My second artefact uses the same video sequence as my first artefact (from Jean-François Richet’s 2005 remake of Assault On Precinct 13). The difference this time is that the audio is totally fabricated through the use of a DAW (digital audio workstation). I have used FLStudio 7, which I have used for many years and which I understand. With it I can create complex sounds and effects.
The aim of this experiment is to examine the response of the audience to fabricated sounds which are non-specific to the mise-en-scène. Can the tension be implied without any use of the original sounds? This means no speech, Foley or musical scores. The main initiative I want to explore is how the audience reacts to the audio within film where the audio has no real relation to what is happening on the screen.
The sounds are very synthetic and use lots of changes in pitch, timbre, volume, panning and velocity. Using the software I morphed a series of notes and samples into a complex sound using algorithms and variable equations. This means that the sounds are almost unique, and do not relate to anything that might be apparent from what is happening on the screen. The audio is unearthly, hopefully suggesting unease and the horror of the unknown.
I am using the same questionnaire as for the first artefact, as it is the same piece of the film. This means I can easily compare the two artefacts should I need to look at the differences between them. Some participants have been filmed as they watch the clip, others filled in a questionnaire afterwards. It was important that no one who participated in the first test completed the second, I did not want any erroneous results.
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