Defiled Nations Fall and The Lone Witness | Conclude and CCR

 Working on this project has helped and changed me in a lot of different ways. Whether it is my confidence to network or my technical skill. I couldn't be any more grateful for this experience and for those who joined the ride. Here is The creative Critical reflection where I go more into detail about my experience.

Creative Critical Reflection

Defiled Nations Fall and The Lone Witness Final Product

 The day has finally come to unveil the film opening for Defiled Nations Fall and The Lone Witness. It had been an incredible journey in creating this vision and I once again thank everyone who had a part in the production. Without further ado, please enjoy the product!

Defiled Nations Fall and The Lone Witness  

Sound Of War Part Two: Also Foley

     Do you recall in my last post where the luck I would receive from the audio gods made me feel more powerful than before? Well, it was extremely short-lived. The very moment I confirmed that the distant explosion was ready to go, The realization of having to now create a close-range explosion had hit me like a bomb (get it?). Essentially I had to learn about how to create a real explsosion using Foley. there I found out That explosions are created with three distinct noises: The Impact, The receeding, and The Settling. in my project I was Able to achive this somewhat using a weight and the gravel that was used for the explsoion. the weight would act at the impact while theothers were the lasting noises of an explosion. it was definitely one of the most unique things I had to learn and hope to practice more in the future. 

The Sound of War: Foley

     Throughout the course of Editing, I knew sounds would have extreme importance. Not only does proper audio make the film run consistently as a story, but in my case, it depicts a warzone. Due to not being able to create one throughout the everglades, tight shots, unfocused skies, props, and costuming (basically anything mise-en-scene) was used to try and depict a war-torn front. Audio also must play a role in this large goal. Along with the ambiance of the scenery, I wanted to depict the war through explosions both distant and close by (although small). Once again since I don't have the ability to create a waterfront and explosions (I'm a student with a camera, not a warlord) the creation of these sounds would rely closely on my use of foley and sound editing. 

Distant explosions

    Compared to a close-range explosion, distant ones are a lot easier to pull off, especially in the face of improvision. Its soft and muffled nature means that the ability to create this noise is far more accessible. One could mimic the noises with their mouth and muffle themselves or they could use hollow, metal objects and hit them softly. What did I do? I used wind! When recording the simple ambiance of the everglades, it was particularly windy and of course the wind would end up hitting the mic a few times. I initially thought it made it sound bad but have since come around, but I digress. There is a shot in the film Where nick reacts to something on the horizon, becoming alert in the process. Obviously, this is the spot with the distant explosion and luck would have it, the already recorded audio would gift me my explosions. While I was making sure the Diegetic sounds of the everglades were okay to be used, The shot in question matched itself with a quick and sharp sound of the wind that Nick would react perfectly to it. It looked well and the sound of the wind invoked these thunderous images. There I decided I would use this gust of wind to become my distant warfare. 

    As seen in the Editing screenshot, the gust of wind (now dubbed Distant explosion on the program) in the soundtrack was edited to have a sudden boost, in the beginning, to represent the initial impact as the rest of the track decreases in volume. If looked closely it also is clear to see that the track is shaped the same as the noise on the ambiance track, indicating its origin. It truly became a lifesaver as I found myself having difficulty figuring out what exactly to do to create this sound. Luck was definitely on my side in this instance and now I feel more powerful than before.

Filming update

     Filming had officially finished filming and has moved on in post for editing! I want to thank everyone involved with this project for helping me create this vision!

Nicholas Prieto

Kayla Joza-Henuke

Franco Loyola

 

Prop-Master: Franco Loyola

     I here Welcome the inclusion of Franco Loyola as this project's prop master due to his involvement in the creation of damaged flags, planned explosion spot, and serving as an advisor for these fields. Franco is someone who has helped me many times in my separate works, something usual of a twin brother. More than excited enough to include him in this project.

Make Up..Update

     Due to a recent change in circumstances, the planned use of special effects makeup and prosthetics will no longer make it to the final product. instead, a simpler approach will be made with fake blood and other improvised methods. The look will be taken from the concept art provided by Kayla Joza-Henke.