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is the first step toward creating a soundscape that invites the viewer in. In terms of additional sound design (ambiences, sound effects, music), I’m a huge fan of Foley effects, those little specific sound details [e.g., footsteps, doors closing, unwrapping a package] that can serve as an additional musical element to the film’s ‘score.’ When properly selected, edited, and mixed, Foleys can support and punctuate characters’ gestures and rhythms, adding focus, texture, and life to the world of the film.” UGH, HE SOUNDS LIKE HE’S ASLEEP!
Mixing sound once your film is done is one of those things that is actually kind of fun for you, the director (or at least it was for me). Here is where you can add layers of sound effects to enhance the story—and sometimes the performance. On Dani and Alice, Lisa Branch was a little nervous in one scene. We tried it several ways, but her voice kept going up octaves, which belied the words she was saying. In the sound mix, Glenn T. Morgan, Marc Fishman, Peter Staubli, and the awesome team from Soundelux were able to bring her voice down a few octaves, creating a believable moment. If I knew this was one of those things you can “fix in post,” I wouldn’t have taken so many takes! Depending on your budget (or your ability to get favors for free or on the cheap), you might be in a home studio or, as I was on Dani and Alice, in a sound stage studio with more gadgets at your disposal than you could have ever dreamed of. Regardless of where you mix your sound, the sound editor you hire will be invaluable to your final product. When I talked with Glenn T. Morgan (Soundelux), he was clear about what you should be doing as a director: “I’ve always believed that my role is the audio version of the set designer. I create the environment sonically as you will
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