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Recording Sound – Part 1 Atmos and Textures (L3)

So recently I went out recording for all the audio I needed for both of my projects, Satsuma and Guardian. Armed with my cue sheets, a Zoom H4n and a Rode NTG-2 Microphone I set out into Lincoln, to find and record all the audio that I’d need for the purpose of my films.

 

Through the whole ordeal i collected a wide variety of sounds and atmosphere’s some more specific, like birds, benches and textures.

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and also some, that I just managed to come across, like a burnt out fire in a section of woodland not too far out from Lincoln’s edge.

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These textures sounds and fx really added to my own sound library and it was great to put some of the techniques that I’ve read about from other sound designers such as Ben Burtt and Philip Moroz.

 

In this blog post I’m going to label some of the significant sounds that I recorded in this project and detail how I recorded them.

 

One of the most crucial sounds that I had to collect for the use in this project, was the crow in Guardian.. I wasn’t quite sure on how I was going to get an accurate recording of crow close up to use in the animation, I was trying to conjure up all sorts of plans to lure one in, or trying to find a next nearby and patiently wait, with my microphone armed and suspended on a boom pole. However I came across the railway crossing whilst wandering on lincoln’s outskirts and I thought that it would be an excellent opportunity to capture a recording of a passing train. I checked the timetable and noticed that there was one coming in a matter of minutes, so I decided to wait to record it passing by. To not waste time, I also took the opportunity to record some distant traffic atmospherics, and out of a complete stroke of luck … a Crow who was perched in the tree’s started calling out, I checked back on the recording later, and with a bit of editing through Izotope RX it was exactly what I needed. This reminded me of what Ben Burtt said in an interview, the power of opportunity, as a sound designer it’s my role to always be ready, always be on the listen to capture sound. Even if I’m planning on recording something totally different … you can never know what you can get. I got the train too by the way. Both recordings can be found below.

Crow

Train

 

A lot of the other real significant textures that I recorded for this project was through parks, I was walking through the Arboretum by Lincoln College, and recording all kinds of textures there from fountains, the crunching of leaves, children playing in the distant, dogs barking etc. It was here where I think the bulk of the recordings came from. Although I didn’t just ‘start’ recording … I walked around the park several times, and just listened to what was around me, and let my ears do the directing. I took many test recordings to test the level of wind noise in the area and when recording such sounds as footsteps on crunching leaves, how much of the passing cars way off in the distance would bleed through. I picked each spot very carefully, also with it being in a park it was quite hard to get a solid recording without having a child walk past and shout “WHAT ARE YOUU DOING??” this ruined many recordings for me and really took it’s toll on my patience throughout the daytime.

 

Some of my favourite recordings where by far of the fountain, I suspended the mic on a boom pole and took three separate recordings of the fountain, the top of the fountain where the water spurts outs, the mid section where it hits the first plate collecting water, and the bottom where the water joins together in a pool. The recording came out very clear and crisp is probably one of my more favoured liquid textures that I’ve recorded for this project. Below are the three fountain recordings.

 

Whilst exiting the park, I also noticed that the gate, had a really lovely squeak to it when moved slowly, I didn’t really need a metallic squeak for this project, but if I’ve learnt anything so far from researching the work of others, what you capture now, can save you later. So naturally I recorded several instances of the gate slowly squeaking… this will make use for a nice effect in Satsuma, where I want to simulate the squeak of a rusty letter box opening.

 

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Composers Agreement (Music and Post Sound) (L2 & L4)

Seen below is the composers agreement that was written and illustrates the terms and conditions of the work entitled for composing the soundtrack to a film, it states that as the composer I require the film in question at picture lock, no later than the 25th of April 2016, which is signed… Below the pictures you can see the terms and conditions applicable. A physical copy will be subjected to the Viva for examination for both contracts corresponding with their designated films (Satsuma/Guardian).

This works to my 2nd and 4th learning outcomes, which state that I am to learn enough about copyright law to be able to properly describe how to distribute my music legally, professionally and to be paid for my services in the process. They also that I must be able to write up my own documents and contracts for sound design and music.

The agreement states that as the composer and sound recordist I will produce the music and sound recording for the given film, it also states that I require picture lock for the film in .mov format, no later than the 25th of April to perform this. I will submit one master copy delivered in .wav format and will be paid a total of £0 to do so as this is a university project.

The duration of the musicI w

I’ll be credited in the film as Adrian Rayworth in association with The University of Lincoln – Audio Production.

The rights assigned to the commissioner are the rights to the sound recording as separate from the music (2.2) and also the rights to re-record, dub, synchronise, reproduce, perform in timed relation to the film and authorise others to do so in any and all media during the period of copyright, renewals, revivals, extensions and reversions. (2.1)

The right to publish the music is owned by myself (2.3)

 

The commissioner is allowed to terminate the agreement if:

I fail or refuse to perform the services stated in this contract (4.1)

I have been prevented from completing the services stated in this contract (4.2)

There is an event outside the control of the commissioner (4.3)

 

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Composers Agreement Contract
Composer Agreement Contract - Signatures (Lottie Russel - Director & Adrian Rayworth - Composer)
Composer Agreement Contract – Signatures (Lottie Russel – Director & Adrian Rayworth – Composer)

 

“COMPOSER AGREEMENT

THIS AGREEMENT has been made on the 12th February 2016

(1) Team LOL of [The University of Lincoln (“the Commissioner”) and

(2) Adrian Rayworth of The University of Lincoln (“the Composer”)

WHEREAS the Commissioner has been commissioned to produce a film[s] titled Satsuma. The

Commissioner now wishes to engage the services of the Composer (“the Services”) to compose

original music and/or lyrics (“the Music”) and to record the Music (“the Sound Recording”) for

inclusion in the sound track of the[se] film[s] as detailed in the Essential Elements of the Film as

detailed below.

IT IS AGREED as follows:

Subject to the full execution of this Agreement and the standard conditions attached to this

Agreement (“Standard Conditions”) whose provisions and definitions are hereby incorporated into

this Agreement, the Commissioner agrees to pay the Composer the Fee detailed in the Essential

Elements of the Film to compose the Music and produce the Sound Recording.

In consideration of the Commissioner’s undertakings the Composer:

(a) undertakes to perform and observe all the Composer’s obligations and warranties in the

Standard Conditions in relation to the Music and the Sound Recording; and

(b) grants and confirms to the Commissioner all rights required to be granted or confirmed in

relation to the Music and the Sound Recording pursuant to the Standard Conditions; and

(c) acknowledges and confirms that the Composer has read and accepts the Standard

Conditions which shall together with the Essential Elements of the Film set out below

constitute a full binding legal agreement between the parties.

ESSENTIAL ELEMENTS OF THE FILM

1. The Film: Title(s) of film(s) Satsuma

Running time[s] 2:59

Format of film[s] .mov

2. Duration of the Music: between 0.00 and 2.59 minutes

3. Fee: As full and complete consideration for all services rendered and all rights and benefits

granted and assigned under this Agreement, the Commissioner shall pay to the Composer a total

of £0 as to £0 on signature of this Agreement and £0 on delivery and acceptance of the Delivery

Material as detailed below. The Fee shall be inclusive of all the Composer’s expenses in the

execution of the Services but exclusive of Value Added Tax (if applicable).

4. Delivery Material: 1 master copy of the Music delivered on .wav format.

5. Production Schedule: Picture Lock Delivery Date of the Delivery Material: no later than 25th

April 2016 time being of the essence.

6. Credit: the Composer shall be accorded a credit on the Film substantially in the form

“Composer Adrian Rayworth in association with The University of Lincoln – Audio Production

No inadvertent failure by the Commissioner to comply with the provisions of this clause and no

failure of any third party to accord the Composer credit in accordance therewith shall constitute a

breach of this agreement by the Commissioner and in no event shall the Composer be entitled by

virtue of such failure to enjoin or restrain the distribution or exhibition of or advertising or publicity for

the Film.

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SIGNED BY

For and on behalf of the Commissioner

SIGNED BY

For and on behalf of the Composer

!!!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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STANDARD CONDITIONS

1. COMPOSER’S OBLIGATIONS

The Composer shall:

1.1 perform the Services conscientiously and in a first class competent manner as and where and in willing

co-operation with such persons as the Commissioner may require;

1.2 comply with all reasonable instructions of the Commissioner;

1.3 not without the written consent of the Commissioner order goods nor incur any liability on the

Commissioner’s behalf nor pledge the credit of the Commissioner nor hold him/herself out as being

entitled to do so;

1.4 attend such meetings and workshops relating to the Music as the Commissioner may require;

1.5 assist the Commissioner in the preparation of a music cue sheet or film as completed form for the Film.

2. GRANT OF RIGHTS

2.1 Subject only to the rights of the Performing Right Society (“PRS”) if the Composer is a member of the

PRS the Composer irrevocably grants by way of licence to the Commissioner its successors assignees and

licensees and sub- licensees the sole and exclusive right to record reproduce dub perform and/or use in any

other way whatever the Music and/or any part thereof in synchronisation with and/or in timed relation to the

Film or any part(s) thereof and authorise others to do so in any and all media by any and all means for the

full period of copyright including all renewals reversions revivals and extensions and after that in perpetuity

throughout the world. The Composer also agrees not to make further recordings of the Music in whole or in

part during a period of five years from the date of delivery of the Music to the Commissioner without the prior

written consent of the Commissioner.

2.2 The Composer irrevocably assigns to the Commissioner (to the extent applicable, by way of present

assignment of future copyright) the entire copyright and all other rights in and to the Sound Recording (as

distinct from the Music) for the full period of copyright including all renewals reversions revivals and

extensions existing under the laws in force in any part of the world TO HOLD the same to the Commissioner

its successors assignees and licensees absolutely. The Composer acknowledges that the Commissioner

may make such use of the Sound Recording as it may desire, including without limitation synchronising it

with and/or in timed relation to the Film, use in a soundtrack recording for commercial release or any other

audio recording and authorise others to do so in any and all media by any and all means for the full period of

copyright including all renewals reversions revivals and extensions and after that in perpetuity throughout

the world.

2.3 For the avoidance of doubt it is acknowledged that the right to publish the Music is owned by the

Composer (subject to the synchronisation licence granted under this Agreement, the remuneration for which

is incorporated in the Fee as set out in the Essential Elements of the Film).

2.4 The Composer irrevocable and unconditionally grants and confirms to the Commissioner its successors

assigns and licensees in respect of the Sound Recording that the Composer has obtained all consents

pursuant to Part II of the Copyright Designs and Patents Act 1988 (“the Act”) and all other laws now or in

future in force in any part of the world which may be required in respect of the exploitation by the

Commissioner its successors assigns and licensees of the product of the Services and the Sound

Recording in any media by any and all means now known or developed in future for the full duration of the

rights acquired by the Commissioner pursuant to this Agreement. The Composer further irrevocably waives

the benefits of any provision of law known as moral rights including without limitation any rights of the

Composer under Sections 77, 80, 84 and 85 inclusive of the Act or any similar laws of any jurisdiction.

2.5 The Commissioner its successors assigns and licensees shall have the right to use the name, likeness,

biography and any photographs taken or interviews recorded of the Composer during the making of the Film

and all other products of the Services or any part of it in connection with the exploitation of the rights granted

in this Agreement without further consent or payment.

2.6 The Composer undertakes to execute or procure the execution of all further documents (if any) which

the Commissioner may reasonably require for effecting or confirming the arrangements made by this

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Agreement, including without limitation any documents vesting in, or confirming to, the Commissioner any

rights of copyright or other rights to which the Commissioner is expressed to be entitled hereunder.

3. COMPOSER’S WARRANTIES

The Composer warrants and undertakes with the Commissioner that:

3.1 the Composer is free to enter into this Agreement and grant to the Commissioner all rights and consents

expressed to be granted to the Commissioner in this Agreement;

3.2 the Services and the product of the Services, the Music and the Sound Recording shall be original to the

Composer and shall not infringe any right of copyright or any other right of any other nature of any person

and shall not be obscene or defamatory of any person. For the avoidance of doubt the Composer shall not

engage any other person in the execution of the Services unless expressly approved in writing by the

Commissioner. In that event the Composer shall ensure that all necessary consents are obtained from

owners of copyright material included in the Music or Sound Recording and all performers’ consents

pursuant to Part II of the Act are obtained free and clear of any repeat fees use fees or similar payments

including remuneration in respect of rental or lending rights for the use of the said material and

performances in the Film the Music and the Sound Recording;

3.3 the Commissioner shall have the right to use and/or edit the whole or any part of the Music the Sound

Recording and product of the Services and to combine the same with the whole or any part of any other

source music to any extent that the Commissioner may desire to incorporate the Music and Sound

Recording into the Film and in such event the Composer shall not have any claim for compensation for loss

of opportunity to enhance the professional reputation of the Composer or for any other reason whatsoever in

the form of damages or at all and the decision of the Commissioner in respect of all matters relating to the

Film shall be final and binding on the Composer;

3.4 the Composer is a qualifying person within the terms of the Act.

3.5 in order to comply with Home Office recommendations in A Code of Practice for Safeguarding the

Welfare of Children in Voluntary Organisations in England and Wales and the Protection of Children Act

(1999) the Composer confirms s/he has no convictions for criminal offences against children;

3.6 the Composer will indemnify the Commissioner and keep the Commissioner at all times fully

indemnified from and against all actions proceedings claims demands costs (including without limitation

the reasonable legal costs of the Commissioner on a solicitor and own client basis) awards and

damages howsoever arising directly or indirectly as a result of any breach or non-performance by the

Composer of any of the Composer’s undertakings warranties or obligations under this Agreement;

3.7 the Composer is self-employed for national insurance and tax purposes. The Composer will be solely

responsible for all income tax and national insurance contributions due in respect of rendering the

Services under this Agreement. The Composer will account to the relevant authorities for all such tax,

VAT and all other liabilities arising out of the Fee paid to the Composer under this Agreement.

4. TERMINATION

The Commissioner shall be entitled to terminate this Agreement by notice in writing if:

4.1 the Composer fails or refuses to perform the Services or is in breach of any material obligations

undertakings or warranties contained in this Agreement and the Composer fails to remedy such breach

within five days of receiving written notice; or

4.2 the Composer has been prevented from performing the Services or is deemed by the Commissioner

unable to perform the Services by reason of any illness injury or otherwise; or

4.3 there is an event of force majeure (being an event or circumstance outside the control of the

Commissioner).

5. EFFECTS OF TERMINATION

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After termination the Composer shall continue to comply with all obligations not affected by termination and

the Commissioner shall remain entitled to all rights granted or assigned to the Commissioner by the

Composer and the entire product of the Services.

6. MISCELLANEOUS

6.1 In the event of any breach by the Commissioner of its obligations under this Agreement the rights and

remedies of the Composer (if any) shall be limited to a right to recover damages in an action at law and in no

event shall the Composer be entitled to terminate this Agreement or seek to enjoin or restrain the distribution

exhibition or other exploitation of the Film.

6.2 Any notice to be given under this Agreement shall be in writing in English and shall be deemed to be

given to and received by the addressee:

6.2.1 if left at the address or handed to a representative of the party to be served, on the date thereof;

6.2.2 if sent by first class post two days following the date of posting;

6.2.3 if sent by facsimile transmission or other means of telecommunication on the following day not being a

Saturday, Sunday or public holiday.

6.3 Nothing contained in this Agreement shall constitute an undertaking by the Commissioner to produce the

Film or to use the Services or incorporate the whole or any part of the product of such Services in the Film

and if the Commissioner in its entire discretion so wishes it may whether or not it has commenced to use the

Services substitute another composer in the place of the Composer in which event the Commissioner shall

be under no further obligation to make use of the further Services or any part of the same. The

Commissioner shall not be liable to the Composer in any circumstances in respect of any claim for loss of

opportunity on the part of the Composer or to enhance the Composer’s reputation. Nothing in this clause

shall affect the Commissioner’s obligation to pay the Fee to the Composer as specified in the Essential

Elements of the Film.

6.4 The Commissioner shall be entitled to assign charge license or sub-license the whole or any part of its

rights under this Agreement including without limitation all rights in and to the Music and the Sound

Recording and the product of the Services and in such event all of the representations warranties and

undertakings on the part of the Composer contained in this Agreement shall endure for the benefit of any

assignee licensee or sub-licensee of the Commissioner.

6.5 This Agreement shall not be deemed to constitute a partnership or joint venture or contract of

employment between the parties.

6.6 This Agreement shall be governed by and construed in accordance with the laws of England and Wales

the courts of which shall be courts of competent jurisdiction.”