As the Sound Recordist, Sound Engineer, and Editor for One Must Fall, I played a critical role throughout the film’s pre-production, production, and post-production phases. The film’s fast pacing and
unconventional narrative gave me the opportunity to explore experimental techniques in both sound and
visual post-production.
Pre-Production:
Having gone through several versions of the script, I discussed the pacing and
tone of the film in detail with the Director. As the Editor, I emphasized the
importance of sufficient coverage, especially for a film that required rapid scene
transitions. From the sound perspective, I conducted a technical rehearsal prior to
the main shoot, during which I recorded detailed room tones and several planned
Foley sound effects in collaboration with the Director. This proactive approach
ensured smoother audio continuity during production and post-production.
Production:
On set, I made a deliberate choice to deviate from traditional lav mic placements.
Instead of wiring actors, I rigged lav mics directly inside the car’s interior. This
allowed me to capture both clean dialogue and immersive ambient sounds, which
were crucial to the film’s claustrophobic atmosphere. I used the Zoom H8 to
record and organize multitrack audio, assigning specific tracks for dialogue,
ambient, and effects—ensuring efficient sync and post-processing. Due to the
small crew and my multiple responsibilities, I was also operating the boom mic
throughout the shoot, which made it infeasible to fill out a conventional sound
report. However, I compensated for this by maintaining meticulous verbal logs and clearly labeled files.
Post-Production:
Immediately after production, I began syncing and organizing footage. Each scene folder contained one video file and three separate audio tracks, creating a streamlined workflow.
I also created the title sequence using Adobe After Effects, taking creative inspiration from the opening credits of Marvel’s Black Widow. I utilized tools like Fractal Noise, Glow effects, and opacity randomizers to build a dynamic, grunge-like visual style that matched the film’s tone.
For sound design and mixing, I incorporated the room tone captured during technical rehearsals to maintain consistency across cuts. The music for the film was composed in-house using Cubase software.
The soundscape was built from a selection of effects and instruments such as:
● AT Crystal Palace and AT Cyber Storm – for tension-heavy sequences.
● FX Construction Start, FX Fall Dream, and FX Wipe Out – to heighten specific transitions.
● Cinematic 2: Drums (DL Drums of Terror) and FX Panning Drone – used during the end
credits to create a lingering impact.
● BA Zombie bass – introduced just before Magnus pulls, adding a subtle build-up.
● Factory>Synth>Cinematic 1 – used during the pivotal scene where Vincent discovers the gun.
● Additional motifs such as Time to Think supported psychological beats, especially during internal monologues or moments of suspense.
Remarkably, the entire edit was locked within a day of wrap, allowing the team to focus fully on finalizing the sound and music. The original score was composed by our team collaboratively, tailored specifically to sync with the emotional beats and pacing of each scene.
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