River's blog

Author: Han Wen

  • Screening Experience, Theatre Sound Issues and Reflection

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    Han Wen
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    During the final screening, I was able to experience the project in a theatre environment for the first time. This became a very important experience for me because many sound details that worked well on headphones or studio monitors changed significantly once they were played in a larger space. Before the final export, I had…

  • Final reflection and future development

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    Han Wen
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    This project has significantly reshaped the way I understand field recording and sound art practice. At the beginning, I approached natural sound as something that exists independently in the world, which could be transparently captured through recording technologies. I assumed that microphones functioned as neutral tools that simply document sonic reality. However, through a combination…

  • Rhythm change and climax adjustment

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    Han Wen
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    In the post-production stage of the film, we began to discuss the relationship between music and the rhythm of the picture more intensively. Because the overall atmosphere of the film is slow and abstract, the “personality switch” paragraph has gradually become the most critical rhythm turning point in the whole film. After the partner watched…

  • Changes in music structure and sound material

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    Han Wen
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    After the film entered the second stage of production, I began to pay more attention to the structural changes within the music, not just the atmosphere itself. Because the whole film lacks traditional linear narrative, music needs to assume a certain degree of “structural guidance” function, so that the audience can perceive the changes in…

  • Technology and artificial listening

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    Han Wen
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    This week I focused more closely on the role of technology in shaping how environments are heard and understood. While continuing my experiments with synthesis, spatial processing, and environmental textures, I realised that many experiences of “natural sound” are already deeply technological rather than purely acoustic or direct. During the process, I began comparing the…

  • Reflection on authenticity and listening

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    Han Wen
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    This week I continued experimenting with artificial environmental sound and became increasingly interested in the idea of authenticity in listening. As I developed more synthetic ambient textures, I noticed that some of the sounds I created felt surprisingly believable, even though they were produced entirely through synthesis and digital processing rather than traditional field recording.…

  • Refer to music analysis, synchronous creation process and cooperative communication

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    Han Wen
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    At the beginning of the project, the collaborators provided me with several important music references, including Olson of Boards of Canada, Thomas Newman’s Up the Down Trench, and the theme music of 2001: A Space Odyssey. These references help me understand more clearly the overall atmosphere and sound direction that the film hopes to establish.…

  • Project 2 Introduction

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    Han Wen
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    This project is an experimental fictional image project completed in cooperation with Central Saint Martins (CSM) students. The visual and conceptual content of the film is mainly completed by the other team, and my main responsibility in this cooperation is sound and music design. The project revolves around themes such as “existence”, “assumption”, “death” and…

  • Cooperation Project 1

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    Han Wen
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    In this unit, I participated in two different interdisciplinary cooperation projects. The first project is an animation project completed in cooperation with professional animation creators, in which I am mainly responsible for sound design and the construction of sound narrative structure. The project explores memory, family space and emotional perception through realistic SFX, spatial atmosphere…

  • Experimenting with synthetic nature

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    Han Wen
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    This week I began experimenting with the creation of artificial environmental sounds using synthesis techniques rather than relying on field recordings. Instead of capturing existing environments, I worked with basic sound design tools such as noise generators, filters, modulation, and layering to construct sounds that resemble natural atmospheres. I explored how different types of noise…