(English version Below)

Badira proiektu berri bat prestatzerakoan, posprodukzioa errazteko asmoz, nork bere buruari errepikatzen dizkion mantra batzuk; "ahal bezain beste soinu grabatuko ditut bideoarekin batera" edo "beharrezkoa den denpora hartuko dut behar ditudan soinu guztiak biltzeko, protagonista desesperatzeko arriskua badago ere". Baina grabaketa eguna heltzen denean hamaika aldagai kontrolaezinekin egiten duzu topo.

Meatzaldearako egin genuen iragarki honen kasua ez zen ezberdina izan. Egun berean hamar bat lokalizazio ezberdinetara egokitu behar zarenean eta beste hainbeste trabari aurre egin behar diozunean, zure mantra famatu hoiek gerorako uzten dituzu, furgonetako guanteran. Momentu horretan konturatzen zara foley-a beharrezkoa izango dela.

Bestalde, bideoaren kontzeptuak ere posprodukzioaren pisua baldintzatzen du. Kasu honetan, slow-motion efektua behin eta berriz erabiltzen den errekurtsoa izanik, aurretiz jakin genuen soinu diseinua grabaketaren ostean egin beharreko zerbait izango zela. Hala ere, nahasketa finalean erabiliko ez ziren arren, ahal bezain beste zuzeneko soinu grabatu genituen. Diseinurako agian ez, baina erreferentzi moduan balioko zuten.

Eta hala izan zen. Hare gehiago, zuzeneko soinu horietako batzuk oso interesgarriak izan ziren slow-mo efektu hori errealismotik gehiegi ez urruntzeko.

Adibidez, bideoaren erdialdetik entzuten den giltzarrapoa dozena erdi soinu ezberdinek osatzen dute. Grabatzerako orduan, denda jendez gainezka bai zegoen, eta giltzarrapoaren soinu bajua garbi erregistratzea ezinezkoa izan zen. Beraz, txanponen arteko talka, kremailera baten frekuentzi altuak, metalezko golpe ezberdin pare bat... eta azkenik hurrengo planoarekin zentzua hartzen duen delay efektua. Segundu erdi iraungo duen efektu bat sortzeko sei edo zazpi soinu ezberdin erabili behar izan genituen, soinu hauek guztiak grabatu eta aurkitzeak dakarren denbora guztiarekin, noski.

Horrela ba, emaitzean entzuten den soinu paisaia zuzeneko soinuen, estudioan grabatutako soinuen eta sound library-etatik ateratako soinuen arteko konbinazioa da; bai foley zein soinu diseinua.

Proiektu guztien amaieran ondorio berdinera heltzen gara; zuzeneko grabaketan grabatzen duzun ezer ez da alperrik izango. Modu batean ala bestean, edizioan denbora aurreztuko dizu.

MEATZALDEA - PROMO ADVERT'S SOUND DESIGN & FOLEY

There are certain mantras that we tell ourselves during the pre-production of a project, in order to make our lives easier in post: "I'll record as many sounds as I can" or "I'll take as much time as it's necessary to record all the sounds I need, even if people despair". However, the truth is that when recording day arrives you encounter a thousand different obstacles that couldn't have been predicted.

It wasn't any different when we did this project. Working in around ten different locations and facing at least double the problems, those beloved mantras are left on the trunk of the van, and it is in that exact moment when you realize that foley will be crucial and the workload for post increases exponentially.

Obviously, there are other factors that define the workload that we will have to deal with in post; such as the concept of the video. In this case the slow-motion effect was going to be a recurrent resource and we knew from the very beginning that the sound design would be important to make it work. Nevetheless, we recorded as many sounds as we could, even if they weren't going to be used for the final mix. They might not be useful for designing the final sounds, but they for sure would work as reference.

And they did. Some of them even served us to keep the solw-mo motion as realistic as it had to be.

For example, you can here a lock sound somewhere half way in the video. The sound effect lasts around half a second and it is made using more than half a dozen different sounds and, of course, the time that takes to either record or locate the sounds required. It was impossible to record the real sound in the field since there was way too much noise around us. So we used part of sounds like coins clicking, the higher frequencies of a zipper, metal plates... and finally the delay effect that will connect this shot with the one that is coming right after.

The final soundscape that you can hear in the video is a mixture of sounds recorded in the field, sounds from libraries and sounds we recorded in the studio.

We always end up with the same conclussion; not even one sound that has been recorded in the field was in vain. In one way or the other, it will save you time when editing comes.

_Asier