SCREAM TEST

Scream Test

Involvement:

  • Dialogue Repair
  • Post Production Sound Supervision
  • Sound Design
  • Foley
  • Re-recording mix

BC Entertainment contacted David Lawrie to perform dialogue repair on the production dialogue of Scream Test. With this being a film on a strict budget, there was no opportunity to perform ADR (especially during a pandemic), and the fact that it was shot in noisy environments, David’s repair skills were put to the test.


DIALOGUE REPAIR

 

The film is mainly set on a remote tropical island, but was in fact shot near traffic and other urban noises. Fortunately ambient noises were largely static, and were able to be removed without too many artifacts. With no chance of ADR, there were, at times, some hard decisions that had to be made, but overall, the cleanup process yielded a big improvement on the production sound.


SOUND SUPERVISION

 

After the dialogue repair was completed, BC Entertainment enquired about David taking on the rest of the audio post production project. After budgets and timeframes were discussed, it was decided that delegating tasks to the trusted Ishikawa team would streamline the process. Whilst David would oversee the rest of the audio post production project, team members Theo Syddall, Zachary Greer, and Timothy Gray would take on the foley, creative sound design, and background field recordings respectively.


FOLEY

 

Because of the amount of spectral repair required on the production sound, the majority of the production SFX were lost. Theo Syddall took on the task of replacing all of the diegetic SFX with foley. Working remotely, he sent an initial spotting log to David for review. More items were added to the list, and then Theo got to work. After a first pass, a second spotting log was created, and Theo wrapped up the foley portion shortly afterwards. Even with a pandemic preventing the team from being in the same room, this process was smooth and streamlined.


SOUND DESIGN

 

Working from the production dialogue and score, Zachary Greer was able to create abstract sound design that enhanced the story, and blurred the lines between diegetic and non diegetic sounds. Timothy Gray was in charge of capturing and implementing field recordings for backgrounds. As with all film projects at Ishikawa, a portion of the background sounds used could be pulled from our own field recording archives, and the rest were captured as bespoke sounds.


RE-RECORDING MIX

 

Bringing together the main elements into one session, the whole film was mixed in stereo (its primary destination would be drive-in theatres and streaming). After being reviewed by the director, Bob Cook, there was a small round of revisions, and then the whole audio mix was delivered to AES/EBU-R128 specs, as well as a slightly louder mix for online streaming.