That was the sentence, out of a book, that my group had to center our final experimental soundscape around. My first initial thought was "How the hell are we going to do this?"I had no experience making experimental films, and I had never made a soundscape before. The only thing I knew about experimental was that there should be no logical connection between each shot, in other words, it should make no sense. That was kind of a saving grace for novice experimental filmmakers.
I laid down the base soundscape on my computer with some ambient noises and figured that my group and myself will build from that. We went to the editing lab and we went through the footage that we had acquired. I wanted a slow start to the film, then pick up the pace all of the sudden. By this, we had longer shots in the first half of the film, then had a rapid-fire sequence of images. The concept behind the visual portion of this project is to "paint with light" along with "paint with sound." I felt all of the shots had very different lighting and that we would be essentially creating rapid lighting changes throughout the two-minute film. Mike had this technique of taking one of the clips and randomly cutting it into pieces and dropping them into the two-minute work area in Adobe Premiere. That worked out well for the rapid fire sequence.
I came into the project thinking "How the hell are we going to do this?", then while going through the sound files I thought "I kind of know what to do, but still, how the hell are we going to do this?" It wasn't until we sat back and watched the rough cut of the film from beginning to end, then I thought "Now we have something, and I'm liking it." I just wanted to do more and add more images to make the flow of them seem more and more random.
The final product had a soundscape made mostly of ambient tracks. There were a few sound effects, but there were no voice-based sounds in our final soundscape project.
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