This document discusses the effective use of sound in short films. It explains that sound is as important as video and audiences are more bothered by poor sound than poor cinematography. The three essential sound elements are dialogue, sound effects, and music. Dialogue conveys character and story. Synchronous sounds match the visuals while asynchronous sounds add emotion. Background music provides tone and links scenes. Sound corresponds to emotions and scenes to effectively tell the story and engage audiences. Pre-production planning considers how music will build suspense or show emotion by increasing or decreasing at certain points.

1. Effectiveness of sound in short
film

2. How is sound used in short film
Sound is arguably on par with video as the most important element to be able to
manipulate and control during production and post production. Too often
filmmakers focus all of their attention on video footage and ignore the quality of
their sound. Interestingly enough, audiences seem to be more annoyed by poor
sound quality than by poor cinematography.
You will often hear filmmakers who have recently finished their first film respond
to the question “What would you do different for your second film” with the
answer “I will focus more of my attention on sound quality”.
Though we might think of film as an essentially visual experience, we really cannot
afford to underestimate the importance of film sound. A meaningful sound track is
often as complicated as the image on the screen. The entire sound track is
comprised of three essential ingredients:
• • the human voice
• • sound effects
• • music
These three tracks must be mixed and balanced so as to produce the necessary
emphases which in turn create desired effects. Topics which essentially refer to the
three previously mentioned tracks are discussed below. They include dialogue,
synchronous and asynchronous sound, and music.

3. Dialogue
THE HUMAN VOICE
Dialogue authenticates the speaker as an individual or a real person rather than the imaginary
creation of a story teller. As is the case with stage drama, dialogue serves to tell the story and
expresses feelings and motivations of characters as well. Often with film characterization the
audience perceives little or no difference between the character and the actor. Thus, for
example Humphrey Bogart is Sam Spade; film personality and life personality seem to merge.
Perhaps this is the case because the very texture of a performer's voice supplies an element of
character.
When voice texture fits the performer's physiognomy and gestures, a whole and very realistic
persona emerges. The viewer sees not an actor working at his craft, but another human being
struggling with life. It is interesting to note that how dialogue is used and the very amount of
dialogue used varies widely among films. For example: In the film 2001 little dialogue was
evident, and most of what was used was banal. In this way the filmmaker was able to portray
the “inadequacy of human responses when compared with the magnificent technology created
by man] and the visual beauties of the universe.” The comedy, Bringing Up Baby, on the other
hand, presents practically non-stop dialogue delivered at break-neck speed. This use of dialogue
underscores not only the dizzy quality of the character played by Katharine Hepburn, but also
the absurd duality of the film itself and thus its humour. The audience is bounced from gag to
gag and conversation to conversation; there is no time for audience reflection. The audience is
caught up in a whirlwind of activity in simply managing to follow the plot. This film presents
pure escapism - largely due to its frenetic dialogue.

4. Sound effects
Synchronous and asynchronous sounds
Synchronous sounds are those sounds which are synchronized or matched with what
is viewed. For example:
If the film portrays a character playing the piano, the sounds of the piano are
projected. Synchronous sounds contribute to the realism of film and also help to
create a particular atmosphere. For example:
• The “click” of a door being opened may simply serve to convince the audience that
the image portrayed is real, and the audience-may only subconsciously note the
expected sound. However, if the “click” of an opening door is part of an ominous
action such as a burglary, the sound mixer may call attention to the “click” with an
increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on
screen. Such sounds are included so as to provide an appropriate emotional nuance,
and they may also add to the realism of the film. For example:
• A film maker might opt to include the background sound of an ambulance's siren
while the foreground sound and image portrays an arguing couple. The
asynchronous ambulance siren underscores the psychic injury incurred in the
argument; at the same time the noise of the siren adds to the realism of the film by
acknowledging the film's (avowed) city setting.

5. Background
Background music is used to add emotion and rhythm to a film. Usually not
meant to be noticeable, it often provides a tone or an emotional attitude
toward the story and/or the characters. In addition, background music often
foreshadows a change in mood. For example, dissonant music may be used
in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For
example, a particular musical theme associated with an individual character
or situation may be repeated at various points in a film in order to remind
the audience of salient motifs or ideas. Film sound is comprised of
conventions and innovations. We have come to expect an acceleration of
music during car chases and creaky doors in horror films. Yet, it is important
to note as well that sound is often brilliantly conceived. The effects of sound
are often largely subtle and often are noted by only our subconscious minds.
Yet, it behoves us to foster an awareness of film sound as well as film space
so as to truly appreciate a twentieth century art form, the modern film.

6. Skin
The film uses 3 short pieces of music to represent certain stages of
the film. In the beginning we hear soft diegetic piano music after her
talking about her dream , giving the connotation that her dreams are
filled with peace and the absence of any illness. The music
corresponds with the protagonists emotions, as we get closer to the
pivotal turning point in the film the music becomes more dramatic
and shots become more fast pace in showing who she is and who she
wishes to be. Then , silence is in combination with a simple shot of
the girl crying which brings the audience almost back down to reality
that the girl will soon die. The sound adds the emotion to this film as
it is simply representative shots with a diegetic voice over. Therefore,
the music plays a crucial role in the representation of certain
emotions , coincided with the shot.

7. The most beautiful thing.
At first the tempo of the music is slow and the pitch is low .
This is synchronous to the way the male protagonist is feeling.
The audience are aware instantly that the character is
dissatisfied or feeling down at the time of introduction. When
the boy and girl are together, the tempo and pitch of the
diegetic sound increase to correspond with the energy the
new friendship has brought to both of their silent lives in a
literal and non literal way.
This is conventional of short films as it a representational
production which relies on the shots and sound alike.

8. I miss you.
In the first scene we establish the location of where we first
meet the main characters situated at a party which is inferred
by the loud “dance” music (ambient sound) We believe this
therefore means he is young due to the attire he is wearing
showing he is youthful as well as smoking ,drinking and at a
party.
Non diegetic sound occurs as backing music showing the
emotional side to the story which appears after the opening
scene.
Although the majority of the shots shows happiness the
backing music is emotional and slow which fits into the theme
and pace of the film, additionally the narrator is expressing his
feelings towards his Girl friend suggesting that they are no
longer together and is pleading for her love once again.

9. Pre production planning
In our short film we intend on using a background melody in only certain
areas to either build suspense or show emotion. We will increase and
decrease the sound at certain points in the production depending on the
emotion being represented at the time ,for example background music may
be present before the argument between the father and the daughter and
then continue to play afterwards to show emotion. At then end when the
resolution of our film is taking place we will increase the speed to show the
change in mood in the protagonist and how the mood has been uplifted.
We will use our own covers of the music from our peer Lucy Brownnutt
while played on the piano and guitar by Matthew Baldwin, this allows us to
have the correct tempo/speed for the story line so it doesn’t look
uncomfortable against what is happening within our story line. We will
contact the producers of the songs we will be playing in our short film so
we have permission to use them. It is very easy to create errors during film
with music by using too much that it brings the focus of what is actually
happening or is too loud so you cannot hear the actors speech.
Alternatively you can under use music during times of emotion either to
support happiness or sadness by the genre of the song.