Originally Posted by Monotreme
Allow me to double that. I was ready to go into a big explanation as to where you could use silence and how you could fill out your sound palette, but JC basically said every single thing I was going to say. So, thanks for that! All very excellent points!
If you're already taking tracks from pre-existing soundtracks, look to The Social Network, The Bourne Ultimatum, Drive, The Girl with the Dragon Tattoo, or any multitude of electronic-driven film scores for plenty of slow-building, pulsating drone tracks. Honestly, the best program for all of this sound editing stuff is Pro Tools, but it's a tad on the expensive side. If you can get a hand on it, you wouldn't regret it, though.
Oh, Arnie! What a legend. I know people who took it with him first session, so I'm not sure who took it second session. But he's amazing.
Anyway, smart, creative directors still use angles and mis-en-scene to their advantage. It's mostly lacking in present-day films because most present-day films are directed by the Joseph Kosinskis and the Brett Ratners of the world. look to Paul Thomas Anderson for some INCREDIBLE use of frames-within-frames, especially in There Will Be Blood.
Anyway, keep up the good work! As you are reading, the shot selection of your films is mostly working. The stories are so-so, but you have a real opportunity to make these films even better with a more thought-through sound mix, which you can still do in post to really give your films that extra layer! Was the first film your Off-Screen sounds assignment, or your 5th assignment?
Actually maybe I did the first session, I'm not sure of the session dates. Who do you know in it?
I am actually downloading Pro Tools as we speak.
It was my fifth film, the final one. I have to get used to this sound mixing aspect, but hopefully I can. I just saw Unbreakable last night for the first time and I noticed Shamylan is ridiculous at framing and compositions as well. I just need to make sure I don't overdo the angles right?
I know this is on a separate note, but I actually like doing longer shots and takes. I like letting my shots breathe and I know its bad, but I don't worry that much on getting coverage from every angle on every shot on every scene. I much rather have a longer shot which breathes and is allowed to unravel. But I'm not sure if thats a good route to take.
And again, you are also giving me amazing information and advice as well!