I worked as the sound designer for Anni, a Finnish indie feature movie production. I also did on site recording, foley effects and mixing. The movie was directed by Jussi Einola and produced by Joonas Einola.
Besides mixing the movie soundtrack I also mixed and mastered the music and created a few original pieces using material from the composer (Simo Salo).
Anni uses samples and source material by Freesound.org contributors, who are listed below.
Muutos is a traditional Christian indie feature film, to which I took a part for some time. I was present at a couple of shootings as a recordist, created a couple of ambient atmospheres and designed the sound.
The video depicts a scene from a short feature ‘Astronautti’, which was directed by Topias Parkkonen. The sound player has the complete sound track, which consists of five pieces. The first four pieces are tied together by one low frequency sound. When the protagonist is releaved from his childhood traumas in the ending scene by the help from a girl he has fallen in love with, the low frequency sound ceases to haunt him.
The melodies and other material from various analogue synthesizers were recorded straight to the sound editor without much rehearsal or careful composing. The film was played on the screen at the same time and the feeling of the scenes and the story intuitively transformed into music.
The method didn’t allow any midi sequencing, because there wasn’t any specific tempo set and the sounds of various synthesizers was directly recorded. During the editing phase the sounds were further processed and cut to fit better to the events of the film. The method was fast, sensitive and intuitive, and the result organic and fitting.
The sample is from the second song of the three song set Muutos performed at Gospel Savo event in 2009. The drums were electronic and their sound was available only in two channels, so they couldn’t be mixed in as properly as would have been best. All of the other instruments were recorded individually.
Volume automation was used to level the dynamics of the dialogue. The dialogue was to be clear and distinct. It’s not a realistic approach, but it serves the purpose of a focused message.
The music was mixed to specially support the dialogue. The soundfield has space in the middle, and the reverbs used are extra dark so that they don’t overlap too much with the voice frequencies.
I also was the recordist at some of the shootings, and cleaned the dialogue of the ready film from noises and disturbances.
The show was produced by Blind Frame Productions. It was performed at the Solid Tricular LAN-party. The sci-fi inspired show used themes from Star Wars, Terminator and Transformers. The second half of the show was a lightsaber battle.
I checked out readily available material for the lightsaber sounds, but concluded that the available material didn’t sound evil enough and was inflexible for the show’s purpose, so I decided to create my own.
The lightsaber sound was created with Plogue Bidule. The fundamental waveform consists of PWM sawtooth and synced sawtooth waves. Envelope modulated PW creates the ignition effect. The waveform is put through and mixed with a couple of filterbanks, which add a bit of distortion too. The core of the sound is the fundamental waveform put through a customized and monophonic formant filter. In total the sound consists of three different layers.
The sound of movement is created by putting the original sound through a new set of filters, which mix with an amplitude modulated copy of themselves. An energy field rips through atmosphere. This second signal path is mixed to the original via a crossfader. The crossfader and a few other parameters were programmed to be controlled by the modulation wheel of a midi keyboard.
I originally envisioned to record the output of the process and replay it at the show. I ended up manipulating the process live with the midi keyboard, because it was much easier and I could better react to the action on stage. The contact sounds are adjustments of the original process, and they were launched with the keyboard. Besides the lightsabers a multitude of other sounds were created for the show.
The sound is not supposed to be an emulation of the original, but a unique rendering for a unique purpose. It sounded awesome through the party’s PA.
Talvisoolo (Winter solo) was composed for an acrobatic fire performer (a member of Trio Taika). The track was created in co-operation with Visa Oscar. The world freezes and thaws in a dialogue with a fiery soul.
A lot of icy material was employed as rhythms, ambiences and melodies. Some of it was retrieved from the Live Antarctic Stream of AWI.
The track uses samples from following Freesound contributors: Black_Boe, c97059890, Corsica_S, deer, Dynamicell, gelo_papas, laurent, scarbelly25 and soalicesays
A set of sounds to be used in a file sharing tool. Water-like and cool as requested. The source was an upright piano improvisation, from which single notes were extracted and heavily processed as part of the overall sound design.
Compared to the previous film sound works, where the soundtrack was created to cut and silent video, the music was composed first for this one. The final version was prepared from the version cut by the video team, and was ultimately guided by the wishes of Trio Taika.
The track uses samples from following Freesound contributors: Batchku, Kostasvomvolos, Nosfoe, Scarbelly 25 and Vitriolix
Overtone flutes played by Antti Kero and Janne Särkelä.