In order to fulfil the requirements for this Learning Outcome, I collaborated very closely with the people who created the works I was conducting my sound work on. Below I will detail examples of this.
The Real Pirate
I have been in contact with the animation team behind this short regularly throughout production to make sure I was meeting expectations and producing audio they were pleased with, both through email and through meetings, and responding to feedback. For example, on a meeting I held with the animation team on the 20th of March, I screened them the WIP3 version of the film with the freshly recorded voice acting and took notes on suggestions they made, as well as discussing possible changes to the animation. I will attach below a scan of the page I took the notes on. While they didn’t have a lot of feedback to give me, the feedback was still extremely helpful and thanks to this we have maintained regular, friendly, contact and I send them new versions regularly to keep them updated. I, most recently, sent them the WIP4, in which I had scored a main theme and some other pieces of music for the film, getting a very enthusiastic response from George (the liaison for the team), as well as having discussed deadlines and promising to continue work past deadlines, as my deadline is before theirs, meaning their film will be completed, sound-wise, regardless.
Father’s Day
Having been brought on so close to the deadline it was more essential than ever to have close collaboration with the editor and director, Thomas Klos, and sound supervisor, Carolina Costa. In the many sessions we did in the sound theatre, Carolina was constantly there to give feedback and ideas, as well as Thomas regularly sitting in to give ideas to have the sound balance differently and to direct the audio production to better fit the theme and tone of the film, as well as finding and licensing the music for the film, giving suggestions for levels and fading for the final product. Whenever he watched a new version he would send notes to the Sound Supervisor, Carolina Costa, with suggestions for slight changes or alterations he would like to be better tailored to the film, which we would jump on and happily do for him, with him often sitting in on those sessions too. The fast-paced experience of working on this film, with only 6 days to work on the audio from start to finish, meant collaboration was key, and we nailed it.
