Research uncovered in the literature review and the case studies highlighted the fact that without an experienced understanding of the aesthetics of film score an inexperienced sound practitioner would not be able to place score into film. However my case studies also revealed that where the audio is placed in film is usually decided by the director with some input from composers. This been said I identified the emotive high points of my own film as: 00:00:11, 00:01:04, 00:01:18 and 00:02:01 and decided that the film score should reflect and support these.
In the video below you can see the that the score created (discussed in previous post) has been deconstructed and placed back into the film to best support the identified emotive peaks. This process required a lot of experimentation and patience however I am fairly impressed with the results of my work and feel I now have enough information to create my practical framework.
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