qoojuice

Category: year2

  • Sonic and aural studies reflection

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    Haobin Liang
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    Advantages: First, I believe my written content is well-crafted, and the overall development follows a rational and logical progression rather than being overly fragmented. My work this time resembles more of an educational blog post or an article with instructive qualities. Secondly, I think the final product turned out quite well. from recording to editing,…

  • Sonic and Arual Studies narration recording

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    Haobin Liang
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    Initially, I started by writing a complete draft. However, as I progressed, I realized that a more fragmented approach would actually be more helpful for the recording process. By fragmented, I do not mean working in broken-up time segments, but rather completing one section of content before moving on to conceptualize the next. I am…

  • Sonic and Aural week7

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    Haobin Liang
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    In Anna Friz’s work How to Pack a Whale, I experienced a sense of spatial and temporal transformation. The artist’s use of various environmental and electrical sounds left me deeply impressed. Initially, I held the assumption that radio art should be aesthetically pleasing, yet Anna deliberately subverted this expectation. She focused instead on crafting atmosphere…

  • sound for screen outcome review

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    Haobin Liang
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    Strengths:I consider this a significant challenge for myself, and I believe I performed quite well. I abandoned my previous visual way and instead experimented with a more stream-of-consciousness approach to express everything. In terms of the soundtrack, I think the composition and arrangement were more complete and mature, with well-executed emotional progression and section planning.…

  • Sound For Screen field recording

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    Haobin Liang
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    This video documents the process and some reflections on my field recording session. During this recording, I focused primarily on the noise and irritating sounds around Moorgate. For me, the central question I kept reflecting on while recording was: with so many streets and alleys filled with such overwhelming noise, can we still find a…

  • sound for screen foley making

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    Haobin Liang
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    Before starting Foley recording, I added a timecode to the video to ensure better organization of the recording start and end times. This is the process of recording footsteps. Footsteps make up the largest portion of my Foley recording work. I experimented with walking on different types of flooring surfaces, and it was crucial to…

  • Sound For Screen Score making

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    Haobin Liang
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    First, I used an A minor key and chord progression to establish the basic framework. It begins with dreamy, ethereal piano playing broken chords, then shifts to block chords accompanied by another airy synth that carries the melodic line. Instead of following conventional pop music rules for melody, I opted for smoother stepwise motion to…

  • Sound for screen shooting

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    Haobin Liang
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    This time, I didn’t prepare a script in advance, but started shooting directly guided by intuition. Compared to my previous approach of meticulously arranging scenes and lighting, I decided to keep everything simple. All actions were primarily focused on interacting with the environment. I didn’t want an overly exaggerated or complex narrative and storyline. Instead,…

  • sound for screen visual reference

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    Haobin Liang
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    I didn’t want to set a specific visual style for myself in the first place, so I decided to start by making some collages. Here are some I created to help develop a clearer direction. Based on these collages, I’ve realized that I want a visual style that is more vibrant, rich in color, and…

  • Sound and Aural week6 reflection

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    Haobin Liang
    in ,

    After sharing the ideas in the class, I came up with several questions that I want to think about. How does sound become the primary carrier of information? Moreover, how do we distinguish between what is real and what is false within sound or language? To give a very common example—lies and imagination.Could the acoustic…