Sonic Design : Task 4 - Audio for Silent Movie
Sonic Design
Task 4 - Audio for Silent Movie
Start from 23.9.2025
25.11.2025 - 23.12.2025 / Week 10 - Week 14
LI XIN LI / 0379305
Sonic Design / Bachelor of Interactive Spatial Design
Task 4 - Audio for Silent Movie
Introduction
For this project, we selected one gameplay video from the provided options and developed a complete set of original sound designs to accompany it. All audible elements—including interactive actions, environmental ambience, and background movements—were carefully synchronized with the visual events. Every sound asset was self-recorded and produced specifically for this project, with no use of pre-existing or externally sourced audio materials.
For this project, I selected Ori and the Blind Forest as the gameplay video.
Game Audio List:
Audio Storyboard:
Link: https://drive.google.com/drive/folders/1wEGBucYtBrZ6DehTldK-ZWqVwfOxvvSq?usp=sharing
I selected a 1-minute and 15-second gameplay clip from Ori and the Blind Forest for this sound design project. Its dreamlike and emotionally rich visual style provided strong inspiration for creating original sound effects that enhance the overall atmosphere and immersion.
After selecting the clip, I reviewed the footage multiple times to identify the required sound types for each scene. The sounds were then organized by function, and a time-based audio reference sheet was created to ensure accurate synchronization with the visuals.
Sound Asset Production
During the sound design process, I used some common everyday items to record original audio. Below is a list of audio sources with brief descriptions:
I used my home recording equipment to record this audio.
1. Finger tapping on a mouse pad
2. Rub on the wrapping paper
9. clipping a kerosene bottle with a clip
13. Stone hitting the ground sound
14. Plastic bag with stones thrown onto the ground
15. Finger pressing paper scraps
16. Fingers lightly scraping a keyboard
Original Sound Recording
Edited audio
Final Mixed Sound Effects
Final audio
Process Record:
First, I applied manual noise reduction to all recorded audio files to minimise background noise and improve overall clarity, establishing a clean foundation for further editing and sound design.
1. Asset Name: Footstep
Original Sound Source: Finger tapping on a mousepad
1. Sound Description
Original Sound Characteristics: Short, thin, with prominent high-frequency components (concentrated energy in the 2kHz–5kHz band), lacking significant low-frequency support, sounding "crisp," and lacking a sense of solidity.
Edited Sound Characteristics: Retains the core distinctiveness of footsteps, supplements low frequencies below 100Hz through frequency band adjustments, weakens sharp frequencies around 1kHz, ultimately presenting a "short, solid, and non-piercing" sound of footsteps on hard surfaces, consistent with the acoustic feedback of indoor wooden floors, tile floors, etc.
2. In-Game Use
Core Use: As the basic sound effect for player characters moving on hard surfaces.
Functional Value:
Provides auditory feedback, allowing players to perceive the character's movement status (walking/running rhythm) through sound;
Enhances the spatial attributes of the scene, using sound texture to suggest ground materials, helping to build immersion in the game world;
Supports gameplay mechanics, such as using changes in footstep volume to indicate the distance between the character and the player, assisting in stealth, pursuit, and other gameplay elements.
3.. Recording Method
Recording Equipment: Entry-level condenser microphone (or computer's built-in microphone);
Recording Environment: Quiet indoor environment (to reduce ambient noise interference);
Recording Procedure: Point the microphone close to the mousepad and record multiple sets of "finger tapping on the mousepad" sounds continuously. Select segments with a consistent rhythm as the original material.
4.. Audio Editing and Processing (Based on Adobe Audition)
(I) Pre-processing: Manual Noise Reduction
Operation Flow:
Enter the AU waveform view, select the material, and perform noise reduction processing.
(II) Frequency Band Optimization: 10-Band Graphical Equalizer
Effect Attachment: Insert the "10-Band Graphical Equalizer" into the Footstep_HardSurface track to specifically adjust the frequency band energy distribution.
5.. Final Effect and Design Rationale
(I) Final Effect
Audio Performance: Short, powerful, clear, and not harsh, possessing both "weight" and "distinctiveness," accurately conveying character movement and ground texture characteristics in both mono and stereo playback within the game.
Technical Specifications: Dynamic range controlled within 12dB, peak volume -3dBFS, no clipping distortion, compatible with overall game audio loudness standards.
(II) Design Logic
Adapting to Scenarios: Hard surfaces require a dual attribute of "solidity + clarity." This is achieved through low-frequency enhancement and high-frequency optimization, resulting in a "weighty landing and responsive movement" auditory experience.
Considering Game Usability: Avoiding overly complex sound design ensures that footsteps remain identifiable in scenarios with multiple sound effects, such as combat and ambient sounds, aiding player decision-making.
Optimizing Auditory Comfort: Targeted attenuation of sharp frequency bands addresses auditory fatigue during extended gaming sessions while preserving core characteristics to avoid sound distortion.
2. Asset Name: Jump Sound Effect
I. Sound Description
The original sound is characterized by its lightness, with a prominent high-frequency component. The energy is concentrated in the 3kHz-6kHz frequency range, resulting in a somewhat "floating" sound and lacking the tangible texture required for action feedback. It only produces the faint rubbing sound of a tissue sliding. After editing, the original sound's core characteristic of "lightness" is retained. Loudness layers are enhanced through dynamic processing, and a mid-low frequency support is added using an equalizer. The final result is a composite jump sound of "light glide during takeoff + short, sharp feedback upon landing," perfectly matching the complete rhythm and texture requirements of the character's jump action.
II. In-Game Use
The core purpose is as a sound effect accompanying the character's basic jump action, fully covering the entire action cycle of "takeoff - airborne - landing." In terms of functional value, firstly, it provides players with clear operational feedback, allowing them to intuitively perceive the triggering and completion of jump actions through sound, significantly enhancing the smoothness of the controls; secondly, it adapts to the core gameplay scenarios of platforming and side-scrolling games, assisting players in accurately judging the timing of jumps and landing states; finally, it enhances character design. If the character is a sprite, small in size, or other light-bodied type, the "light texture" of the sound effect can deeply match the character's image, improving character recognition.
III. Recording Method An entry-level condenser microphone with a sensitivity of -38dB±2dB was used for recording, accurately capturing the subtle sound of a tissue sliding. The recording environment was a quiet indoor space with ambient noise controlled below 30dB and no significant echo interference to avoid noise affecting the purity of the footage. Operationally, the microphone was placed 10cm from the surface of the folded tissue at a vertical angle, and five consecutive 8-second clips of "finger sliding the tissue at a uniform speed" were recorded. The selection criteria for the source material were to choose clips with smooth sliding sounds, no rattling of tissue paper creases, and noisy finger friction. Ultimately, a 1.8-second clip with a "long slide + short ending" was chosen as the core production material.
IV. Audio Editing and Processing (Based on Adobe Audition)
(I) Pre-processing: Manual Noise Reduction
After entering the AU waveform view, first select the "pure ambient noise clip without sliding sounds" in the source material. This clip is 0.4 seconds long. Then, execute "Effects → Noise Reduction / Restoration → Capture Noise Samples" to obtain the complete fingerprint information of the ambient noise. Set the noise reduction amount to 30% and the reduction amplitude to 6dB. Applying the effect effectively removes background noise while preserving the core timbre of the tissue paper sliding sound to the greatest extent, avoiding excessive noise reduction that could cause sound distortion.
(II) Dynamic Processing: Enhancing Loudness Layers
Insert the "Dynamic Processing" effect into the Jump_Basic track. Optimize the sound layers by adjusting the curves, corresponding to the dynamic processing interface shown in the screenshot. The core of the curve design is to boost the loudness of the small signal (the initial stage of the slide sound) while maintaining the natural dynamics of the large signal (the end of the slide sound), preventing the sound from being too weak and masked by other sound effects or from being over-exploded and ruining the listening experience. The core function of this processing is to enhance the "presence" of the jumping sound effect while firmly preserving the light texture of the original sound, ensuring clear discernibility even in game scenes with multiple sound effects overlapping.
(III) Frequency Band Optimization: 10-Band Graphical Equalizer
After the dynamic processing effects, insert a "10-band graphic equalizer" to specifically adjust the energy distribution of each frequency band. The parameter settings correspond to the equalizer interface shown in the screenshot. The frequency range below 31Hz remains at 0dB to ensure clean ultra-low frequencies and avoid a muddy sound; the 63Hz band is boosted by 7dB to supplement the mid-low frequency foundation, making the "grounded feedback" more solid; the 125Hz band is boosted by 7.9dB to enhance the mid-low frequency texture and effectively reduce the "airy" feeling of the original sound; the 250Hz band is boosted by 6.7dB to balance the mid-frequency performance and make the overall sound fuller; the 500Hz band is boosted by 10.3dB to brighten mid-low frequency details and enhance the "physical feedback" of jumps; the frequency range above 1kHz remains at 0dB to retain the lightness of the original high frequencies and ensure the clear recognition of jumps and slides.
V. Final Effect and Design Rationale
(I) Final Effect
The sound presentation is layered, conveying a sense of "light and gliding takeoff + short and solid landing." The loudness strictly matches the overall game audio standards, without any harshness or muddiness. It clearly conveys key information about the jump action in both mono and stereo playback scenarios. Technically, the dynamic range is controlled within 10dB, the peak volume is -4dBFS, there is no clipping distortion, and it is fully compatible with the audio output specifications of mainstream game platforms.
(II) Design Rationale
The design logic first revolves around the needs of the scenario. The jump action requires the dual attributes of "lightness + landing feedback." The "solidity" of the landing is achieved through mid-low frequency enhancement, while the high frequencies are retained to ensure the "lightness" of the takeoff, allowing the sound to highly match the action logic. Secondly, the design considers the game's practicality, avoiding overly complex sound design. It ensures that the sound effects remain clearly identifiable in complex scenarios with multiple sound effects overlapping, such as combat and ambient sounds, assisting players in making precise operational decisions. Finally, we focused on auditory comfort. Through targeted frequency band adjustments, we not only solved the problem of the original sound's "ethereal" quality, but also avoided introducing harsh frequencies, reducing auditory fatigue caused by long gaming sessions. At the same time, we preserved the core timbre characteristics to avoid sound "distortion" and ensured the consistency between sound effects and the game's world view.
3.Asset Name: Jump , Original Sound Source: Knuckles tapping a chopping board.
II. Sound Description
Original Sound: Solid and heavy mid-low frequencies, but thin high-frequency details, only conveying the dull tactile sensation of the chopping board being tapped.
After Jump Sound Processing: Adjusted equalizer parameters to weaken low frequencies and strengthen mid-high frequencies, presenting a "light gliding + short finish" jump sound.
III. In-Game Application
Jump Sound Effect: Adapted for platforming and side-scrolling scenarios, providing feedback on the triggering and completion of jump actions, enhancing the smoothness of controls.
IV. Recording Method
Using an entry-level condenser microphone, recorded in a quiet indoor environment (ambient noise ≤30dB): Microphone 12cm from the chopping board at a 45° angle, continuously recording 4 sets (10 seconds each) of knuckle tapping sounds at a constant speed. Clips with no background noise and a uniform rhythm were selected, and the corresponding duration was used for two types of sound effects production.
V. Audio Editing and Processing (Based on Adobe Audition)
The sound effect simulation was completed using only "manual noise reduction + 20-band graphic equalizer": Pre-processing: Manually select a 0.3-second segment of pure background noise from the source material, capture the noise sample, and then apply noise reduction (32% noise reduction, 7dB reduction) to remove background noise and preserve the core percussive tone.
A 20-band graphic equalizer (corresponding to the actual parameters in the screenshot) is applied. The parameters are as follows (suitable for footsteps on wooden floors):
<31Hz: +11.1dB (Enhances low-frequency resonance, strengthens the solidity of the wooden floor)
44Hz: +7.3dB (Adds thickness to the mid-low frequencies)
180Hz: +6.8dB (Balances the mid-frequency transition)
250Hz: +10.5dB (Brightens mid-low frequency details, avoids muffledness)
710Hz: +6.1dB (Enhances the penetration of footsteps)
2.8kHz: +8.5dB, 4kHz: +6.5dB (Highlights the crisp resonance of the wooden material)
8kHz: -5.7dB (Attenuates very high-frequency noise) When adapting to jumpy sound effects, simply adjust these equalizer parameters (reduce the gain below 31Hz, boost the 2kHz+ band) to achieve different sound effect conversions from the same source material.
VI. Final Effect and Design Rationale
(I) Final Effect
Jumping Sound Effect: The sound is light and responsive, adapting to the rhythm of actions and maintaining recognizability in multi-sound effect scenarios.
(II) Design Rationale
Reuse of Source Material: Using a single sound source, "knuckles tapping a chopping board," to simulate two types of sound effects reduces recording costs and improves material efficiency;
Precise Optimization of Single Effect: Relying on the 20-band equalizer's subdivided frequency band adjustment, it not only matches the texture of wooden footsteps but also allows for fine-tuning of parameters to adapt to the lightness of jumping sound effects;
Balancing Practicality and User Experience: The simplified process of noise reduction + equalizer ensures sound clarity while avoiding auditory fatigue caused by over-processing, adapting to the needs of multiple game scenarios.
4.Asset Name: Explosion Sound 1, Original Sound Source: Small Stone Collision
II. Sound Description
Original Sound: A series of soft, fragmented impact sounds, lacking the heavy impact and spatial diffusion of an explosion, only conveying the thin tactile sensation of objects colliding.
Edited Sound: Through a combination of effects, a complex auditory experience is created, consisting of "heavy low-frequency impact + sharp mid-to-high frequency breaking + spatial reverberation," closely matching the acoustic characteristics of rock and brick breaking and exploding, providing both impact and detailed layers of material breaking.
III. In-Game Use
Suitable for scenes involving the destruction of rock/brick obstacles and the triggering of small explosive mechanisms. Core functions:
Enhancing the impact of destructive actions and improving the immersiveness of gameplay interactions;
Serving as auditory feedback that "obstacles have been destroyed," indicating successful player interaction;
Matching the scene's materials, enhancing the realism of the game world.
IV. Recording Method
Using an entry-level condenser microphone, record in a quiet indoor environment: Hold the microphone 20cm perpendicular to the simulated sound source and record 5 consecutive segments of "heavy object impact + rock collision." Select segments with a tight impact rhythm and no background noise, and extract 3 seconds of core footage.
V. Audio Editing
Apply the effects in the following order: "Stereo Expander → Graphic Equalizer → Full Reverb." See the corresponding screenshots for parameter settings:
Stereo Expander
Set the center pan to "Center" to evenly diffuse the explosion sound throughout the space, enhancing the surround sound effect and preventing sound bias.
10-Band Graphical Equalizer
<31Hz: +4.1dB (Enhances bass depth and explosive impact)
250Hz: +6.2dB (Adds thickness to mid-low frequencies, making the explosion more solid)
500Hz: +14.9dB (Enhances the core impact frequency band of the explosion)
1k: +9.7dB, 2k: +5.6dB (Highlights the sharp, broken feel of rocks/bricks)
8k: +2.7dB (Adds high-frequency detail, enhancing the fragmented layers)
Other bands: 0dB (Maintains sound balance)
Full Reverb
Preset: Medium Concert Hall (Light and Lively)
Key Parameters: Decay Time 2636ms, Pre-Delay 106ms, Room Size 8880m³, Dry Signal Ratio 73.1%
Function: Simulates the natural echo of an explosion in an open space, enhancing immersion while preserving the clarity of the core impact sound.
VI. Final Effect and Design Rationale
(I) Final Effect
The sound delivers a layered performance of "heavy impact + sharp shattering + spatial reverberation," with a dynamic range of 15dB and a peak volume of -4dBFS. There are no harsh or muddy issues, and the impact and material characteristics are clearly conveyed in the game's destruction scenes.
(II) Design Rationale
Stereo Extender: Enhances the sense of spatial immersion through the center sound image, adapting to the diffusion characteristics of explosions;
Equalizer: Targeted enhancement of low/mid-high frequencies, balancing the impact of explosions with the details of rock/brick shattering, avoiding a thin sound;
Reverb: Simulates the echo of a realistic explosion using medium-sized spatial parameters while retaining sufficient dry signal, enhancing immersion without masking the core impact sound, meeting the auditory needs of the game's destruction gameplay.
5. Asset Name: Explosion Sound 2
II. Sound Description
Original Sound: Weak impact, chaotic high-frequency breakage, lacking the spatial diffusion and impactful feel, only presenting the localized tactile sensation of objects colliding.
Edited Sound: Through effects combinations, a composite auditory experience of "strong low-frequency impact + clear, broken mid-to-high frequencies + large-scale spatial reverberation" is created, fitting the acoustic characteristics of explosions in open scenes such as halls and squares, combining impact with detailed layers.
III. In-Game Use
Adapted to explosion events in the scene, core functions:
Enhancing the impact of BOSS skills and large-scale mechanism explosions, improving the immersion in combat/puzzle solving;
Serving as an auditory cue for "high-damage/critical events," helping players quickly identify danger;
Matching the spatial attributes of the scene, ensuring the explosion sound effects are consistent with the acoustic logic of open environments.
IV. Recording Method
Using an entry-level condenser microphone, record in a quiet indoor environment: Hold the microphone 25cm perpendicular to the simulated sound source and record six consecutive segments of "heavy object impact + glass shattering." Select segments with strong impact rhythm and clear shattering sounds, and extract 3.5 seconds of core footage.
V. Audio Editing and Processing
Apply effects in the following order: "Stereo Expander → Graphic Equalizer → Multi-band Compressor → Full Reverb." See screenshots for corresponding parameters:
Stereo Expander
Set the center pan to "Center" to evenly diffuse the explosion sound throughout the space, enhancing the stereo surround sound and preventing sound bias.
10-Band Graphical Equalizer
<31Hz: +12.9dB, 63Hz: +14.9dB, 125Hz: +7.9dB (Enhances bass depth and amplifies the impact of the explosion)
250Hz: +0.9dB (Balances mid-low frequency transition)
500Hz and above: Gradual attenuation (Reduces stray high frequencies, preserving fragmented details while avoiding harshness)
Multi-Band Compressor
Preset: Reduces hissing
Crossover Frequency: Low 120Hz, Mid 2000Hz, High 10000Hz
Function: Controls the dynamic range of each frequency band, preventing sudden fluctuations in the volume of the explosion sound, resulting in a smoother and more comfortable listening experience.
Full Reverb
Preset: Hall
Key Parameters: Attenuation Time 3511ms, Pre-Delay 133ms, Room Size 16786m³, Dry Signal Ratio 33.2%
Function: Simulates the natural reverberation of a large, open space, enhancing the impact and immersive feeling of the explosion.
VI. Final Effect and Design Rationale
(I) Final Effect
The sound presentation is layered, featuring "strong low-frequency impact + clear, fragmented details + large-scale spatial reverberation." The dynamic range is controlled within 18dB, with a peak volume of -3dBFS, eliminating harshness or volume control issues, thus meeting the demands of large-scale explosion scenes.
(II) Design Rationale
Stereo Extender + Reverb: By using center image and large-scale spatial parameters, the sound recreates the sense of explosion diffusion in open scenes;
Equalizer: Targeted enhancement of low-frequency impact and optimization of high-frequency details, balancing the impact of explosions with auditory comfort;
Multi-band Compressor: Controls dynamics to prevent volume loss, ensuring more stable sound effects in multi-effect game scenarios.
Overall：
Finally, I imported the audio and video into Premiere Pro.
Final Video
Personal Reflection
During this Sonic Design project, I gained a deeper understanding of how sound contributes to gameplay and player immersion. Choosing a one-minute and fifteen-second clip from Ori and the Blind Forest allowed me to explore the relationship between visual aesthetics and sound design. The dreamlike visuals inspired me to create original sound effects that combined clarity, spatial depth, and a sense of physicality.
In the process, I carefully analyzed each scene and categorized the sound types needed, then created a time-based audio reference to ensure precise synchronization with the video. Recording my own sounds was challenging but rewarding; for example, capturing footsteps on hard surfaces required me to experiment with different materials and mic placements to achieve the desired impact and clarity. I also learned to refine sounds through manual noise reduction and detailed EQ adjustments, which enhanced both the realism and listenability of the effects.
Using Adobe Audition, I structured my multitrack sessions to layer sounds effectively, allowing for better control of dynamics and spatial depth. I realized how subtle changes in pitch, frequency, and amplitude can significantly affect the perceived material and emotional quality of a sound.
If I had more time, I would explore more complex layering and interactive sound responses to further enhance the immersive experience. Overall, this project strengthened my technical skills, deepened my understanding of game audio workflows, and reinforced the importance of intentional, creative decision-making in sound design.
Comments
Post a Comment