Sound

We had several problems with ambient noise during filming. In the forest sequence, wind noise provided a continual problem (especially due to the varying degrees of camera/mic movement), as we had to keep it a constant in the final edit (to create a believable diegesis), yet also keep it at a lower level than the soundtrack.


This was also a significant problem at Waterloo, where there were constant announcements and lots of crowd noise inside the station. To overcome this problem, we extracted the audio from an insignificant section of tape, and then turned this into a loopable, consistent ambient track which we could keep as a constant for the scene. This reflected not only the chaos of the setting (we left it at a much higher level than the ambient noise in the forest scene), but also the conflicted mind of the protagonist, shown through the closeup/overtheshoulder shots.

When doing the edit between the forest and the station, we matched the soundtrack to the fadeout, and then preceded the fadein with the sound acting as a semi-sound bridge, to not only connect the scenes (containing the same two characters), but also to ease the harshness of the transition between two completely contrasting locations, creating a somewhat overlap of time and a flowing style.