Latest trailer for Mutoid, a 2 minute version which we had to do for our submission. I took the time machine section and added a bunch of scenes from throughout the film. simple but effective-ish?!
Another short teaser trailer for Mutoid.
It’s Denis again… I’m here to express my love for the piano that resides in Mutonia’s communal house.
The piano that was once in pristine shape in its youth, is now rather worn out and unloved. These characteristics seem to match the sculptures and the film’s themes perfectly, which I think was why I loved playing it so much. I’d say that only about two thirds of the piano keys function healthily now, with the remaining keys either making a thump sound, or stubbornly don’t move. The keys that do make a sound, are very much out of tune with each other, which gives it this amazing personality.
I spent hours recording holding chords for 20 seconds at a time, what I found mesmerising about the sound was how the different out of tune notes battled with each other so you could hear this heavy ‘phaser’ or ‘chorus’ effect. Being able to record something like this on site of where the documentary took place was brilliant as it felt very organic for these sounds to be used in the film.
When I was back in the studio, there were many different ways I treated the piano chords. I stretched some of the chords out so they were 8 times longer than originally, this really emphasised the phased effect because of how slow the effect now was. This gave a brilliant unsettling feeling that I would use to highlight when Aran was bored. The other main instrument I use in the film is a glockenspiel, which is generally heard in a higher register and is in tune. I used this sound to represent Aran’s imagination, which when heard with the out of tune piano, you can hear the two sounds spiral in and out of tune with each other.
Denis has been working on the sound design and music over the last couple of days. We have regular Skype meetings where he sends me his ideas and we work on them together this way, and that method seems to be working rather well. I think we’re getting there now, although its really weird seeing my film with music on now as i am so used to watching it without it, so its taken a while to adjust.
While the film is in Denis’ safe hands it has given me the opportunity to step back from the film and work on all those fiddly bits. The paper work, the forms, the website… and make sure all of that side of things is up to scratch. I’ve been promising my kickstarter funders a trailer for a while now as well, so I’m finally getting round to getting one cut which i hope to get online and out there as soon as possible as good publicity leading up to the degree show.
… After cutting a whole film, a trailer is hard man!!!! I’ve done a few teaser’s with a few ideas but its hard to try and condense my film in such a small amount of time, as well as finding the balance of giving/not giving too much away… Trying to decide whether to use footage thats in the film or make use of some of the nice clips I’ve had to lose from my edit, but I’m not sure which is the right thing to do! Think I’ll just keep it simple.
To do list: Trailer cut + finished and upload online, Decide on poster design ready for print tomorrow, Release forms, Budget Schedule.
Teaser Trailer for my film Mutoid.
Hi I’m Denis, I was the sound recordist/boom op for Mutoid.
I’m also doing the sound design and music for the film. I’m glad I got to do both because it meant that while I was at Mutonia I was able to collect a lot of interesting sounds that I could embellish into the sound design. I spent many an hour pointing the mic up the trees recording birds tweet away.
For the film I really liked this idea of their being this strong contrast between nature and industrial, having all these big metal sculptures and robots placed in a site in the Italian countryside. So with this in mind, I also recorded a lot of industrial sounds, which included me tapping and scratching a lot of the metal sculptures. There was also ‘zombie drums’ at the site, which were big oil barrels and metal tubes, which made great percussive sounds.
There was also a lovely old out of tune piano at the site, which I thought fended well for the nature/organic side of the sound design. So I recorded myself playing lots of long sustained piano chords on it, that I would then chop up and move around when I was back in the studio.
Aran would occasionally start singing or humming tunes, and make up little melodies that he would ‘beep’ along to, which was great to record because if I can use these melodies to sculpt the music I think it’ll draw you more into his world. Also, if you can hear him sing at points in the film this could be a really nice layer which makes the audience love him even more.
So these are the sounds that I collected for the sound design while I was there, I’ll let you know how piecing it all together goes.
Possibility for a teaser trailer. Researching into the use of music over footage filmed by Aran. Although this footage is not used in the film as yet, I like this material for a trailer because it takes us into Arans world straight away and see’s through his eyes as he explores the yard.