LO4: Presenting product to an audience to gain feedback

TO GAIN FEEDBACK WE SENT A SAMPLE OF OUR AUDIO TO PEOPLE THAT FIT WITHIN OUR 16-24 YEAR OLD DEMOGRAPHIC (C2DE SOCIAL GRADING), THIS WOULD GIVE US AN ACCURATE REPRESENTATION OF HOW THE AUDIENCE WOULD RECEIVE THE AUDIO TRAIL SHOULD IT GO INTO PRODUCTION.

From the feedback it is clear that our radio trail has been a success with our audience as we have received a positive response from the sample demographic, this shows how our research has benefitted the construction of our radio trail as the codes and conventions we have researched have been incorporated into our audio trail . Some of the feedback we received stated that we should possibly include more features of the show as to further entice listeners and reiterate the fact that the show is local - to make amendments to this we added extra dialogue stating that there was going to be more features within the show such as interviews ,weather and gossip features which makes it conventional of a magazine talk show.

The only feedback we did not act upon from our audience is mentioning that the show is local as I believe this would be made obvious in the rest of the show should they tune in - having to say that the show is local would for me by pass the point of including codes and conventions as you would be directly telling the listener what they should be able to pick up on in the main body of the show.

Apart from the above discrepancies , our audio trail proved to be successful with our sample of the demographic which suggests that should this go into production it would attract the right demographic based on the content and editing techniques

LO2: Scripted Voice overs

EXT: BIRD SOUND 

NARRATOR: The mountainous range of Cairngorms in the eastern Highlands of Scotland boasts some of the countries most spectacular scenery, from the dramatic fog ridden valleys  to Loch Garden which come the summer months is alive with imposing ospreys nesting in the surrounding tree tops.

As expected,  this area of natural beauty is popular with locals and tourists alike and has over the years become a hive of some of the nations favoured wildlife. The forest of Abernethy spans across nearly 32,000 acres, a green expanse littered with towering pine trees which has become a popular destination for those eager to spot one of Scotlands most prolific residents.


There are 20,000 Red squirrels populating Scotland, this quite magnificently amounts to 75% of the British population of Red squirrels living right here on Scottish land. The average weight of one of these nifty mammals is 250g, making scaling the landscapes pines in search of food a simple task - They survive on a staple diet of pine seeds, acorns, Berries , Fungi and Sap tissue which in spring are in abundance meaning their weight can advance by up to 100g.


The red squirrel is renound for its stunning auburn colouring, this colour varies dependent on the season and come winter it is normal for them to begin displaying streaks of grey, that being said their underside remains cream throughout the year.


Squirrels tend to live in conifer or broadleaf woodland, they live in spherical nests known as dreys made of a sturdy frame of fallen twigs and lined carefully with moss and grass scavenged from the forest floor. They navigate the tree tops by leaping from branch to branch with an impressive reach of up to 10ft, being so high up, the squirrels share their habitat with a variety of species of bird making the forest an ideal location for a keen bird spotter.


The large tufted ears of a Red Squirrel make it easy to determine their surroundings, this paired with their nimble feet makes it easy to make a quick getaway should predators be nearby. Essentially the squirrel is a gentle animal, learning to live alongside other wildlife in the Forest of Abernethy and without them , there would be a hole in the Scottish landscape.

LO3: Script Draft and final script P4

LO4: p6 Evidence of editing

Editing the Audio trail

First of all, I uploaded the assets into Abode Audition using a multitrack workstation so that it was clear to see each recorded piece - the layers which make up the audio trail were visible and I was edit each one in turn. In track one , I placed the recording from the sound booth and in track two , I placed the bedding music which was obtained from a royalty free online cache. I then refined the types of audio within the tracks to Dialogue and music as to gain the relevant editing panels in my Audition work station. 

To the Dialogue audio track , I enhanced the speech using the 'female' type option which picks up upon the pitches and tones within the voices and smooths them out making them appear more feminine - this also added a synthetic edge to the voices however will be appreciated by the younger target audience as it connotes that the show is modern. In addition to this, other radio stations within this genre such as Capital FM use synthetic voices in their jingles, by us doing this we have shown how we have followed codes and conventions and realised what elements of sound are associated with a younger target audience.

As we had two layers of sound in our product it was important that the dialogue is louder than the bedding music so that the voice actors could be heard - I selected the dialogue audio track and increased the dB to 5.4 so that the sound could be heard over the bedding music asset.

This shows the view from the waveform editing panel - for dialogue.

This shows the view from the waveform editing panel - Bedding music 

To make the bedding music quieter , I selected the audio track and using the clip volume slider , I decrease the dB down to 0.2 - this meant that the voices could be heard through the bedding music . This is a convention which is seen in many jingles and sound elements on radio shows as they have to do this to eliminate any dead air on the show - this is seen as unprofessional therefore it was important for us to adhere to this convention for our audio trail as it is would be used as an advertisement on a radio show which too would adhere to this convention.

LO3: Legal And Ethical Issues

When creating our audio trail for the radio show ONE20 fm, it is important that we consider some legal and ethical issues which could arise along the way and then ways which we can combat these in order to not be in breach of any laws. 


Legal and Ethical issues - 

https://www.ofcom.org.uk/__data/assets/pdf_file/0027/19287/bcode09.pdf


Ofcom, is the regulatory body which deals with regulating everything which is broadcasted on tv and radio. They have a set of broadcast rules which producers/media companies have to abide by in order for the content to be suitable to air to a public audience, the areas which these rules cover include but are not limited to:

• protecting under eighteens
• observing watershed
• offensive/harmful language
• Harm or offence
• crime, hatred , disorder and abuse
• religion 
• elections 
• fairness
• privacy
• commercial reference to TV planning 
• commercial communications in radio programming

It is important to ensure that all content which is being broadcasted to an audience is suitable under all areas of this code. For example it is important for our planned show that we do not compromise the privacy of any of the callers who contribute to the show and or any social media accounts we include in shout outs - this would include keeping any personal data such as phone numbers , names , addresses and dates of birth private at the discretion of the caller. In relation to this , should a caller wish to be anonymous within the phone in section - this should be respected. 

In addition to this we would also have to regulate the language used by both presenters and callers as to not cause harm or offence to listeners - this would include disclosing to phone ins that their language needs to be monitored and should this be ignored - relevant apologies made. Our show needs to be impartial toward political, religious or social issues as to not cause offence and to not show any bias toward any of the aforementioned areas this will help avoid conflict between our show and listeners and also steer clear of breaking any of the codes put in place by Ofcom. Religious topics also fall under the ethical bracket also and as a show we must output a fair representation of all ethnicities , avoiding any topics which could provoke racism from callers or online profiles.

There is a possibility that some of our listeners could be under the age of 18 , therefore it is important under the code to protect them from any content which could be potentially damaging for them - this includes limited reference to sex , drugs or violence which also falls under the crime, disorder and abuse sector. There is no specific 'watershed' for radio broadcasting however there are times within the day which are expected for younger listeners not to be tuned in therefore more taboo topics can be discussed therefore around 7pm would be ideal to begin talking about going out or drinking . Although our show serves a purpose as to get listeners ready for their nights out , we must in no way glorify the abuse of alcohol or illegal substances and even as part of this include adverts from drink aware/South Yorkshire police.

LO3 : Plan the production of a sound element for an identified media purpose

Mindmap of ideas

Explanation of final idea

For the practical part of this unit I plan on creating an Audio trail which coincides with my Unit 14 radio production. The idea is to create a short piece of audio which advertises our upcoming evening show on the station following codes and conventions and using sound editing techniques along the way.

Our radio station Is aimed at a 16-24 year old C2DE demographic therefore we have decided to give samples of upcoming popular music which this demographic will be familiar with as a form of introduction to the kind of show we will be hosting. In addition to this we have also chosen to mention that our show is sponsored by 'just eat' a mobile application that brings takeaway to your door - not only does this show that the station is funded by advertisements, but it appeals directly to the C2DE demographic who may choose to have takeaway as opposed to paying to dine out in a restaurant. We have also included in our trail a hint at a giveaway that would require you to listen to the show to enter - the age group in particular that we are looking at is expected to have a low disposable income therefore the promise of competitions and giveaways are an incentive to listen to the show.

In the script we intend to include the voices of the presenters to create synergy and a link between their voices and the show itself, by creating this link we are hinting at the peer to peer mode of address the show is based around and how the feel of the show includes the listener into the discussion.

Pre production documentation

Script/draft 

Call sheet

Asset list 

https://www.bensound.com/royalty-free-music/track/pop-dance


Equipment list 

• studio microphone
• Media interface
• XLR cable 
• pop guard
• sound baffle 
• Adobe Audition 

Legal and Ethical 


Legal and Ethical issues - 

https://www.ofcom.org.uk/__data/assets/pdf_file/0027/19287/bcode09.pdf


Ofcom, is the regulatory body which deals with regulating everything which is broadcasted on tv and radio. They have a set of broadcast rules which producers/media companies have to abide by in order for the content to be suitable to air to a public audience, the areas which these rules cover include but are not limited to:

• protecting under eighteens
• observing watershed
• offensive/harmful language
• Harm or offence
• crime, hatred , disorder and abuse
• religion 
• elections 
• fairness
• privacy
• commercial reference to TV planning 
• commercial communications in radio programming

It is important to ensure that all content which is being broadcasted to an audience is suitable under all areas of this code. For example it is important for our planned show that we do not compromise the privacy of any of the callers who contribute to the show and or any social media accounts we include in shout outs - this would include keeping any personal data such as phone numbers , names , addresses and dates of birth private at the discretion of the caller. In relation to this , should a caller wish to be anonymous within the phone in section - this should be respected. 

In addition to this we would also have to regulate the language used by both presenters and callers as to not cause harm or offence to listeners - this would include disclosing to phone ins that their language needs to be monitored and should this be ignored - relevant apologies made. Our show needs to be impartial toward political, religious or social issues as to not cause offence and to not show any bias toward any of the aforementioned areas this will help avoid conflict between our show and listeners and also steer clear of breaking any of the codes put in place by Ofcom. Religious topics also fall under the ethical bracket also and as a show we must output a fair representation of all ethnicities , avoiding any topics which could provoke racism from callers or online profiles.

There is a possibility that some of our listeners could be under the age of 18 , therefore it is important under the code to protect them from any content which could be potentially damaging for them - this includes limited reference to sex , drugs or violence which also falls under the crime, disorder and abuse sector. There is no specific 'watershed' for radio broadcasting however there are times within the day which are expected for younger listeners not to be tuned in therefore more taboo topics can be discussed therefore around 7pm would be ideal to begin talking about going out or drinking . Although our show serves a purpose as to get listeners ready for their nights out , we must in no way glorify the abuse of alcohol or illegal substances and even as part of this include adverts from drink aware/South Yorkshire police.

We are also including a news bulletins at the beginning of the show , this must be an impartial view of current events and also respectful of the listeners who may be tuned in for example leaving out news stories which could be potentially upset or cause offence to the listeners as it would be broadcasted on the 10pm news.




Data Protection act:

https://www.gov.uk/data-protection

The data protection act covers a variety of pieces of information and states that companies must not misuse the data , the data must be used in accordance to the following rules:

• used fairly and lawfully
• used for limited , specifically stated purposes
• used in a way which is adequate, relevant and not excessive 
• accurate
• kept for no longer than necessary 
• handled accordingly to peoples data protection rights
• kept safe and secure
• not transferred outside of the European economic area

As a radio station which has a strong interaction with its audience, it would be key to keep all their personal data safe as to not be in breach of the data protection act. With phone in competitions and social media shout outs , we would have access to personal data such as phone numbers , addresses and dates of birth and it is key that this data is not misused or shared with third parties. When callers phone in , we must not retain their details for any longer than necessary for example once the competition is over , the data relating to that feature must be distroyed - in the mean time the data must be kept safe and encrypted and not shared. Our listeners must be aware of the data we hold and should they not be comfortable with this, we must delete them off our records in accordance with the new rules on data protection which have come in post may 2018.

Copyright/intellectual property:

We must ensure that any assets we use as part of our radio show are either rights free or we have contacted the person who owns the intellectual property and have relevant permissions to use it. This includes any sound effects, music or jingles - we plan to get around this by creating our own sound effects or sourcing rights free ones from an online cache. Should we use music without getting permission first we would be in direct breach of the copyrights , designs and patents act.

LO2: Analyis Of The Sound Design Of Benjamin Burtt (P2)

Benjamin Burtt has created foley sound for the likes of Pixar during his career as a foley artist, one of the most prevalent of these works being 2008s WallE. Producing foley sound for an animation film is a challenging brief however one that focusses solely around a fictitious planet and machinery is particularly hard to create a sound scape for. 

Due to the film for the most part being without any dialogue / narration the atmospheric sound and soundscapes are one of the most important aspects of the film in order to support the narrative, Burtt described it as needing to create an 'original world of sound'. One of the first sounds we see created is the sound of Eve's laser gun, Burtt had discovered through experimentation that the mic picked up a different sound to what you might imagine should you strike a slinky with a metal object - the sound the slinky made is what you would expect a ray gun to sound like hence bringing the action within the animation to life. Unlike early Disney, Burtt uses small portable recording devices to take to certain locations to catch atmospheric sound - McDonald who previously did all of the foley sound for Disney used more traditional handmade props such as canvas against wood to create the sound of wind which would then be recorded using chunkier equipment within a studio - this was impressive for the technology that was available at the time,

In post 2000's Disney films such as Snow White, the methods of providing a soundtrack were purely musical with the slight interjection of a prop - this made it easier to control the sounds which were being captured and how they would fit into the action of the film , for example if someone fell over , they might have used a cymbal to connote the sound of the persons/object body hitting the floor. Burtt for the section of animation in WallE where both characters were trapped in a storm, used a boxing punch bag dragged against a carpeted floor to create a sudden gust of wind - by doing this he created a controlled piece of audio which eliminated the chance of needing to go outdoors and getting potentially unusable audio. Another object which he has used for various sounds for WallE was a thunder sheet, this is a large sheet of thin metal which when shook or struck created a low frequency sound which could be interpreted as thunder most commonly however Burtt also used it for the hum of the space ship and the take off of the rocket as the low sound mimicked that of fire gushing out of the exhaust.

Following on from the old Disney technique where a device was held over the vocal chords to create a inhuman voice, Burrt has taken a technologically advanced approach to this using a vocoder within which you can input a humans voice and at the other a tone, which changes the performance and gives the voice electronic nuances. A similar technique was used for the voice of WallE where Burtt recorded himself making a variety of noises which he changed within a computer software using a tablet and pen which altered the volume and pitch of the sound - the tilt of the pen effects how the sound is then resynthesised within the computed which gave WallE his original voice whiich ranged throughout a variety of pitches dependent on what he was saying.

LO2: Experimenting with sound (P2)

Having written a piece of script for the scripted voice over, I sourced a voice actor to be recorded to layer over the footage of the squirrels in the forest of Abernethy. I uploaded all of my assets into the editing panel in Adobe premiere and began to organise them onto the timeline. All the sounds I gathered were rights free and stored in a large internet database for the purpose of being downloaded to supplement video therefore were all of high quality. 

Looking at the audio tracks I began to sync the audio to the video by using the razor tool and cutting the video into segments. The biggest section of this was matching up the rustling of leaves to when the squirrel was making its way about the forest floor. I magnified the audio and video tracks to make this as accurate as possible using the slider at the bottom of the application.


Having then matched up the audio of the squirrel moving around and the voice over to the video, I decided to layer up some atmospheric sounds - doing this I found a pre made , rights free track which had been recorded in a similar location , this helped set the scene for the video right the way through and helps create an association with the viewer. 

After piecing all these components together it was made apparent that the audio of the narrator and the audio from the squirrels footsteps were incompatible and the atmospheric sound didn't quite correlate with that of the narration - to remedy this I opened up the editing instrument panel and chose audio . I then adjusted the sliders so that Audio 1 (the narrator) was the loudest sound to be heard, then Audio 2 ( the atmospheric sound) then Audio 3, the squirrels footsteps and finally audio 4 the non diegetic sound which covered any dead sound which was present throughout.

LO2: Understanding How Sound Is Created

FOLEY SOUND:

OFFICIAL DEFINITION - 

www.youtube.com

• Foley (named after sound-effects artist Jack Foley) is the reproduction of everyday sound effects that are added to film, video, and other media in post-production to enhance audio quality. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass.

Foley is a way of inputting sound which wasn't captured in he filming of a scene within a production - the example given here is from an episode of the night manager where a series of sounds have been made using a variety of objects and materials. The foley artists collects objects which resemble a similar sound to what is being portrayed on screen and then acts along to the progression of the film.


LOCATION SOUND:

Location sound is where you go directly to a location to record sounds which are needed for a scene, for example should you want to be setting the scene for a sea shot- the sound producer would go down the the shore line and record the sounds which can be heard rather than creating them in a studio using foley artists. This gives the most realistic approach to the soundscape within the film.



ATMOSPHERIC SOUND:

Atmospheric sounds are sounds that would be heard in a specific location which can be layered together to create a soundscape. An example of this would be when shooting a scene which shows a park, you would have the sound of birds, wind , children playing and perhaps other animals making noise. The most common atmospheric sounds are things such as wind, rain , birds, traffic and sirens.

LO1: Analysis (P1)

JURRASIC PARK 

In this particular extract from Jurassic park, sound is heavily relied upon to supplement the narrative throughout- having watched the version without sound/music there is a significant amount of the story missing. From (00.00 - 1.57) non diegetic sound plays in the form of orchestral song which is intended to connote adventure and wonder as the helicopter flies through the valley towards Jurassic park. This is only interjected by the sound of the helicopter rotors which can be heard at numerous points throughout but most significantly at (0.05) as to infer what speed the helicopter is going at over the water - this to me is an indicator that the audience are meant to feel as if the whole decent into the forest is a exhilarating experience for all in the helicopter.

When the group actually arrives at the park the tone of music changes to a more up beat whistle tune with the occasional deep drum and brass instrument to remind the viewer that even though they are surrounded by beauty there is something dangerous lurking (2.13). At (2.52) the tone of music changed again beneath the dialogue as the representative of the investor begins to talk about shutting down the park - this is a similar brass instrument played in a repetitive loop, likely to make the audience feel a sense of anxiety and tension between the two . At (2.59) where John shows some positivity and confidence back toward the representative the music picks back up again which is to infer his excitement toward what they are about to see upon entering the park.

At (3.03) the music begins to get repetitive again, this time however with a music light hearted flute type sound - this is an indicator of the excitement and anticipation felt by all when looking for the dinosaurs in the wooded area. When the vehicle stops at 3.21 the music seemingly stops, however is simply lowers to a deep thrum which connotes danger nearby , from there onward there is a gentle climax in the music where all the characters are becoming aware of the dinosaur next to them. At 3.52 the music changes once more to a low violin/cello and starts to progress to connote the realisation of the dinosaur and it's effect on those in the car. At 4.45 for the first time we hear the song which is associated with the film as a whole which is important as this is the first sighting of a dinosaur in a film which is about just that.

HANNIBAL

The title sequence for the Horror series Hannibal is at the forefront of setting the scene for the entire episode, from the beginning of the titles to the end there is a elongated string sound presumably from a cello which gradually reaches a crescendo and then falls away - this creates a sense of foreboding and can often make the viewer uncomfortable due to its high pitched and simultaneously deep base tone. Those who watch the show should already have prior knowledge of the story around the successful film 'silence of the lambs' in which we are first introduced to the character of 'Hannibal the Cannibal' therefore upon hearing this for the first time you get a form of visceral response in terms of it making you feel queasy and uncomfortable. At (0.09) there is introduction of percussion instruments which have become signature to the genre as a sound commonly used in horror films - this is something that fans of this genre will recognise and associate with those gruesome scenes of a woodland murder. This is then paired with the visuals of a face being formed from dripping blood which gives a strong indication of the violence which is about to come . The base line of noise which runs throughout the clip for me is similar to that of a wasp, a low unsettling drone which instills a sense of fear into you - When you hear the noise you are almost instantly on guard for fear that it may sting you, in this case the title song is there for you to recognise the beginning of the episode and may also have a similar effect in terms of feeling instantly frightened for the characters - as there is a long running theme of Hannibal getting away with these Heinous crimes, the theme song almost gives the viewer the anxiety  of 'is he going to get caught' as each episode, we are made aware of the goings on however nobody else is.

In the clip from the psych clinic where Hannibal is attempting to brainwash Will, there is a constant low drone behind the dialogue which connotes danger and animosity - this drone provides a base layer to the music and an uncomfortable stillness which has a form of buzzing behind which to me symbolises a morgue - this is a potential insight into Will's future should he remain around the dangerous Hannibal Lecter. At (0.40) there is a metallic drum sound which repeats again 6 seconds later at (0.46) this creates a sense of fear as it is again a sound associated with the horror genre often used around the time someone gets attacked or harmed in some way mentally or physically. At 0.57 there is a repetitive dripping sound which resembles a percussion instrument again signifying the passing of time which relates to the visuals of Will drawing the clock. Throughout this particular clip there are frequent deep metallic clangs which resemble the shutting of cell doors in a prison or institution - the loudest of these being at (0.47) . This could be a potential foreboding of the route Will is about to descend into due to Hannibal's interference.

In the third clip I have provided where Will is slowly becoming less compos mentis we are introduced to another piece of sound (0.15) which signifies how his memory is becoming scratchy and disjointed - the static sound comes as Will says ' I think I'm loosing my mind, I don't know what is real' which could connote the erratic thought process' he is having due to Dr Lecter's absurd method of 'treatment'. At (0.39) Will pulls a gun on a man sat at the table and the music reaches a crescendo and a cacophony of sounds are used to raise awareness to the ever growing tension throughout the scene. Shortly after this, when Lecter is questioning Will about who he sees at the table, there is a non - diegetic sound of what appears to be wordless whispers, this connotes to the audience that Will is in a state of confusion and makes them doubt what they are seeing and what is actually there as we are in a way given a biased view of what Hannibal is making Will see through his hypnotic therapy.

BBC EARTH - CHEETAH

The narrative of this clip is conveyed in a documentary format with a narrator giving commentary throughout, that being said, the filming is in no way lacking excitement due to the non diegetic sound that is used to support the visuals throughout the entirety of the Clip. In the establishing shots of the video, traditional pan pipe style music is played as a drone shot sweeps through the dramatic landscape where the story begins - through simply playing this style of music which in western society we are aware is associated with tribes people and African culture - the scene is set and we are geographically placed before the narrator has time to tell us the location (Kenya). This is important particularly for this style of documentary as we rely upon the visuals primarily to tell us, the viewer, where we are in the world and where these animals come from because more often than not - we have not experienced these animals in their natural habitat. At (0.11) another layer of sound is introduced as we see the Cheetah appear for the first time, a muffled steel drum comes into ear shot over the base line sound which has been playing from (00.00) to reinforce the location, however the steady gentle pattern of the steel drum beats reflects the elegance of how the Cheetah moves and in someway is quiet majestic which is ultimately what the producer will want the audience to pick up on.

At (0.43) when another Cheetah appears and the narrative changes to how these animals can hunt better in numbers, the non diegetic sound changes - there is some form of soft drum role which connotes that these animals although majestic are made to kill and are anticipating their next hunt on an unsuspecting victim. Whilst this happens the tone of the music gets seemingly more intense which could either be reflective of the anxiety the animal feels before the kill or used to foreshadow a possible change in pace to the serenity of the past few scenes. At (0.57) the sounds intensify and a deep string instrument begins to build tension for the viewer as the animals are nearing their unsuspecting prey - this is done to dramatise the events which have become mundane within the animal world and to show the viewer that although this is something we only see occasionally on screen - this is day to day life for a wild animal.

At (1.09) we are introduced to a third Cheetah and are told that these animals are brothers, when this Is said the intensity of the music dies down and returns back to the serenity which is the majesty of these animals presumably to make the audience feel a connection and a sense of warmth toward these animals who are working together to remain living. At (1.40) a loud string instrument, possibly a violin is used to connote danger as we see the ostrich grazing un aware of its surroundings - these types of SFX are used generally in horror films to signify the volatility of a character hence why it has been used here as this is something audiences will readily relate to.  At (2.45) there is a sudden climax in the music as both the Ostrich and the Cheetah begin to run and heavier sounding instruments such as drums are used to reinforce the speed at which the process is happening at - this is a technique commonly used in action films to mark the start of a long line of events , here it is to leave the viewer in anticipation of whether the cats will catch up with the Ostrich and make their kill. At (3.27) a final cymbal noise is heard to imply the death of the Ostrich and the victory of the cheetahs in their hunting efforts , this provides the end to the action and from there onward their is a period of wind down where the music gradually comes to a regular pace once more to show how quickly the whole ordeal has been carried out.

AMNESIA : THE DARK DESCENT 

Amnesia is a Horror computer game surrounding the loss of sanity of a young man called Daniel . Daniel is plagued by 'shadows' in his search for the Baron of the castle he has found himself woken up in with little memory of his previous life asides from he used to live in Mayfair - he leaves a series of letters and diaries from his previous life helping him piece together the understanding of events that have lead him to this moment. Amnesia has an obvious soundscape throughout to aid players through the gameplay (1st person) and make the location/environment he is in more immersive. 

This is done through a series of sounds layered that we as humans associate with the location, the game is set in a large castle therefore to make this believable we can hear the shuffling of his feet across the stone floor as you progress using mouse clicks through the castles walkways, every object which the character Daniel comes across and has the opportunity to interact with has an appropriate sound which we can liken to the real thing - for example in the early part of the clip, he picks up two small glass bottles and when doing so the gameplay provides the sound of glass against glass , clinking together as a form of intellectual puzzle for the player. As we are made aware by the title of the game and the narrative in the early stages - Daniel is not completely aware of his surroundings nor how he has come to that point therefore throughout we can hear his elevated breathing pattern when he begins to panic or sense the presence of the shadows - this is done to reinforce to the player the conditions in which the character is interacting with his surrounding in.

We associate old castle ruins with echoes and unexplained noises therefore the makers of this game to make it as immersive as possible have included all of these realistic sound effects - the most interesting of these being the closing of doors . The sound we hear confirms that a door is being opened by the creaking and scraping of the door bottom against the stone , but also what material it is by the sound it makes when it comes to a close (wood) due to the hollow clash when it meets its frame. The echoes which follow this supplement the 1st person gameplay as you can hear the character moving down the corridors, brushing against the walls and opening doors - this makes the game all the more immersive.