of the interior, while maintaining a
natural beginning and end.
Fig 12.2 Show full cue with selected portion for inter-cut and
then resulting cue with a “find sync point” added
Cue 1M2. Entering the House? Angel of Death. Music by Tim Souster
Start 00:01:03:28
“Angel of death #2”. Mysterious
End 00:02:35:16
and building.
Total 00:01:35
The underscore begins with a hit as the boy looks at the knocker (insert shot).
The underscore lets the audience experience his apprehensive about the visit.
The score is edited to hit as the boy falls to the ground. The cue is driving the
scene, building in volume and intensity as granny approaches. The cue ends with
an homage to psycho.
Cue 1M3 Hug from Granny
Angel of Death. Music by Tim Souster
Start 00:02:16:23
“Angel of death #2”. Mysterious
End 00:02:42:20
and building.
Total 00:00:25
To extend the cue further, the high string note was looped and an arrangement of
the theme was prepared to match the production music. A woodwind quintet
recorded the arrangement to image for timing purposes.
Cue 1M4 Ninja Slug Commercial
Start 00:02:39:18
End 00:02:51:07
Total 00:00:11
Original Source Music
The original source music for this cue was temped out with a Joe Satriani
selection. Synchronization rights were not considered since there was no budget
for the project, a knock-off was developed using local musicians.
Cue 1M5 Ninja Slug pt. 2
Century of War. Music by Frederic Talgorn
Start 00:02:50:18
“Battle Action”. Strong and strident.
End 00:03:07:07
Total 00:00:16
This source music transitions from rock music to a militaristic style (Toy Soldiers)
narrated by a drill sergeant. The music fades in the middle of the commercial to
allow the hard effects to play the scene.
Cue 1M6 Ninja Slug pt. 3
Start 00:03:09:28
End 00:03:32:05
Total 00:00:22
Century of War. Music by Frederic Talgorn
“Battle Action”. Strong and strident.
The cue finishes with the military music, cut to coincide with the end of the
commercial.
Cue 1M7 WB Cartoon Knock-Off
1940’s Cinema. Music by Theo Langlois
Start 00:02:50:18
“Squirrels on the Spree”. Happy,
End 00:03:07:07
lively, animation music.
Total 00:00:16
The purpose of this cue was to provide source music for an off-screen cartoon in
the style of the 1940’s Warner Brothers shorts. Music was selected that was
reminiscent of the composition styles of Carl Stalling and Scott Bradley. The cue
was futzed using bandwidth limiting and mono imaging to give it a sense of
realism. The cue ends with a de-acceleration treatment to sync with the slow
motion images that occur on-screen.
Cue 1M8 The Jesus Hour
Moore
Start 00:03:42:19
End 00:03:53:15
Total 00:00:10
Cliché Favorites #2. Music by Barbara
“It’s Gospel”.
A hymn played by a church organ (off-screen) advertises the cut while
establishing the concept of television evangelism. The cue continues to play
under the sermon to enhance the voiceover.
Cue 1M9 Dream Sequence
Talgorn
Start 00:03:52:00
End 00:04:23:23
Total 00:00:31
Century of War. Music by Frederic
“Fragile Truce”. Atmospheric, taut,
and suspenseful.
This underscore will be used throughout the sequences to provide continuity and
to create the desired dreamy quality.
Cue 1M10 Granny is Revealed Styles. Music by Tim Souster
Start 00:04:51:18
“Frenzy”. Tense, ominous, insistent,
End 00:05:03:03
in the style of “Psycho”.
Total 00:00:11
This cue starts with an ascending figure that hits at the moment when granny’s
head swings open. This is a violent cue in the style of Bernard Herman. The cue
is an effective substitution for screaming.
Cue 1M12 Taking a Peek
Start 00:02:50:18
End 00:03:07:07
Total 00:00:16
Styles. Music by Tim Souster
“Frenzy”. Tense, ominous, insistent,
in the style of “Psycho”.
This cue begins with a piano arpeggio (upward rolling out of notes) used instead
of SFX to cover the door opening. Surround panning was used to enhance this
effect, opening from the center (mono) to all five main channels (5.0) in sync with
the door opening.
Cue 1M13. Escaping
Start 00:05:21:03
Styles. Music by Tim Souster
“Frenzy”. Tense, ominous, insistent,
End 00:05:36:25
Total 00:00:15
in the style of “Psycho”.
This underscore covers the final sequence in which the boy tries frantically to
escape the house. The cue eliminates the need for Foley footsteps and hard
effects. The track was cut several times to hit with a variety of visuals. The
harmonica hits as we see the mothers eyes glow to accentuate the implied
narrative.
Cue 1M14 Conflict Resolution?
Styles. Music by Tim Souster
Start 00:05:37:00
“Frenzy”. Tense, ominous, insistent,
End 00:05:56:21
in the style of “Psycho”.
Total 00:00:19
This cue provides a little resolution but keeps us wondering if anyone in this
boy’s life is real.
Cue 1M15 End Credit Sequence
Century of War. Music by Frederic
Talgorn
Start 00:06:14:18
“Battle Action”. Strong and strident.
End 00:07:21:11
Total 00:00:06
The end credits were developed without music so music editing was needed to
customize the score to the many visual transitions that occur. Music from the
Ninja commercial was used to promote continuity.
Do a music cue report list for DeWolfe
SFX
The sound effects stem contains an even representation of subjective and realitybased effects. As with the music stem, the predominance of source audio called
for signal processing which contrasted source, on-screen, and off-screen sounds.
When the commercials are shown through the camera POV, the audio is stereo
and full frequency. When the commercials are seen from the characters POV,
the audio is presented in mono with bandwidth limiting.
1. Moving Vehicle Composite
00:00:00:00
Off-Screen
Mono (dynamic panning)
This effect begins prior to first frame to establish the opening scene. Multiple
elements are combined to suggest a car that is old and rickety. The engine
sound includes a rough idle and an acceleration sound. The engine sound
suggests off-screen movement.
2. Car Door Closing
00:00:34:09
Off-Screen
Mono (panned to the center)
Hard effect of a loose door used to suggest that the boy has exited the car.
3. Ambience
00:00:40:19
Non-Sync
Stereo
This ambience contains light wind with occasional gusts. Leaf sounds are added
to reflect the absence of leaves on the trees. Animal and bug sounds were
deliberately limited to suggest late fall.
4. Footsteps
00:00:48:10
Sync
Mono (dynamic panning)
The initial footsteps for this scene were taken from an effects library and cut to
image. The remaining footsteps were recorded to image (Foley) on a hollow
surface to suggest a raised porch.
5. Bird “Caws”
00:00:48:26
Off-Screen
Mono (dynamic panning)
Bird caws were added to suggest that a bird was roosting in the nearby tree. The
dynamic panning creates motion and interest in a relatively static scene. Volume
automation follows the panning.
6. Screen Door
00:00:55:22
Sync
Mono (dynamic panning)
Composite effect cut and time scaled to match the on-screen movements. Door
squeaks and a light door slam are layered in as well.
7. Screen being torn
00:01:09:22
Sync
Mono (panned to center)
Mono Foley effect using an aerosol spray can. The effect is panned to position.
8. Body Impact
00:01:10:15
Sync
Mono (panned to center)
Foley effect using a full book bag dropped and rolled.
9. Main Door Opening
00:01:17:26
Sync
Mono (panned to center)
Library effect time scaled to match the image and cross faded with the interior
shot. Reverb is added to the second door to contrast the movement from an
exterior to an interior shot.
10. Light Switch
00:01:21:11
Non-Sync
Mono (panned to center)
Basic library effect.
11. Main Door Closing
00:01:25:28
Sync
Stereo moving to Mono
A composite effect that includes wind ambience reversed, a falcon, and a bank
vault. The sync point is implied by the reflection shown against the wall.
12. Bolt Locking Mechanism
00:01:28:20
Non-Sync
Basic library effect.
Mono (panned to center)
13. Grandfather Clock
00:01:33:13
Off-Screen
Mono (panned to center)
A library effect that provides an ambient element with a low-tech feel. The effect
was cut and spaced to create a slow cautious pace consistent with the boy’s
movements.
14. Steak Frying
00:01:37:23
Bacon frying.
Off-Screen
Mono (panned to center)
15. Toaster
00:01:38:13
Sync
Mono (panned to center)
Basic toaster popping up futzed with band limiting.
16. Granny’s Walker
00:01:44:16
Sync
Mono (panned dynamically)
This composite effect is layered with earthquake, anvil hits, and wicker squeaks.
The walker is pitched up as Granny approaches. The effect is hard synced,
advertising a bad visual edit at 00:02:02:12, where the footsteps are interrupted.
17. Picture Frame Breaking
00:02:03:08
Non-Sync
Mono (panned to center)
The timing for the hit was based on the rate of fall while the object was onscreen. Plate glass was substituted to enhance the effect.
18. Radio Breaking
00:02:10:07
Sync
Mono (panned to center)
The breaking of the radio was covered with a clay pot. It produced a higher
frequency and easier to fit in the mix.
19. Sofa Squeeks
00:02:34:23
Sync
Mono (panned to center)
The sofa sound was layered with the sound of ships at dock and various spring
sounds. The goal of this effect was to dramatize the weight differences between
granny and the little boy.
20. Slugs in Flight
00:02:37:15
Sync
Mono (panned to center)
A synth space ship sound was used as a transitional element for the scene. This
sound also covers sound for ninja slugs in flight.
21. Rockets
00:02:45:03
Sync
Mono (panned dynamically)
Only the last on-screen rocket launch was covered.
22. Riding the Sofa
00:02:51:28
Off to On- Screen Mono (panned dynamically)
The sound of horses galloping was substituted for a more literal sound such as
mattress springs. The boy looked as if he were riding a horse and this sound
made the shot feel more playful. The gallop was cut and time corrected to fit the
image. It was introduced off-screen so that it could play at a more natural length.
23. Air Raid Siren
00:02:52:12
Off-Screen
Mono (panned to center)
The air raid siren is added to the commercial to create a heighten sense of
urgency.
24. Terminator Homage
00:02:54:13
Sync
Mono (panned to center)
This composite effect provided sounds for an on-screen television commercial.
Various laser weapons firing, egg shells to play skulls getting crushed, and
synthesized ambient sounds.
25. Warning Blasts
00:02:57:12
Off-Screen
Mono (panned to center)
Warning blast to provide variation from the air raid siren.
26. Robot Assembly Line
00:03:03:04
Sync
Mono (panned to center)
A variety of servos, air compressors, and engine start-ups to emulate an
assembly line.
27. Slug Decoder Watch
00:03:15:15
Sync
Mono (Doppler)
A stereo composite effect consisting of telemetry to imply communications and a
sonar ping to give it a military feel. The entire effect was treated with Doppler to
enhance the rotation of the object.
28. Cartoon Mock-Up
00:03:23:15
Off-Screen
Mono (panned to center)
A mono composite designed to emulate a 1940’s Warner Brother animation. The
mock-up features music in the style of Carl Stalling, cartoon hits, and vocal
effects. Aggressive bandwidth limiting was applied to the effect to make it sound
older. Pink noise is added at the end the effect to re-enforce the channel being
changed.
29. Sleep related vocalizations
00:03:53:25
Sync
Mono (panned to center)
Foley snoring and gagging was recorded to image for character development.
Additional baby coughs were also layered in for effect. The idea was to make the
vocalizations sound disgusting.
30. Head Opening
00:04:54:10
Sync
Mono (panned to center)
A composite effect to provide organic and mechanical elements. The effect
includes crushed coke cans, celery Foley, and liquid being pored.
31. Dream Sequence Composite
00:04:55:15
Off-Screen
Surround to Mono
The purpose of this composite was to develop an off-screen narrative of the
house under attack. A low frequency rumble was used to simulate a large ship
approaching. Other elements include a windowpane breaking, wind gusts, and
various laser blasts. The final element of this effect is pressurized air reversed to
transition the character out of the dream sequence. This transition is
accomplished by collapsing from 5.1 to mono.
32. Bathroom Composite
00:05:08:05
Off-Screen
Mono (panned to center)
This composite includes a toilet flushing, sink handle squeaks, and the dripping
of a faucet into standing water. The off-screen sound provides motivation for the
boys actions.
33. False Teeth Composite
00:05:18:17
Sync
Mono (panned to center)
An oozing sound is layered with servos to flashback to the robot assembly
sequence.
34. Robot Assembly Reprise
Mono (panned to center)
00:05:21:12
Sync
Composite includes air compressors alternating with servos (mechanical) and
oozing sound (organic).
35. Car Driving Away
00:05:38:21
Off-Screen
A reprise of the original auto sounds.
Mono (dynamically panned)
38. Ambience
00:05:34:17
Non-Sync
Stereo
A reprise of the original ambience with a screen door added in. The ambience
extends into the black just prior to end credits.
39. Granny transforms again
00:05:55:23
Sync
Stereo
Composite featuring engine start-ups, servos, shovel digs, wood hits, all synced
tightly to image.
40. Porch door closes
00:06:00:14
Sync
Hard effect with some squeak added.
Mono (panned to center)
41. End Credits
Sync
Mono (panned dynamically)
The sound design for the decoder is reprised for continuity. Telemetry sounds
are synced to each letter as the decoder spells out the end credits. Various jet
fly-bys are used to cover the titles breaking up and dissipating.
The Mix
Two separate mixes were developed for this project, a stereo mix for DV and a
surround mix (5.1) for DVD. The 5.1 mix was initially developed and used as a
reference for the stereo mix.
Panning
The panning for each element was approached as follows:
Voice Over
Center (Stereo and 5.1)
All voice-overs were panned to the center when seen from the camera’s POV.
The audio image was expanded to stereo when seen from the characters POV.
Music
Stereo for basic underscore (Stereo and 5.1)
5.0 for all music driven scenes (5.1)
Mono for off-screen source (Stereo and 5.1)
Stereo for on-screen source (Stereo and 5.1)
The opening cue was presented in 5.0 for greatest envelopment and because
there were no competing narrative elements. The cue was reduced to stereo as
the narrative began. For the stereo mix, volume rather than panning was used to
achieve contrast. One unique panning effect occurs at 00:02:50:18 where the
music mix opens from mono surround to 5.0 in sync with the door opening.
Ambience
Stereo Ls Rs (5.1)
Stereo LR (Stereo and 5.1) ambience placed in front for greater
emphasis.
Separate ambience tracks were developed for external and internal shots.
Hard Effects
Mono (Stereo and 5.1) All effects requiring dynamic panning were reduced to
mono and panned to perspective.
The LFE was used very conservatively, with no element being placed exclusively
in that channel.
Signal Processing
The following is a list of signal processors that uniquely served the narrative:
Vari-Fi was used to create the de-acceleration effect used for the slow motion
sequence.
Sci-Fi was used to transform the voice-over from human to robotic.
Pitch Shifting was throughout the project to create contrast.
Bandlimiting (EQ) was used on all of the source audio coming from the television.