Spencer Clarke Sound

Editor and Engineer, Music and Post

Freelance Editor and Recording Engineer

Vocal Specialty

Elon University c/o 2015, Music Production & Recording Arts

"See You At Eight"

In terms of working with actors, the majority of my work was in post-production. As the sound recordist/editor/mixer for this short film, I put together all of the recorded field sound from the shoots and paired it with ADR recordings, sound effects, and music to match the visual shots. 

In the process of sound mixing, I logged useable audio from 34 different tracks from different audio takes.

The soloed (yellow ) tracks on the Pro Tools session contain the sounds that made it into the final take.

The video take with freeze-frames is the uppermost track. 

Working With Actors

The one chance that I did get to work directly with actors was in the ADR stage with Zach. All of his shots were filmed from behind, so we were able to have him say his lines (with Will's adjustments) and then cut them up in post-production and add reverb back in to simulate him being in the lobby of a larger office building.

My favorite trick I was able to do was the "Talkbox" effects I made for Zach's voice when he was heard talking in Kate's shots. A little bit of filtering and over-compression adequately modeled a modern cell phone for the purposes of this short film.

One of the biggest challenges I faced was in synching up shots with multiple takes. There were a few times that I thought I had something synched up with the proper take, but ended up having the wrong one. I realize after the fact that I must have started rolling audio slightly after the take's slate had been stated on a few occasions.

One of the most rewarding parts of working with actors in a narrative setting is being able to revise the scripting after shooting. If there is a portion that is unnecessary in the script, it can just be cut. Zach's shots gave us a lot of flexibility because it was all behind his back, so realistically, we had to record to make sure that his conversation would mesh with Kate's. Outside of that restriction, we were free to do what we wanted with the ordering of shots.

This film was the first time that I really actively spotted in the post production process. It's amazing how many small sounds you realize go missing when you start transitioning away from audio recorded directly into the camera. A fun little tidbit of Foley was giving Kate's cellphone a ringtone that wasn't present in filming. For a clue of what that sound is, listen to the last 15 seconds of the film. (I put that sound through a similar talkbox effect).

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