FMP Production Journal PDF

Daisy Grace Wakefield
Wakefield Productions
Discover Ussuriland
17th JUNE 2016
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Production Journal

Overview

1.
WHO IS THE CLIENT

The client for this project would be myself as I am not creating music with the aid of anyone or for
someone's else i.e. a band or individual musician. The brand or company name I will work under
will be Wakefield Productions.
2.
WHAT IS THE TARGET GENRE

The genre of my piece would be classed as soundtrack, as I am synchronizing music and sound
effects to a moving image. Media forms that would come under this are, films, television and
video games.
3.
WHO IS YOUR AUDIENCE ? DEMOGRAPHIC & PRECEDENTS IN THE MARKETPLACE
Demographic
As I have decided to compose for a moving image (soundtrack), I would say my audience would be
for film and television producers. By creating a sound tack to the documentary, I hope to use this to
show my audience what I can do and that I am interested in this field of music and sound to
hopefully work on television and film scores within sound design/music.
Precedents
As the genre soundtrack includes all media formats which use music to a moving images, such as
film, television, video games, there's a vast number of people who have done this, despite sticking
to their preferred discipline, i.e. preference to compose for video games over film and vice versa.
For film, notable people include John Williams (Jurassic Park), Hans Zimmer (Gladiator), Danny
Elfman (The Nightmare Before Christmas), James Horner (Avatar), Paul Newton (Hunger Games) and
Randy Newman (Toy Story).
For video games: Hans Zimmer (Kingdom Hearts ||), Harry Gregson-Williams (Call Of Duty: Modern
Warfare) and Austin Wintory (Assassin's Creed Syndicate).

Production Journal

For Documentaries; George Fenton (BBC The Blue Planet) and John D Keltonic (CNN's Autism Is A
World)
4.
INSERT SOCIAL MEDIA HYPERLINKS
5.
Vidme https://vid.me/daisymiskin17
YouTube - https://www.youtube.com/channel/UC_Mj32c5gfS8hoUuvCGnNMg
Tumblr - http://daisyprivate17miskin.tumblr.com
Soundcloud (copy of audio) - https://soundcloud.com/daisycollegemiskin
Scribd - https://www.scribd.com/user/268540602/Daisy-College-Work
RELEVANT GENERAL PRODUCTION/RECORDING TECHNIQUES

To create my sound track, I will use logic to edit my soundtrack together, combining
music and sound effects. Most of them will be pre-recorded and taken from free sound
effects websites while I will record some myself. Music will be composed in both Logic
and Sibelius.
6.
PRODUCTION GOAL/NUMBER OF TRACKS

My goal for this project is to create a soundtrack to a nature documentary that lasts at least 20
minutes long. I would use my own laptop and a mixture of Logic, Sibelius, pre-existing as well as
recorded in sound effects to complete the project.
7.
ADD JPEG

Production Journal

I have decided to talk about three specific scenes of my documentary in detail and talk a little bit
about each of the remaining scenes as one journal entry. All instrumentation used throughout this
documentary are programmed Sibelius or logic instruments. There are no recorded in instruments.
SCENE 1 INTRODUCTION - (00.00 04.38)

RECORDING/PRODUCTION PROCESS
1.
INSTRUMENTATION AND SOUND SOURCES; IE; DRUMS (PROGRAMMED, OR

RECORDED), BASS, GUITARS, SYNTHS, VOCALS, SAMPLES, OTHER SOUND SOURCES
Instrumentation (programmed) used during this introduction scene includes a piano, flute,
orchestra timpani, bass drum via an orchestral kit, toms via a percussion kit, clap sounds via a
percussion kit, orchestral kit, tin toms via an orchestral kit and a gong via an orchestral kit.
Diegetic sounds used during the introduction include wind 1, wind 2, wind 3, wind 4, wind 5, wind
6, snow, wind 7 (birds), wind 8 (birds), seabirds, walking on leaves, eating, chipmunk calling,
crickets at night, birds in trees, breaking ice and screaming hawk sound effect.
2.
INSPIRATION TRACK AND TARGET SOUND; KEY CONSIDERATIONS IN

ACHIEVING YOUR SPECIFIC GENRE RESULTS. USE OF EFFECTS, RECORDING
TECHNIQUES AND MIC PLACEMENTS.
An inspiration track throughout was always the original. I feel as if the composer and sound design
team working on this piece of film portrayed the environment perfectly though the medium of
music, sound track, and so used the music composed for their own opening scene as a guide and
for inspiration to generate my own ideas.
LINK Original National Geographic documentary.
(https://www.youtube.com/watch?v=6vEkdPOoNRU)

Production Journal

Another piece of music I looked to for ideas was Claude Debussys Clair De Lune. I felt that this
piano piece was a very light and peaceful. It reflected the calmness and beauty of nature and
helped produce a serene atmosphere to start off the documentary before changing into
something more dramatic and heavier for the opening titles.
LINK Claude Debussy Clair de Lune (https://www.youtube.com/watch?v=CvFH_6DNRCY)
3.
RECORDING AND PRODUCTION TECHNIQUES; KEY INSTRUMENTS. SONG AND

COMPOSITION DETAILS; STRUCTURE, CHORDS, MELODY. MAKE COMPARISON,
WHERE POSSIBLE WITH DISTINCTIVE REQUIREMENTS OF GENRE.
The opening texture is homophonic with the last chord being a spread chord. The key is
G major and is in 2/2 time or cut time. Some of the chords change along with the scene
moving from a landscape shot to one of animals to help move the documentary along
(00:28 00:47).
Its length lasts for 19 bars in a binary form (A and B) with section be more of a repeat an
octave higher than
A. Bars 1-9 A and
bars 10-19 B
(octave higher).
The drum music for
the titles is a simple
drum rhythm
consisting of dotted
quavers,
semiquavers and
crotchets that builds
with added bass

Production Journal

drum for depth, faster orchestra kit tin toms to help pick up the pace. This piece is also in
G major but in 4/4 time or common time.
4.
YOUR MIX; USE OF PROCESSING EFFECTS (EQ, COMPRESSION, REVERB). HOW DID
YOU USE THESE EFFECTS TO SHAPE YOUR END RESULT? INCLUDE SCREENGRABS
AND HYPERLINKS TO
AUDIO AND VIDEO
WHERE POSSIBLE.
Used EQ and Reverb to
enhance an ice breaking
sound effect. The original
effect was very light and
you could hear the ice
breaking quickly and
there was not any reverb
to suggest that it was a
bigger piece of ice breaking. What I
wanted was the sound a glacier or large
block of ice cracking. I cut away all
frequencies above 1kHz to create a
deeper cracking sound and selected the
forest echo reverb pre-set, increasing
the rev bar to half way to help me
achieve this sound which I think works
very well. (01:55 02:10)

Production Journal

1. EVALUATION; WHAT WAS SUCCESSFUL, WHAT WAS LESS SUCCESSFUL. HOW

DOES IT MATCH THE REQUIREMENTS OF YOUR GENRE/STYLE?
I think that this section was very successful as I helped to open the piece with a calm atmospheric
feel with the soundtrack guiding the documentary through the introduction into the first animal.
I think that it could have been better if I had use a few more sound effects in parts as you can see
on screen that there should be noises such as animal calling, walking through snow and running
through water and there isnt a corresponding sound effect.
SCENE 4 - (06:51 09:36)

1.
INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS, GUITARS,

SYNTHS, VOCALS, SAMPLES, OTHER SOUND SOURCES
Instrumentation (programmed) used in this scene includes clarinet legato and bassoon
legato.
Sound effects (diegetic) used include seabirds, ocean, ducks 1, ducks 2, underwater
sound effect, big waves crash, seal sound effect, owl hooting, barrel owl calls, wind
sound effect snow storm and snow.
2.
INSPIRATION TRACK; PROVIDE LINK TO EXAMPLES OF THE DESIRED OUTCOME.

TARGET SOUND; KEY CONSIDERATIONS IN ACHIEVING YOUR SPECIFIC GENRE
RESULTS. USE OF EFFECTS, RECORDING TECHNIQUES AND MIC PLACEMENTS.
(08:58 09:32) I created a motif for the pine martin from the opening of Bachs Chromatic fantasy
and shared the melody between the clarinet and bassoon. I wanted to keep the fast scalic runs to
match with the pine martins fast movements in the documentary. I did not want to over complicate

Production Journal

the melody as the animal is enjoying the snow and is not being hunted or chasing another animal;
therefore more dramatic instruments and melodies are not needed such as strings and drums.
LINK Johann Sebastian Bach, Chromatic Fantasy for Clarinet
(https://www.youtube.com/watch?v=zEggChq5zgo)
(08:57 09:32) I could not find any realistic sound effects of someone or something walking
across snow, so I recorded my own snow crunching sound with tissue paper and using my IPhone
6 microphone. I recorded a few takes while creating the sounds while watching the documentary
at the same time so that the timing was correct. Once satisfied and uploaded into logic, and
played around with EQ and reverb to try and create a realistic sound. I wasnt happy with the
manipulated sounds so decided to come back to the snow sound once I had finished all the other
sound effects. I removed all EQ and reverb settings on my snow sound effect and placed the snow
sound slightly lower in the mix (-33.0dB) and found this to be the best place to put this sound
effect and that for it to sound realistic, it did not need any effect put onto it. I discovered that on
other pre recorded sound effects, and ones I recorded myself, they needed very little
manipulation, if any was required.
3.

The only instruments used are
legato clarinet and legato
bassoon. The melody is more
chromatic than diatonic. The
melody between the clarinet
and bassoon is a direct repeat creating a three section piece; A/ A bassoon/ B. The piece
is in 4/4 time (common time). The faster parts of the melody correspond to whats
happening in the documentary with the pine martin running around or away.

Production Journal

4.
AND HYPERLINKS TO AUDIO AND VIDEO WHERE POSSIBLE.
Unless the effects used came with the pre-set instruments, I did not add any compression, EQ or
reverb
to this
scene. I
made sure that with all my instruments and sound effects that they all had enough headroom,
although most of them I put quite low in the documentary mix. I used panning in all of my scenes
but for this scene in particular, I only panned two of my sound effects, the bird chirping and owl
hooting to give the effect of the birds moving, different birds making a noise as well as when the
camera jumps to different parts of the scene
5.
EVALUATION; WHAT WAS SUCCESSFUL, WHAT WAS LESS SUCCESSFUL. HOW DOES
IT MATCH THE REQUIREMENTS OF YOUR GENRE/STYLE.
I think that there are some parts of this scene that are successful such as the motif to the pine martin but
overall; I would say that this scene is not successful in meeting the requirements of my chose genre. Seeing
as my chosen genre is sound track, there isnt one to this scene; there is only a small section of music lasting
less than 40 seconds, although I find the music there to be appropriate. I think also the lack of effects such
as compression, reverb and EQ let me down as there is a possibility that adding such effects to even a few
of my sound effects could of made a huge different in terms of being more realistic and believable that
these sounds were recorded when the footage was. I do think by listening to this scene it appears as if it fits
the genre sound track, but due to the lack of music, despite sound design, more music could have been
written for this scene.
If I was to do this scene again I would experiment with compression, EQ and reverb on my sound effects
and instrumentation to see if it makes my work sound more realistic and compose music for more of the
scene a well as having narration throughout the whole documentary as well.

Production Journal

SCENE 7 (LAST SCENE)

(16.10 20.27)
1.
INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS, GUITARS,

SYNTHS, VOCALS, SAMPLES, OTHER SOUND SOURCES
Instruments (programmed) that were used include Viola section pizzicato, harp, piccolo 1 and 2,
flues 1 and 2 and viola section legato.
Sound effects used include little splashes, raccoon dog sand, crane bird, birds chirping,
underwater sound effect, water stream sound effect and wind.
2.
INSPIRATION TRACK AND TARGET SOUND; KEY CONSIDERATIONS IN

ACHIEVING YOUR SPECIFIC GENRE RESULTS. USE OF EFFECTS, RECORDING
TECHNIQUES AND MIC PLACEMENTS.
My inspiration track for the underwater part (16:46 18:44) of this scene was Camille Saint-Saens Carnival
of the animals movement 7 out of 14 Aquarium. The piece uses strings without a double bass, flute, glass
harmonica and two pianos. I wanted to use similar instruments while also keeping it minimal. Using the
higher octaves of these instruments; harp, flutes 1 and 2, piccolo and violin section legato; I feel as If I have
created a light and tranquil piece of music to fit in with the stillness of what lies in the oceans. I also wanted
to try and create a piece, which sound like eastern music. This is due to the location of the documentary
footage being filmed on the Russian/Chinese border and wanting to make a connection between the two.
LINK - Carnival of the Animals Aquarium Camille Saint-Saens

(https://www.youtube.com/watch?v=XCBDlC0N8Rc)

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Production Journal

Before composing for the underwater scene, I decided that there needed to be an introduction to
it. I played around with instruments and different starting notes until I created something that
reminded me of Maurice Ravels Bolero (16:09 16:55). I added in pizzicato viola section to add
to the atmosphere to create anticipation of what the scene has to offer instead of using a light
snare drum ostinato.
LINK Maurice Ravel, Bolero (https://www.youtube.com/watch?v=r30D3SW4OVw)
I listened to Claude Debussys Prlude l'Aprs-midi d'un faune for the first minute and use this as
inspiration to create a motif for the raccoon dog as this part of the scene needed something other
than just sound effects, diegetic sound. (19:06 20:17) I think if I had narration in my
documentary then I would not of had any music at this part. I used this as my inspiration track as
Debussys piece is based on a fawn alone in the afternoon, minding its own business and the
raccoon dog in this scene is doing the same thing, going about its day without any threat and so
wanted to compose a motif that reflects an innocent, serene gentle animal.
LINK - Claude Debussy, Prlude l'Aprs-midi d'un faune

(https://www.youtube.com/watch?v=bYyK922PsUw)
3.

For the underwater part of this scene, they key is F major and I would say that its music structure
fits that of a binary structure with the addition of and introduction and a coda at the end.
Introduction/ Section A/ Section B/ B slightly modified/ Coda

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Production Journal

I would say that key instruments for this part include the harp, piccolo and flute as I feel that these
instruments help to keep the documentary moving forward and set the tranquil atmosphere. It has
a very thin
texture in
parts, being
monophonic,
homophonic
and
polyphonic in
parts. The
piccolo has the
main melody
that has some
leaps and
rising sequence. The chords used in the harp sound bare, or weak, and do not use all the notes of
the chord or some notes are doubled as well as inverted.
For the raccoon dog, the melody on the piccolo is chromatic with one leap at the end making it
legato with a very thin monophonic texture. I would describe this parts structure as a motif for the
raccoon dog to help show its character and also set the mood to one thats calm showing that this
animal is not a treat or something to be scared of.
4.
I could not find any suitable digging sounds for the raccoon dog, so like the ice cracking
recording, I recorded one myself using sugar and an IPhone 6 microphone. Once recorded, I cut
away frequencies above 2.5kHz and added a small amount of reverb to create a realistic digging
sound.

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Production Journal

5.
I would say this this is my most successful scene in terms of the music composed. I feel that the
instruments chosen to create the accompanying music are suitable as well as the slow legato
melody as opposed to a fast staccato one.
I also feel that the creation my own sound effect for the raccoon dog digging was a success. Using
sugar and an IPhone 6 microphone as well as EQ and reverb to make the sound slight deeper and
more realistic to that of sand being dug.
I think this scene could have benefitted from more sound effects such as when the raccoon dog
shakes off water (18:51 18:54) and when the bird flies away (19:45 19:50). I believe that
adding sound effects here would have added to the scene as while you are watching, you expect
there to be a sound.
ALL REMAINING SCENES [all remaining scenes]


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1.
INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS DRUM,

GUITARS, SYNTHS, VOCALS, SAMPLES, OTHER SOUND SOURCES
Instrumentation (programmed) that was used in all remaining scenes includes;
Scene 2 (04:39 06:07) percussion kit bass drum, orchestra timpani, violin section 1-4
and violin section legato 1-4,
Scene 6 (12:03 16:07) flute and clarinet legato.
Sound effects used in all remaining scenes include;
Scene 2 (04:39 06:07) wind, grass/leaves, water splashing 1 and 2, lake and
water, little splashes.
Scene 3 (00:00 00:00) frogs croaking at night, coyote barking, crickets chirping,
night owls.
Scene 5 (09:35 12:02) heavy rain, birds and wind, fast river, violent thunder,
thunder sound effect, river, sunny day, underwater sound effect, water stream
sound effect.
Scene 6 (12:03 16:09) wind, early morning sound effect, lake, birds chirping,
little splashes, call of owls, water stream, owl, toads, coyote background,
chipmunk, crickets chirping, owl splash and owl calls.
2.
INSPIRATION TRACK and TARGET SOUND; KEY CONSIDERATIONS IN ACHIEVING

YOUR SPECIFIC GENRE RESULTS. USE OF EFFECTS, RECORDING TECHNIQUES AND
MIC PLACEMENTS.
For scene 2, I took inspiration from the original using drums to build a deep tense, uneasy,
atmosphere (04:39 06:06). I added in violins to add to the feeling of being uncomfortable, tense
or on edge as this instrument is used a lot, especially in horror films, to bring a scene that
something is not right or something is about to happen, adding to the atmosphere.

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Production Journal

LINK Original scene 2 inspiration (https://www.youtube.com/watch?v=oCwwIMdBwoU)
3.

For section 6, the chipmunks motif has some chromaticism and has two parts to its structure.
Bother parts are A but the second part of the melody is taken over by the clarinet. They key is C
Major and is in 4/4 time. If I
were to compose this section
again, I would add in a piano
with supporting chords and
create a more exciting
melody as I think that this
piece isnt very engaging or exciting. I this what I have composed helps to describe the chipmunks
character and helps to establish the time and place. I do think music is necessary here, even if I did
have narration in my documentary as it does help set the mood and the mood after the chipmunk.
4.

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For scene 6, I used a lot of panning for the bird chirping and coyote sound effect. I did
this because sounds come from all different directions and if you were standing in that
location, you would be hearing birds and all kinds of animals from every direction so
wanted to make it as realistic as
possible.
I have noticed that there is a huge
lack of using effects such as
compression, reverb, EQ and so
on unless they are already added to processed instruments. I found that when adding
sound effects to my documentary, once I had created more headroom, as the sound
effects were too loud, they fitted in with the documentary and so felt no need to add
these effects, unless I recorded the sound effects myself. If I was to do this again, I would
make sure that I experimented with different effects to see if they help to create a more
realistic or desired sound.
5.
Evaluation the remaining scenes, I think they would have been more successful if I had included
narration. There are two scenes 3 and 5, which I did not compose any music for. I believe these
scenes would have benefitted from having narration rather than music.
Apart from scene 2, I think that I havent fully fulfilled the criteria of soundtrack, as I believe there
are parts of the documentary that could of benefited from music to help move the documentary
along and add in some dramatic impact.
I think overall, looking at the piece as a whole, that I have created a piece that can be successful,
but looking at my genre of sound track, I think that it would have been much better if I had added

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narration and composed more music for each scene meeting the criteria of the soundtrack genre,
while composing for a documentary.
MARKETING
1. WHAT IS IT? REMIX, COVER VERSION, VIDEO
My marketing tool is a 36 second promotional video showing some of the video clips from
the documentary with music from the documentary showing the title and date of its release.
2. PROVIDE LINK TO MARKETING TOOL
Sound cloud (copy of audio) - https://soundcloud.com/daisycollegemiskin
3. WHY COULD IT PROVE EFFECTIVE IN ATTRACTING TRAFFIC TO YOUR PROJECT WORK?

I think it could be an effective way to attract traffic to my work because I have mentioned the title of
my piece, the release date and the production company. I believe that mentioning the production
company will help the audience find other work created by me, therefore opening up my work to a
wider audience. Having the title and release date are both very important pieces of information
otherwise how will my work be watched or listened to. It would also tell the audience when to go
back to the Wakefield Productions website to watch the documentary.
Also, the promotional video is something that could be shared on social media platforms such as
Facebook, Instagram and twitter as its a short video and on these websites, there are occasionally
adverts for artists tours, new music videos, film trailers and television programmes.

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4. PRODUCTION TECHNIQUES; WHAT SPECIFIC TECHNIQUES DID YOU NEED TO

CONSIDER/USE IN ORDER TO ACHIEVE THE DESIRED END RESULT.
For my genre,
soundtrack, I had to
make sure that the
music composed for
my marketing tool was
appropriate by creating the right atmosphere by using suitable instruments as well as appealing
visuals. I took music from the title sequence (00:47 01:14) which incudes a percussion kit bass
drum, percussion kit toms, percussion kit clap, orchestral kit tin toms and orchestra hit. More
reverb was added to the percussion kit bass drum to give the music more of a nature/jungle feel.
When creating the video for the marketing tool, using iMovie, I used short snippets from the
documentary adding in title shots and transition effects such as fade to black with information
about its release, production company, the name of the documentary and who created it.
5. ADD DETAILS, AND LINKS, OF SITES OR COMMUNITIES WHERE YOU COULD POST YOUR
MARKETING TOOL (OR LINKS TO) THAT MAY PROVE PRODUCTIVE IN DRIVING TRAFFIC
TO YOUR PROJECT MATERIAL.
Facebook/ Twitter/ Instagram
Posting the promotional video on these websites would send my work out to a wider audience who

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could then share with friends spreading my work out to more people creating traffic to my website
containing all my portfolio.
Sound cloud (copy of audio) - https://soundcloud.com/daisycollegemiskin
Posting just the audio to sound cloud, despite the website not supporting video formats, could make
people interested in what the audio was created for. In the description, if I add in all the relevant
information, this could also create desired traffic to my work.
6. EVALUATION; HOW SUCCESSFUL HAVE YOU BEEN IN CREATING YOUR MARKETING

TOOL? WHAT COULD BE IMPROVED? MIGHT YOU TRY SOMETHING DIFFERENT NEXT
TIME?
I think that I have made a successful marketing tool as I have included information about its
release, the documentarys name, who it is made by and used the film clips from that documentary
instead.
I think that the music used is appropriate. The music on the marketing tool comes from the
opening titles of the documentary, helping to tie those two together. I also think that the music is
complementary to the documentary subject as well as a good example of this genre.
I could improve my marketing tool by adding in sound effects and providing a link or where to go
to watch the documentary. This would help show off my sound design skills to my target audience
so that my marketing tool could also act as another project to display my skill set.
If I were to create this again I would add in the company logo so that when people are searching
for my work, they can recognise it due to the logo/artwork available.
If I was to create another marketing tool I would create a poster featuring the company logo, some
still images from the documentary which has a link that would take the audience to my work were
they can watch it and potentially share with others on social media and help as being another
marketing tool.

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Overall Evaluation
AS A WHOLE, HOW DO YOU THINK YOUR PROJECT RATES AS A VIABLE PRODUCT?
CONSIDER EACH POINT INDIVIDUALLY.
1.
MUSICALLY AND TECHNICALLY; WHAT DO YOU CONSIDER TO BE THE

STRENGTHS OF YOU FINISHED PRODUCTIONS TECHNICALLY? DO THEY SOUND
COMPETITIVE WITH EXISTING EXAMPLES IN THE MARKETPLACE? IF NOT, WHY?
Of my finished project, I would say that a strength was how well the sound effects work with each
scene and how well they blend together. Whilst working on the sound effects, I watched different
documentaries to see what they did with the sound design, how they blended them together,
when they changed, how loud they were and tried to copy them the best I could and have the
sound effects part of my soundtrack to sound as professional as possible.
As my genre is sound track, the audio has to fit in with the visual. I feel the way that the sound
effects and some music sections fit in with the visual is a strength of my finished product. I also
think that how the video clips and audio blend in with each other when switching from scene to
scene works very well.
I think that my product is competitive and can rival existing documentaries out there. Some
software and equipment I used was not to the same standard as used by top film and television
studios. However, I believe that with all the time and effort I have spent going over the little details,
trying to get the timings exact, the sound levels balanced and the use of effects such as panning,
EQ and reverb that it is still to the same standard as those made by film and television studios.
What I found challenging was composing music to the difference scenes and being restricted with
the amount of time I had to compose for. I feel that if I had composed music before and then found
clips to edit and fit with the music that would have been easier, but it does not work like that. I feel

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that I need more practice composing music for scenes and also have a knowledge of when music
is appropriate.
In documentaries, there isnt continuous music. There are long sections of music, narration (which
my documentary does not have), at times no music at all and then small sections of music. It is
knowing and judging when a scene needs music as one composers may have music at 11 minutes
32 seconds where was another would have silence and another would have a small snippet of
music.
I feel that some sections of the music I composed could be improved and are not to a standard
that I am happy with. To help me with the use of sound effects and music, I listened to other
documentaries, I also paid attention to their use of music. I could understand why composers used
music where they did and where they didnt. I feel that for me, there are obvious scenes that
require music to help create the atmosphere but additional pieces of music, which are use to add
to the films impact, I think I still need to work on judging and creating. Therefore I feel as if the
composed music isnt to the same standard as other documentaries out there.
I feel that the use of production techniques were very successful helping to add to the diegetic
sound of the documentary. For example, using reverb and EQ and (01:55 02:10) to help make
the ice cracking sound effect sound deeper added to the atmosphere. The original sound effect
was too light and was too short, but by combining these two techniques, I feel it creates a good
use of diegetic sound and shows a successful use of production techniques.
If I was to do this again I would look into using more effects such as reverb, compression and EQ
using auxiliaries to help achieve this. I would also look into sampling sound effects to use again
and also add layers to the sound I wanted to achieve. I have talked about adding in narration to my
piece and this is something I would consider if I was to do this again as I feel that this would help
me to know when to and when not to include music.

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2.
MARKETING; DO YOU THINK, LEAVING ASIDE MUSICAL AND TECHNICAL

CONSIDERATIONS THAT YOURE PRODUCT COULD BE VIABLE (successful,
practical)? IS YOUR ARTWORK APPROPRIATE? WOULD YOUR MARKETING TOOL
FEASIBLY WORK AS A MEANS OF ATTRACTIVE TRAFFIC?
I believe that my product could be viable. For example, I have created and used a professional
looking production company name and logo. The name and logo is not too fancy or over the top.
It is very simple and basic and does the job of showing that I care and I am serious about what I do.
The marketing tool would be an effective way to attract traffic to my work, existing work and any
other work I do in the future.
The promotional video shows imagery from the documentary as well as appropriate music, which
is also a feature of the opening titles. As the promotional video is short (36 seconds) and contains
relevant information, it can be uploaded to social media to be shared with a wider audience. I think
that starting off it would not attract my goal audience but in time, it will attract the attention of my
target audience, those who work in film and television.
3.
HOW COULD YOU MONETISE YOUR PRODUCT? SALES THROUGH ITUNES,

EXCLUSIVE CONTENT STREAMED VIA SPOTIFY? ADVERTISING EVENTS/GIGS FOR
YOUR PRODUCT/ARTIST.
One-way I could monetise my documentary could be to upload it to my website and allow

between every scene a short 10 second advert to be played. I could also have adverts around the
clip, like on YouTube to make more money from my work. It could work by every 1000 views I get a
certain amount or each time someone clicks on the advert I get a little more.
If the video clips used were also created by me, a potential way to monetize my video is that if I
have enough traffic coming to the Wakefield Productions website, I could create a YouTube
account and post the video to YouTube. Monetization will only work if I meet the eligible criteria
to monetize my videos, meaning everything I upload is my own work and if it is not I have written

22
Production Journal

permission from whose work I use. If successful, it could be another way to make money from my
work.
One other way I could profit from my work could be to buy black disks and copy my documentary
onto it and sell them at a sight profit. This would not be the best option but it could be a useful way
of getting my work out to people and find more opportunities.

23

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Daisy Grace Wakefield

[Street Address], [City], [State] [Postal Code]

WHO IS THE CLIENT

WHAT IS THE TARGET GENRE

WHO IS YOUR AUDIENCE ? DEMOGRAPHIC & PRECEDENTS IN THE MARKETPLACE

INSERT SOCIAL MEDIA HYPERLINKS

RELEVANT GENERAL PRODUCTION/RECORDING TECHNIQUES

PRODUCTION GOAL/NUMBER OF TRACKS

Daisy Grace Wakefield

SCENE 1 INTRODUCTION - (00.00 04.38)

INSTRUMENTATION AND SOUND SOURCES; IE; DRUMS (PROGRAMMED, OR

INSPIRATION TRACK AND TARGET SOUND; KEY CONSIDERATIONS IN

RECORDING AND PRODUCTION TECHNIQUES; KEY INSTRUMENTS. SONG AND

Daisy Grace Wakefield

Daisy Grace Wakefield

1. EVALUATION; WHAT WAS SUCCESSFUL, WHAT WAS LESS SUCCESSFUL. HOW

SCENE 4 - (06:51 09:36)

INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS, GUITARS,

INSPIRATION TRACK; PROVIDE LINK TO EXAMPLES OF THE DESIRED OUTCOME.

RECORDING AND PRODUCTION TECHNIQUES; KEY INSTRUMENTS. SONG AND

Daisy Grace Wakefield

Daisy Grace Wakefield

SCENE 7 (LAST SCENE)

INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS, GUITARS,

INSPIRATION TRACK AND TARGET SOUND; KEY CONSIDERATIONS IN

LINK - Carnival of the Animals Aquarium Camille Saint-Saens

Daisy Grace Wakefield

LINK Maurice Ravel, Bolero (https://www.youtube.com/watch?v=r30D3SW4OVw)

LINK - Claude Debussy, Prlude l'Aprs-midi d'un faune

RECORDING AND PRODUCTION TECHNIQUES; KEY INSTRUMENTS. SONG AND

ALL REMAINING SCENES [all remaining scenes]

Daisy Grace Wakefield

INSTRUMENTATION; IE; DRUMS (PROGRAMMED, OR RECORDED), BASS DRUM,

Scene 6 (12:03 16:07) flute and clarinet legato.

Sound effects used in all remaining scenes include;

INSPIRATION TRACK and TARGET SOUND; KEY CONSIDERATIONS IN ACHIEVING

LINK Original scene 2 inspiration (https://www.youtube.com/watch?v=oCwwIMdBwoU)

RECORDING AND PRODUCTION TECHNIQUES; KEY INSTRUMENTS. SONG AND

Daisy Grace Wakefield

3. WHY COULD IT PROVE EFFECTIVE IN ATTRACTING TRAFFIC TO YOUR PROJECT WORK?

4. PRODUCTION TECHNIQUES; WHAT SPECIFIC TECHNIQUES DID YOU NEED TO

6. EVALUATION; HOW SUCCESSFUL HAVE YOU BEEN IN CREATING YOUR MARKETING

Daisy Grace Wakefield

MUSICALLY AND TECHNICALLY; WHAT DO YOU CONSIDER TO BE THE

Daisy Grace Wakefield

Daisy Grace Wakefield

MARKETING; DO YOU THINK, LEAVING ASIDE MUSICAL AND TECHNICAL

HOW COULD YOU MONETISE YOUR PRODUCT? SALES THROUGH ITUNES,

One-way I could monetise my documentary could be to upload it to my website and allow

Daisy Grace Wakefield

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