This project challenged Kelsi and I to wipe the sound from two clips, assigned to us by our professor Vincent Olivieri, and replace all aspects with our own sound and music. The two clips assigned to us came from Batman Begins and The Third Man. Olivieri allowed for the use of pre-existing music. We chose to avoid composition, saving much-needed time and giving us the opportunity to focus on the ADR, foley, sound effects, and final mix for the two films.
Compared to Batman Begins, The Third Man is a much more sparse soundscape, allowing for more liberties to be taken with music, as well as the sculpting of foley and atmospheres. We decided early on to attempt to duplicate the sound quality of the original (which was filmed in 1949). The dialog was recorded in a controlled studio with a ribbon microphone—the darker quality of the mic lent itself to the intended homage. With both the dialog and foley, we used a process I call "world-izing", in which the sound is played back from speakers into an acoustical space and re-recorded. This helped place the sonic elements on a "sound stage". For the mix, all elements were heavily limited and equalized to mimic the magnetic original tape medium.