A large part of the sound came from the development and use of a score throughout the film. As lead sound designer and composer, Ollie began work on what would be the centre of all of our work. Taking into consideration the somewhat bleak and despondent theme of the film, Ollie wrote an emotional piece using a lot of strings and piano chords. He did really well to ensure the score flowed with the film, lowering with the lows and rising with the highs towards the happy ending. The final score was a product we were really impressed and ultimately satisfied with and something we thought not only complimented the film but also gave it an extra element of professionalism to go with what was already a stirring piece of work.

Provoking the intended emotions was one of our main focuses in this process. Although Ollie’s score was no doubt our main vehicle for emotive expression, there was still margin for error in the sound effects and levels of dialogue within the film. We wanted to ensure the film maintained its themes throughout and to make this happen we were very particular towards which sounds we used and how we went about keeping the levels as low and soft as we could. With this in mind, many hours went into sourcing sound effects and inserting them perfectly into the mix to the best that I could. Similarly, Zane’s focus on the dialogue, editing and mixing was to ensure the volume levels were carefully crafted and evoked no inconsistent or irrelevant emotion.

Although this process was not easy, it was positively challenging and brought out a lot of the creative juices we all possess. It was a new experience and something we all were excited to get stuck into and see what we could contribute to creating. In the end all three of us were reasonably happy with the work we had put in and how it eventuated. Our belief is that the sound work we have done has complimented the film well and polished off the amazing work the film crew had completed prior.

~ Reece Sheehan (Assistant Sound Designer)