A PRECIOUS LIFE

Involvement:

  • Sound Design/Foley
  • Audio Restoration
  • Audio Mix

SOUND DESIGN

After the editing stages of A Precious Life were complete, director Fraser Precious and producer Jimmy Gadd reached out to Ishikawa Media in order to give the film the sonic polish it deserved. Most of the audio had been recorded on location, but it was still in need of some additional foley and sound design.

FOLEY

Whilst every care was taken by the location recording team to ensure as much sound was captured during the shoot as possible, there were inevitably some areas where the film could benefit from subtle foley - namely various footsteps, close-up sounds, exaggerated fight sounds etc.

AUDIO RESTORATION

Because much of the film was not shot in controlled interior locations there was often an abundance of ambience in the recordings. This included reverb as well as distracting room tone. By using state of the art audio restoration tools, large amounts of reverb and room tone were removed without introducing any noticeable sonic artefacts. By using artificially convoluted reverbs and more subtle room tone recordings, controlled sonic environments could be implemented in order to fill in the sonic space that was left by the now naked dialogue.

CREATIVE SOUND DESIGN

The film also lent itself to some very creative sound design choices. Throughout the film the protagonists struggle with mental health was repeatedly represented by a tinnitus-like sound, which recurred in periods of intense emotion. During the final breakdown scene there was even room for some abstract sound design that verged on the realm of sci-fi stylings.


AUDIO MIX

Upon completion of the sound design and foley, the original score was supplied by the composer. This was brought into the master session, and the overall mix was completed. The audio was delivered in adherence to EBU-R128 and AES loudness specifications.


 

The film was part of the Official Selection at Cannes Film Festival 2018.