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Mixing Sound – a sensory experience of place

in Director's Blog by Su Rynard April 6, 2015 0 comments

In filming The Messenger we travelled to three different continents, and each place we went possessed a unique acoustic and auditory character. From the editing to the final mix, I felt it was imperative that we fully articulate this sensory experience of place and time.

Supervising Re-recording Mixer Daniel Pellerin with Re-recording Mixer Chris Guglick

As our final sound mix gets underway at URBAN POST in Toronto, we are very lucky to be working with the talented duo of Daniel Pellerin Supervising Re-recording Mixer and Christopher Guglick Sound Re-recording Mixer. These guys make for a super-busy team, as in the last few weeks they have mixed the films “Remember” (Atom Egoyan) and “Milk” (Noemi Weis). From a practical perspective, this takes a team. So for many months, composer and sound designer Phil Strong has been fine-tuning music, location ambiences and bird song.

Chris Guglick; “The most unique aspect of mixing this film was the scope and range of all the different sounds of birds. Phil did an amazing job organizing all the sounds which allowed me to take all of the different birds and give them a life on screen. I have worked in many different human languages, but working in the language of another species entirely was something new for me.”

Re-recording Mixer Chris Guglick at Urban Post

Because our schedule and budget are very tight, Phil was just a day or two ahead of the mixers with his work, sometimes outputting the original music just hours before it was needed in the mix theater – quite the marathon indeed. Importantly, the mix is a creative journey in its own right, as the work is both intense and intuitive. Daniel Pellerin;

“With every film you have to find the language that suits the film. The tone of the characters, quality of the voices, the sense of unfolding time and emotion of the story.”

Joanne Jackson, Producer Left. Su Rynard, Director Right.

As a director, my work is very nuanced, often contemplative, and layered in both content and context. Sound plays a pivotal role. It is often the aural experience that positions how a scene will be experienced and interpreted. In The Messenger we walk a razor sharp edge between tragedy and joy, dramatic tension and release, optimism and sobering truths. In most cases it is the sound that tips the scale to what the experience will be. This balance is not something that can easily be achieved, but with this team I knew I was in good hands. Daniel Pellerin;

“I love docs that have to do with nature, as the challenge is to make it immersive — putting the audience in the theatre yet creating the feeling that they are not in the theatre. In this film, music and birds are the lead “instruments” and a delicate balance is required.” This idea is taken a step further by Chris Guglick;

As a sound effects mixer I’m often asked to turn down the sound of birds because they can distract from the action in the film. This film gave the birds a leading role that could, if executed poorly, distract from the important information being expressed by the other characters on screen. Finding that balance was key.

Here is a taste of the mix experience. A brief pirate recording of my own film, created on my iphone. Enjoy.

The Messenger – World Premiere at Hot Docs

in News by Su Rynard March 22, 2015 0 comments

Hot Docs Press Conference

We have some very exciting exciting news. The Messenger will have it’s World Premiere at the Hot Docs International Film Festival on April 28, 2015. At the Press Conference, Canadian programmer Lynn Fernie introduced the film eloquently by asking, “Can we, and even do we, want to live in a world without birdsong?” The film garnered a lot of attention at the conference, and Su was interviewed for radio, television and print. More on the Press Room page of this website.

Producer Joanne Jackson (left) and Su Rynard (right)

The Messenger is a visually thrilling ode to the beauty and importance of the imperiled songbird, that contemplates our deep-seated connection to birds and warns that the uncertain fate of songbirds might mirror our own.

On one level, The Messenger is eco-alert as art – a skillfully told character first-person p.o.v. about the mass depletion of songbirds on multiple continents, and about the compassionate people who are working to turn the tide. According to international expert Dr. Bridget Stutchbury, who is featured in the documentary, we may have lost almost half the songbirds that filled the skies fifty years ago.

On another level, The Messenger is an engaging, three-act emotional journey, one that mixes its elegiac message with hopeful notes and unique glances into the influence of songbirds on our own expressions of the soul. For example, a German composer, DJ and bird-watching enthusiast, Dominik Eulberg, incorporates bird-sounds seamlessly into techno music and introduces us to the use of birdsongs in Wagnerian opera.

We meet passionate and motivated people like Michael Mesure, the founder of the Fatal Light Awareness Program, who has spearheaded the treating of skyscraper glass with markers, resulting in a 70% decline of bird deaths. As he says of the movement to switch off lights in empty buildings, ““How often can you say, you flick a switch and a problem disappears?”

We see culture clashes, as in France, where activists run up against hunters of the Ortolan Bunting, an endangered bird that is considered a culinary delicacy. And in the vast prairie lands of Saskatchewan, Dr. Christy Morrissey unravels the mystery behind the sharp drop in the numbers of insect eating birds. She discovers that the smoking gun is likely the same pesticide that is killing honeybees and states, “We are changing the environment faster than birds can cope with.”

But there is an ultimate wild card for songbirds. Turkish ecologist Çağan Şekercioğlu brings us to a crucial songbird site where the distant Mount Ararat looms large as a sentinel for climate change, as its’ disappearing glacier could spell tragedy for the wetlands at its base.

There’s a glimpse of hope for a sustainable future, as Costa Rican coffee farmers learn from ornithologist Alejandra Martinez-Salinas about the benefits of pesticide-free shade-grown coffee. The diversity of shade trees provide a natural habit for migratory songbirds and the birds’ appetite for the destructive coffee berry borer, provides an alternative to agro-chemicals.

Ultimately, The Messenger is about what the birds have to tell us about the state of our planet and of ourselves.

In the words of Peter Marra, of the Smithsonian Migratory Bird Center in Washington, D.C., “When the bird population starts to decline it’s a cold, it’s a flu that the Earth has. Birds provide an estimate of the integrity of the environment itself. We are part of that environment. We depend on it for our own lives.”

Don’t you think the Indigo Bunting looks amazing on the screen at the Bloor Cinema behind Festival Programmer Lynn Fernie? It certainly gives us a taste of what our birds in night flight footage will look like when the film premieres at this prestigious festival.

The Messenger has three screenings during Hot Docs.

Tickets can be purchased through the Hot Docs Box Office

April 28 , 9 PM – Scotiabank Theatre, 259 Richmond St. W.

May 1 – 1:30 pm, Scotiabank Theatre, 259 Richmond St W.

May 3 – 6:30 pm, Innis Town Hall Theatre, 2 Sussex Ave.

Directed by Su Rynard.

Written by Su Rynard and Sally Blake

Produced by Joanne Jackson, Sally Blake and Martin de la Fouchardière, Diane Woods and Su Rynard

SongbirdSOS is an international treaty co-production between Canada and France, produced by SongbirdSOS Productions and Films à Cinq.

International Distributor: ZED

Soundtracks – where do they begin?

in Director's Blog by Su Rynard March 15, 2015 0 comments

Many elements go into the creation of a good documentary soundtrack, but one key ingredient is great location sound.

I confess I feel a bit sorry for location sound people because they only get feedback when the soundtrack is BAD. As a Director I’m guilty of rarely saying “sounds great” – because we take great sound for granted, ironically, as if it is a natural occurring phenomena. Yet there is an enormous amount of skill and talent required to obtain great location sound.

In a film about songbirds, you can imagine how important location sound is to the final soundtrack. On The Messenger documentary we primarily worked with Jason Milligan. I truly believe that Jason has “dog ears”. By this I mean an aural range beyond the average human.

A super important element of location recording is not just the “sync tracks” i.e. recording the sound that happens in tandem with the image, but recording location ambient sound.

Because the birds would be different everywhere we went, we had to ensure that we recorded the unique sounds of every place we filmed.

Here’s a sample of an ambient track of Purple Martins songs and calls that Jason recorded for us while we were filming with Bridget Stutchbury and The Purple Martin Conservation Association in Erie PA.

Bridget Stutchbury passes a Purple Martin to location sound recordist Jason Milligan

One of the very special audio events we recorded was in Ithaca New York during fall migration.

We were filming with Bill Evans, who designs and constructs his own microphones dedicated to capturing the night calls of migrating birds. A wonderful scene with Bill Evans is featured in our upcoming documentary SongbirdSOS to be aired on David Suzuki’s The Nature of Things. Below is a sample of the these night calls our sound recordist James MacDonald captured that evening.

Listen carefully, each species of songbird has a different call. They are only a fraction of a second long, and happen randomly ever ten seconds or so in this recording.

James MacIntosh records Bill Evans and friends.

James MacDonald records Bill Evans and friends.

Back in post production, all of the elements of location sync sound and ambiences have to be edited. The first step is to sync all the sound – matching back to the picture, then the sound is imported into the edit suite. When our picture edit is locked – the edited sound is exported back out to another sound editor, who polishes it, takes out the umm and ahhs and clicks and pops, and prepares it for the mix. A super important element of location recording is not just the “sync tracks” i.e recording the sound that happens in tandem with the image, but recording location ambiences. Phil often mixes and merges these “categories” For example, a sound from the wilderness might be sampled and transformed into music, or a musical tone he created in studio may sound so organic, it feels as if it was part of the natural landscape. This is all done on the computer – and here’s what the soundtrack layouts looks like.

One of the most important ingredients of a great sound track is music.

During our editing process the picture editors often work with temp music. This means pulling music that has the right rhythm, pace, emotional tone / feeling and / or instrumentation from one’s own music collection and cutting it into the soundtrack temporarily.

In creating The Messenger soundtrack composer Phil Strong worked in tandem with the picture editing process, often creating music for the scenes as they evolved.

Composer and sound designer Phil Strong and Picture editor Eamonn O’Connor at a spotting session in Phil’s studio.

More on Jason Milligan http://www.documentarysound.ca/

Jason Milligan is a two time Gemini Nominated Sound Recordist (for “The Take” and “Memory for Max, Claire, Ida, and Company”) based in Toronto, Ontario, Canada, who specializes in recording sound on location for Documentaries, Lifestyle, and Reality Programs. Jason has travelled extensively around the world and worked in Argentina, China, France, India, Japan, Jordan, the Netherlands, Peru, Saudi Arabia, St. Vincent, Turkey, the United Arab Emirates, the United Kingdom, and the United States.

The Messenger’s Cagan Şekercioğlu’s Environmental Request while Accepting a Prestigious Award

in Conservation by SongbirdSOS February 26, 2015 0 comments

Çağan Şekercioğlu, who we filmed with in Turkey, became the first biologist, ecologist and the youngest person to win the TÜBİTAK Special Science Award recently. The University of Utah professor, photographer, and ornithologist received the award (which is Turkey’s highest science award and equivalent to a USA National Science Medal) from Turkey’s President Recep Tayyip Erdogan in a ceremony held in the new Presidential Palace. While receiving the award, Şekercioğlu had a single Eco-Message request: “The biggest award you can give me will be to save from destruction the eastern Turkey’s richest wetland for birds, the Aras River Bird Sanctuary I discovered and where I do my science”. At the same time Sekercioglu gave President Erdogan over 55,000 signatures and 4000 comments he collected with his petition to www.savearas.org.

At the awards ceremony apparently President Erdogan replied to Şekercioğlu, “Putting 55,000 signatures aside, your word is enough, professor. I will talk to Forestry and Water Affairs Minister Veysel Eroglu about this.” He also asked Sekercioğlu to return to Turkey to teach.

The Aras River Bird Research and Education Center, founded by Șekercioğlu in 2006, is one of the few long-term ecological research sites in Turkey. With over 65,000 birds ringed (banded), it is the one of two most productive ringing stations in the country. It is also at the meeting point of Aras River and Iğdır Plains Key Biodiversity Areas and Important Bird Areas, none of which have official government protection.

Şekercioğlu is campaigning to stop the proposed Tuzluca dam project and save the Aras River Bird Paradise. The Aras Valley provides critical ecosystem services such as clean water, fertile soil and abundant resources to the area. Şekercioğlu says “This is one of the world’s most important wetlands for birds. If the proposed Tuzluca dam is constructed in the Aras Valley, the feeding, breeding and wintering areas for at least 258 bird species and nearly 100 mammal, reptile and amphibian species will be destroyed.”

The valley has 37 animal species threatened or near threatened with extinction. With more research, it is thought that HALF of all land animal species in Turkey will be recorded in the valley. Birds ringed (banded) and satellite-tracked at this wetland by the conservation group, KuzeyDoğa (founded by Şekercioğlu) were recorded to migrate to and from three continents and dozens of countries, including Cyprus, Ethiopia, Georgia, Hungary, Iraq, Iran, Israel, Jordan, Kenya, Russia, Saudi Arabia, South Africa, Syria, Ukraine, Yemen, and Zambia.

Şekercioğlu, who has already received international awards for his work, including becoming a recognized National Geographic explorer is determined to have Minister Eroğlu keep his word to ensure the immediate cancellation of the Tuzluca Dam project. View some aerial footage and find out more about the campaign here.

Special thanks to www.change.org for their contribution to this post.

Songbird Monitoring in Costa Rica with Alejandra Martinez-Salinas

in Conservation by SongbirdSOS February 25, 2015 0 comments

Alejandra Martínez-Salinas had her first experience monitoring songbirds in mist nets in 1999. Her life changed from that moment on. In The Messenger, she says “ I fell in love with the migrant songbirds because they are so small, but also strong. They are really determined to get somewhere”. We filmed with Alejandra in Costa Rica last February.

Alejandra is an ecologist/ornithologist and a PhD candidate in the Joint Doctoral Program between the University of Idaho and CATIE, the Tropical Agricultural Research and Higher Education Center (CATIE) in Turrialba. When she was still in college in her native country of Nicarauga, Alejandra had the opportunity to assist a group of ornithologists from the Smithsonian Institute doing field work. Back then, she only learned how to set up and take down mist nets just prior to going into the field, and she didn’t have much experience releasing birds from the nets. Today, fifteen years later, Alejandra leads the Bird Monitoring Program at CATIE.

Martinez-Salinas arrived at CATIE in 2006 to pursue her master’s degree in forest management and biodiversity conservation. Soon after graduation, with Fabrice DeClerck, one of her Master’s thesis advisors and Rachelle DeClerck, an environmental educator, she began discussing the possibility of setting up a bird monitoring program that could cover different types of agricultural land uses. It was clear from the moment they set it up that a monitoring program was not going to be a small task but they decided to give it a try. Seven years later, the bird monitoring program is a huge success.

Since 2008, they have been trapping and banding birds in six different agricultural land uses within the CATIE campus. They band and release wild birds in forest, pastures divided by live fences, cacao, multistrata and simple agroforest coffee and sugar cane plantations. To date, they have banded 9,000 birds, including 56 species of neo-tropical migrants.

Our crew filmed a wonderful scene with Alejandra handling a Mourning Warbler, which had come back to CATIE after being banded in the same site the year before. Most common migratory songbird species visiting their mist nets are the Yellow and Chestnut-sided Warblers, Northern Waterthrush, Mourning and Tennessee Warblers, Alder Flycatcher and Swainson’s Thrush. Some of the rare or one-time visitors include Blue-winged and Golden-winged Warblers, Bay-breasted and Blackpoll Warblers.

Alejandra is very concerned about how monoculture farming is affecting diversity and habitat on coffee farms. She is currently conducting experiments to prove that birds can have a significant effect on reducing harmful insects, like the crop damaging coffee berry borer. She says if they can convince the local farmers that the birds can do just as good a job as chemical pesticides, it will be really good for the birds, because more farmers will want to have more diverse crops to attract more birds to their farms, and the farmers will in turn save money on pesticides. Reducing pesticides benefits the whole ecosystem in many ways.

In the last seven years, hundreds of visitors from many different countries and backgrounds have come to visit CATIE. Each of the visitors leaves the bird banding stations knowing a little bit more about songbird conservation in agricultural lands and the importance of saving all species for a balanced ecosystem.

Watch for Alejandra on screen in The Messenger, to be released later this year.

songbirds

Mixing Sound – a sensory experience of place

In filming The Messenger we travelled to three different continents, and each place we went possessed a unique acoustic and auditory character. From the editing to the final mix, I felt it was imperative that we fully articulate this sensory experience of place and time.

“With every film you have to find the language that suits the film. The tone of the characters, quality of the voices, the sense of unfolding time and emotion of the story.”

Related posts:

The Messenger – World Premiere at Hot Docs

Ultimately, The Messenger is about what the birds have to tell us about the state of our planet and of ourselves.

Related posts:

Soundtracks – where do they begin?

Many elements go into the creation of a good documentary soundtrack, but one key ingredient is great location sound.

Because the birds would be different everywhere we went, we had to ensure that we recorded the unique sounds of every place we filmed.

One of the most important ingredients of a great sound track is music.

Related posts:

The Messenger’s Cagan Şekercioğlu’s Environmental Request while Accepting a Prestigious Award

Related posts:

Songbird Monitoring in Costa Rica with Alejandra Martinez-Salinas

Related posts: