Contents Introduction (Themes and Ideas)...................................................................................... 1,2

First Exhibition Showcase......................................................................................................3,4

Jonty Lees, Duncan Long (Contextual Research).................................................5,6

Digital Render, (Making Process)......................................................................................7,8

Jenny Holzer, (Contextual Research).........................................................................9,10

Digital Render, (Making Process)..................................................................................11,12

Contextualising the Render, (Experimentation)................................................13,14

Digital Spray Stencil, (Making Process)......................................................15,16,17,18

Text as Image, (Making Process)..................................................................19,20,21,22

Image Preparation, (Tutorial).........................................................................................23,24

Second Exhibition Showcase..........................................................................................25,26

Video Making (Themes and Ideas)......................................................................................27

Audio/Visual Resource, (Tutorial)......................................................................................28

Video Making, (Making Process)................................................................................29,30

Grand Theft Auto, (Themes and Ideas).........................................................................31

Jean Luc Godard, (Contextual Research)....................................................................32

Video Making, (Making Process)....................................................................................33,34

Third Exhibition Showcase..................................................................................35,36,37,38

Jack Foley, Alfred Hitchcock, (Contextual Research)...............................39,40

Amnesia the Dark Descent, (Themes and Ideas).............................................41,42

Foley Making, (Making Process)....................................................................43,44,45,46

Audio Resource, (Experimentation)...........................................................................47,48

Lindsay Seers, (Ikon Gallery Exhibition).................................................................49,50

Fourth Exhibition Showcase............................................................................................51,52

Joseph DeLappe, (Coventry Biennial Exhibition).....................................................53

Akira Yamaoka, (Contextual Research).......................................................................54

Field Recording (Summary)................................................................................................55,56

Halo 4, (Themes and Ideas)..............................................................................................57,58

Field Recording, (Tutorial).................................................................................................59,60

Field Recording, (Experimentation).............................................................................61,62

Surround Sound, (Summary)...............................................................................................63,64

Battlefield 1, Assassins Creed 3 Themes and Ideas).................................65,66

Surround Sound, (Making Process).............................................................................67,68

Recording Sounds, (Experimentation)......................................................................69,70

Hito Steyerl, Haroon Mirza (Contextual Research).........................71,72,73,74

Fifth Exhibition, (Immersive Side)........................................................................................75

Audio Resource, (Themes and Ideas)..............................................................................76

Themes and Ideas (Degree Show................................................................................77,78

Video Making (All Techniques Included)...................................................................79,80

Final Degree Show..................................................................................................................81,82

Initially, the themes and ideas that I

was leaning towards was how game

design exhibits violent behaviours

within the users. Although my main

study is now based on the evolution

of sound in digital gameplay. I start-

ed off primarily exploring the game

design aspects of a digital game. For

example the visual, narrative and

sound; seeing how these features

of a game exhibited violent behav-

iours/ mental health within the us-

ers.

Introduction

However, throughout my research I noticed that my theme was

becoming phycology based rather than art based. So, I began to

narrow my topic and started concentrating on a single feature

of game design, such as the sound aspect of a digital game. As

I wanted to highlight the significant of sound in digital gameplay.

Throughout this process book, pages, 3 to 26 are aimed at the

phycology aspect of video gaming. Whilst pages 27 to 82 is based

on the audio of video gaming.

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3 4

First Exhibition Showcase

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For the physiology aspect in gaming, I searched and found a negative

twitch image along with other negative depicted images in gaming. The

purpose to why everything was combined into a large poster, was to

highlight my key concept much quicker. Evoking that digital gaming has

a negative side in all aspects, therefore conveying awareness. The

context behind the included multiple images was to make the viewer

contemplate on what was I going on. Similar to artist Jonty Lees.

Awareness Poster on Violont Game Development

Awareness Poster, Gurvel Bhakar, Digital Illustration, 2019

5 6

Through Leaves, Jonty Lees, Video installation and sculpture, 2007

‘''You and me (we'll always have Norwich)''.

Jonty Lees work elicits attractive immediacy. As when witnessing Lees artwork

such as the imagery or objects, there is a compelling involvement from the viewers

eye to slow down and watch his artwork in silence. Creating a puncture in the view-

ers eyes and to an extent manipulating the viewers perspective.

Jonty Lees

Jonty Lees works with video, installation and sculpture.

Long conveys that creating artwork in a digital medium in the contemporary

world is effective than other mediums as its easier and quicker. Furthermore,

its sustainable and developed attracting the viewers eye because of the re-

alistic end product.

''Spiritual Matters'', Duncan Long, Digital Illustration,

John Grant, (2004). Digital Art for the 21st Century indicates that artist in

the contemporary world have the control to articulate their work using digital

gears dissimilar to past generations.

It can be used to replicate almost any other medium such as print, acrylic paint,

watercolour paint and photography.

Duncan Long

Basic Sketches to Detailed Renders

I began to sketch images depicting negative thoughts and rendering them. The

purpose for rendering the drawn images was to include extra detail. As the red

coloured background indicated negativity and danger. Furthermore, the ren-

dered images associated to the visual side in digital games, as most games had

colour and were rendered. Similar to the artist Duncan Long as he highlighted

how digital medium is effective, leaving a greater realistic look.

7 8

Digital Render, Gurvel Bhakar, Digital Illustration, 2019

Jenny Holzer

Jenny Holzers Powerful Gun Violence Projections

‘‘''VIGIL'',Jenny Holzer, photography, 2019

In 2019, the artist Jenny Holzer displayed light projected messages onto the

face of large buildings in New York's famous Rockefeller centre. The purpose

of location was incisive by Holzer giving her a larger audience as the area was

filled by people witnessing her work. Furthermore, the large building surfaces

assisted Holzer in increasing the text size to cause consideration and aware-

ness for the audience.

They ask the questions that only survivors can ask‘"I was so outraged. How

do you buy a gun at 11 o'clock in the morning and shoot your wife in the after-

noon?"

9 10

Second Render

11 12

Digital Render, Gurvel Bhakar, Digital Illustration, 2019

Contextualising the Renders (Experimentation)I experimented with the renders adding more context to the image. I included

a newspaper depicting why digital gaming is not healthy and the American

president pointing, highlighting his political views as he is not in favour of

aggressive games. The purpose was to evoke a deeper meaning behind the

rendered image, as I wanted the viewer to understand were I was I coming

from. I aimed to manipulate the viewer by supporting the render with real

life evidence consequently making the viewer contemplate.

1413

Contextualised Render, Gurvel Bhakar, Digital Illustration, 2019

Digital Spray Stencil (process)

I decided to contextualise the im-

age. To do this I opened up an-

other image onto Photoshop. The

sketched image was of an individual

playing a game. Conveying a deeper

meaning behind the rendered image

and seeing that it related to digital

gaming.

Blended Digital Spray Stencil

15 16

Digital Spray Stencil

I started off by sketching related drawings to negativity. In particular I sketched

an image of a young teenage boy pulling out a gun from behind his back. Highlight-

ing intimidation and negative concepts to the viewer. I chose certain colours which

symbolised a significant meaning, such as the colour red depicted danger and vi-

olence to the viewer. Furthermore, the rendered image related to contemporary

video games such as GTA, which involves gun violence.

17 18

Digital Spray Stencil, Gurvel Bhakar, Digital Illustration, 2019

Text as Image (Process)

In the Text as Image process I sketched an image and uploaded it onto Photo-

shop. Next, I rendered the drawing with a typography text background. The ty-

pography was vital in terms of highlighting my key message in a different way.

Furthermore, the text was a short statement which was easy to comprehend by

the viewer and synchronised well with the render. Highlighting the visual aspect

of gaming. Similar to the artist Jenny Holzer.

''Your Preception of Me Is A Reflection of You''

19 20

Text as Image, Gurvel Bhakar, Digital Illustration, 2019

Preparing an image on Photoshop (Tutorial with Catherine)

In this tutorial I acknowledged how to present and print an image from Photoshop

in depth. Starting with the Image Size and making sure that resolution was set to

300 for the best quality. Next, I learnt about specific file types, such as saving

an image to a TIFF file. This was useful, as the TIFF file was specifically used for

printing large scale images. Furthermore, this benefited my renderes in terms of

printing them to large scale with good quality so that the viewer could see and

comprehend.

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Work in progress, Gurvel Bhakar, 2019

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Second Exhibition Showcase

For the second exhibition show-

case I printed out all my previous

created renders, on glossy pa-

per. I chose glossy paper because

I wanted to generate a sleeker end

product, which worked effective-

ly. Each rendered image highlight-

ed the same key message but in a

different way, etc text, colour and

scale. As it was essential for the

viewer to get the concept either

way.

25 26

Visual Gameplay Posters, Gurvel Bhakar, 2019

Video making Ideas (Tutorial with Ana) Audio/Visual Resources (Tutorial with Luke)

For the exhibition 3 showcase I had booked a tutorial with Ana for ideas about

developing a gameplay video with mainly sound leading the narrative. One of the

ideas Ana highlighted to me was having a still image with multiple sounds in the

background relating to the visual image. In addition to suggesting having a black

screen with only sounds conveying interesting visual concepts in the viewers

minds. Highlighting the audio feature in games is just as significant then the visual

in immersing the user into the video.

In relation to producing the video for

the exhibition, I started looking for

ideas about the display set up. Creat-

ing a stronger correlation towards my

theme. I attended the AV induction and

witnessed how Ana and Luke installed

and set up AV equipment.

27 28

Video Making, (Making Process)

In my first video making process I used Videopad, which had equipped sound tools. I

started of noting a creative narrative concept. The concept that came in mind was

based on horror/crime scene, as sound merged well with horror genre in creating

tension and suspense for the listener. Overall the main reason of the video was to

highlight the importance of the sound feature as throughout the video the sounds

told the story to the viewer.

29 30

The Killing, Gurvel Bhakar, Video Making, 2019

Created Sounds, (Click on Link)

Grand Theft Auto, Trevor Shoplifting scene

The scene starts off with a Midshot of Trevor pulling out a gun and firing it vi-

olently into the cashier owner. Forcing the listener to hear repeated diegetic

sounds of gunshots. Following with non-diegetic sounds of female screaming.

Why? Because the creators want to create tension and suspense for the user

so that they feel immersed as much as possible.

31 32

Grand Theft Auto 5, (Click on Link)

Grand Theft Auto 5, Rockstar Games, 2013

Jean luc Godard

The French film maker Jean-Luc Godard was born in 1930 and is well known for

his bold and influential films.

The diegetic sounds were directly recorded in the coffee shops and hotels were

the exact scenes were taken. However, the only produced sound after was the

non-diegetic sound of ambient music created by Michel Legrand. Synchronising

both the scene and sound efficiently, as this compelled the viewer to carry on

with the scene.

Cafe Scene, (Click on Link)

Vivre Sa Vie, Jean Luc Godard, 1962

Second Video, (Making Process)

Digital Ocean Spray Stencil

For my second video, I repeated the same idea and process. However, I developed

a different theme. The concept that I was going for was basing my sounds in,

above and around an ocean. This benefited me in exploring with different sounds

seeing what worked well and what didnt. The raw sounds such as the winds noises

endured a sense of realism for the listener, immersing them into the video more.

33 34

Going through the emotions, Gurvel Bhakar, Video Making, 2019

Created Sounds, (Click on Link)

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Third Exhibiton Showcase Short Audio Movie

For the third exhibition showcase I decided to have a sleek but simple

stand for the television to be placed on top of. I painted the stand in

black as it wasn't flamboyant and didn't attract the viewers eyes as

they were engrossed into the television screen.

However, after witnessing my finished display I felt that the television belonged

on a suitable surface. As the video I was making was based on the significance of

sounds in video games. So therefore, I decided to get a lower table, level to an in-

dividual sitting in a chair. As this correlated more to my theme, since game users

normally interact and listen to video games sitting down in comfort.

35 36

Sound Gameplay, Gurvel Bhakar, 2019

‘ ''The Killing''‘ ‘ ''The Killing''‘ ‘ ''Going Through the Emotions''‘Sounds Used

Crime/Ambient Piano Music

Running footsteps

Squeaky Door Noise

Police Sirens

Male Shouting

Female Screaming

Loud Gun Shots

Sounds Used

Underwater Noises

Whale Noises

Strong Winds

Boat Noises

Crow Noises

Wave Noises

Scene Discription Scene Discription

On a rainy cold night, an unknown man jumps out of his car and speed walks into

a petrol station shop. Opening the swinging door, he points his gun at the cash-

ier women, wearing his balaclava mask and intimidates her by shouting. Moments

later we hear the women screaming with a gunshot following shortly after. Sec-

onds later we hear police sirens from the distance.

In and around the large deep blue ocean, we hear an arrange of sounds. Starting

with heavy underwater sounds such as whale noises. Followed after by sharp

strong winds above the ocean. Next, we hear the sounds of a creaking wooden

boat floating on the surfaces of the ocean. Shortly followed in the far distance,

crow noises up high in the big blue sky.

The Killing, (Click on Link) Going Through the Emotions, (Click on Link)

Jack Foley

The establisher of Foley sounds, Jack Foley created the technique. Foley sounds would

be included for detail. For example, sounds of splashing water, cupboard doors open-

ing and slamming, fragile glass breaking, running footsteps, stabbing fruits or meats

and more. The reason being to why Foley sounds are best included is, so the creators

have the control over the quality and timing of the specific intended Foley sound.

39 40

Jack Foley, (Click on Link)

Hitchcock Psycho Shower Scene - Stabbing Sound

Psycho Shower Scene, (Click on Link)

Psycho, Alfred Hitchcocks, 1960

In this scene it was difficult to create a sound with a sharp knife stabbing human

flesh. So, Hitchcock came up with the idea of stabbing a large melon. Since there

was a large outer layer of fruit for the knife to go through. He emerged this

sound with a large piece of steak, creating the perfect fixated Foley sound for

the stabbing scene. Giving his audience a realistic match, immersing them into his

scene even more.

Amnesia: The Dark Descent, (Themes and Ideas)

This is displayed as they want the user to be compelled and feel engaged with the

game as much as possible; so that they can continue with the narrative. Both non

diegetic and diegetic sounds of this clips create intimidation and fear through the

user as they are the ones in control of Daniels life.

Image (Video clip on Amnesia: The Dark Descent)

41 42

Amnesia: The Dark Descent, Thomas Grip, 2010

Amnesia the Dark Decent, (Click on Link)

In relation to my dissertation, ''Jahmel Coleman coveys that sound is better suited

in video games rather than being equipped for films. As in video games the user

is interacting through the authentic narrative and seems to be more immersed

rather than viewing a screen. Elaborating Coleman highlights that it's less pres-

sure to view a horror film than it is to interact in a horror video game. As its cre-

ators and designer concept is to exhibit the user's persona, whilst being immersed

into the game.''

Third Video Making (Foley Sounds)

For my next video I used the concept of cre-

ating my own scary 10-minute video game with

only using the sound feature. The recorded

Foley sounds added interesting ambient inno-

vative sounds, giving the listener extra detail.

As experimenting with my previous videos, I was better equipped to using the vid-

eopad software. For example, I was well advanced in using the tools. Furthermore,

these created sounds and effects added interesting visual narrative concepts

in the viewers minds.

43 44

Created Foley Sounds, (Click on Link)

Work in progress, Gurvel Bhakar, Video Making, 2019

Sounds Used Sounds Used

Bong Sound (Foley Sound)

Cardboard Boxes (Foley Sound)

Cupboard Slams

Door Handle

Squeaky Door Slam

Draws Opening

Footsteps

Glass Jars (Foley Sound)

Heavy Quick Breathing

Heavy winds

Water Drips

Knocking Doors

Key Sounds

Metal Bars (Foley Sound)

Metal Dish Banging (Foley Sound)

Ambient Male Sounds (Foley Sound)

Heavy Footsteps (Foley Sound)

Page Turnings

Rattling Metal Cage

Rolling Metal Car (Foley Sound)

Rubbing Glass Window

Unlocking Doors

Zipping Bag

‘ The Escape ‘

Plot Summary Plot Summary

The main protagonist Joe controlled by the user wakes up in cold dusty room, not knowing how or where he is. His mission is to try and escape from the haunt-ed bleak mansion. The anti-protagonist (The Beast), looking for his every last step. In certain rooms there are hidden hints and clues waiting to be taken ad-vantage of. Will Joe Escape or will he end up like the rest of them?

The Escape, Gurvel Bhakar, Video Making, 2019

The Escape, (Click on Link)

Audio Resource, (Experimentation)

For the fourth exhibition I wanted to experiment with more of the AV resource

equipment. This time I wanted to narrow down the equipment to audio instead of

visual; as this correlated towards my theme more. Also opening up a new dimen-

sion for the sound to be listened to.

47 48

Lindsay Seers

Care (less) 2020

Ikon Gallery Exhibition

I placed on the VR headset whilst sitting down next

to the sculpture. Experiencing an almost out of body

experience. This was because I was immersed in the

narrative through the headset, I felt like I was in age-

ing body. The AV headset gave the user a different

dimension. In terms of viewing and hearing different

emotions.

49 50

Care (less), Lindsey Seers, Video Exhibition, 2020

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Fourth Exhibition Showcase

The viewer interacts with the piece of work by listening to the sound

through headphones. Whilst the viewer is listening, they will be com-

forted by sitting in on a soft chair. Relating to general gamers as they

would interact sitting down to games. furthermore, the AV headset

immerses the listener even more into the video.

51 52

Sound Gameplay Interaction, Gurvel Bhakar, 2020

Exhibition at the Coventry Biennial

GTA USA Gun Homicides‘

The creator Joseph DeLappe highlights people shooting each other in

broad day light. Non diegetic sound is played of a repeating soundtrack

of Kate Smiths 1938s God Bless America. Conveying realism and irony for

the viewer making them contemplate about the work even more.

Joseph DeLappe ''Im very pleased that Elegy is being featured at these

exhibitions.''‘‘

53 54

GTA USA Gun Homicides, Joseph DeLappe, Exhibition, 2019

Akira Yamaoka (Video Game Composer)

(Themes and Ideas)

Akira Yamaoka, born in Japan is highly known from the digital horror game Silent

Hill. Yamaoka's soundtracks involved an array of sounds such as rock, metal and

ambient. Yamaoka sounds elicit intensifying manipulating for the audience, as his

intentions were to keep the listener compelled to carry on with the gameplay

narrative.

Akira Yamaoka - ''I wanted it to be unpredictable: maybe during a big scare I cut

everything out, and maybe if nothing was happening at all there would be a lot of

sound.''‘

My Heaven, (Click on Link)

Silent Hill, Akira Yamaoka, 1999

Field Recording refers to the process of using recording equipment to capture

particular sounds the user wants around any area of the world. Once recorded

the original sound can be used in video games, films adding a dimension of realism.

Field Recording (Sound Process) In relation to my dissertation, ''The Psychology of Sound in Video Game, (2019).

Depicts how audio in digital gaming is influential as other characteristics. In par-

ticular the visual and narrative aspect, without sound digital gaming wouldn't be

the same. As different types of sounds can seem to cause manipulation, inflict-

ing different emotions through the user both physically and mentally.

Halo 4 Recorded Gun Sounds

Using the Field Recording Process

In the video the creators use the Heavy Turret rifle but before firing

they reload the rifle numerous of times to capture the sound of a re-

load animation audio. At the same time set up microphones are placed all

around the weapon. This is done to capture the slightest detail to add

realism into the game so therefore the user feels immersed into the

game.

57 58

Halo 4, Neil Davidge, 2012

Halo 4, (Click on Link)

Field Recording, (Tutorial with Ana)

For my audio video it was vital that I explored the idea of field recording. The

process involved an Olympus LS-100 recorder being turned on with connected mi-

crophones and headphones. The microphones were attached to different parts

of clothing. This picked up detailed sounds, such as footsteps, voices and heart-

beats. This was incisive as the slightest of details were developed with extra

depth, triggering emotion for the listener.

After recording the user could con-

nect the recorder to a laptop or

computer, which later the user could

either manipulate the recordings or

keep them raw.

59 60

Sound Recording, (Experimentation)

Field Recording Process

Field Recording is a technique used in video games to create a better experience

for the listener, immersing them into the game as much as possible. The process

involves audio recording equipment used outside a recording studio. As the ob-

jective is to capture natural sounds. I recorded wind and rain sounds in an open

space as it created a sense of realism for the listener immersing them into my

audio video.

61 62

Created Field Recording Sounds, (Click on Link)

Work in progress, Gurvel Bhakar, Audio Recording, 2020

Surround Sound Summary

Surround sound is technology which is fixated into video games and cinematic

films. The reason being is so that it improves the quality of sound for listeners.

The process involves sound technology such as speakers which are specifical-

ly positioned by the creator in a 360-degree radius.

63 64

In relation to my dissertation, ''Timothy E. Roden, Ian Parberry, David Ducrest,

(2005). In the online article Narrative based audio only games, evoke that dif-

ferent sounds should be issued as much as possible to assist the user thus, to

create more engagement between the user and game.''

Battlefield 1

Example of Surround Sounds in the Video Game Battlefield 1

The user stands next to small house on fire and slowly turns 360 degrees,

evidently hearing the sound of the fire switching from the viewers left ear

to the right as they switch sides. Evoking emotion and realism for the listen-

er, therefore immersing them into the video as much as possible.

65 66

Battlefield 1, Johan Soderqvist, 2016

Battlefield 1, (Click on Link)

Assassins Creed 3 (Video Game)

Surround Sounds used in Gameplay Trailer

As the camera focuses on Ratonhnhakton the main (protagonist), he gets onto his

horse and rides into battle. The sound of bombs going off around him, left to right

creating surround sounds to the viewer. Consequently, creating an immersive ex-

perience for the user.

Assassin's Creed 3, 2012

Assassins Creed 3, (Click on Link)

Video Making, (Experimentation)

(Using the Surround Sound Effect)

Surround sounds are traditionally used in mod-

ern video games and films, as the main purpose

is to create a stronger correlation between

the listener and the game.

For example, on the, Heavy Breathing Sounds, I decided to experiment with by click-

ing edit and using the surround sound tool. This was to add an interesting depth to

the sound to manipulate the listener in immersing them in.

67 68

Created Surround Sounds, (Click on Link)

Work in progress, Gurvel Bhakar, Video Making, 2020

Recorded Sounds, (Experimental Process)

I had experimented with the technique and process of Foley sounds in fur-

ther depth with a range of different materials. As my audio video was going

to based on a horror theme, I tested and recorded relevant materials. This

was to enhance extra attention and detail for each sound to induce the

listener in as much as possible.

69 70

Recorded Sounds, (Click on Link)

Work in progress, Gurvel Bhakar, Audio Recording, 2020

Hito Steyerl

Hito Steyerl displayed her 23-minute large video screen installation in a huge

black surrounded area space filled with illuminated grids. Factory of the Sun was

based on how imagery and technology can be utilized for observation and control

of part of a population. As the video contains a range of clips on dance videos,

digital video games and news reports. The dark surrounding was astute in con-

trolling the audience to focus on the screen rather than anywhere else.

71 72

Factory of the sun, Hito Steyerl, video installation, 2015

Haroon Mirza

Lectures in Theology, 2020

24-channel electrical signal, Stainless steel, hi-fi speakers, carpet, LED tape, wall painting

The Calling, 2013

Lamps, transistor radios, tables, PA system, projector, wooden screen 4 x 7 ft with LEDs,

control box, speaker cone, wood, metal stand, light bulb, glass cabinet, cabling, remote con-

trolled socket

A C I D G E S T, 2017

Modified Marshall cabs, LEDs, bespoke media device, XLR4 cables, score Installation view of

'Haroon Mirza: A C I D G E S T', P‘rez Art Museum Miami

Based in London Haroon Mirza creates and produces compound audio graphic

installations. He does this by gathering and selecting certain materials such

as electrical equipment, different LED lighting and old furniture, choosing which

works best for his concept. The different spacing and lightings synchronised

well with each. Also creating an interesting dynamic for the viewer immersing the

viewer into his work even more.

73 74

Exhibition 5, (Immersive Side) Experimentation

Audio Resource, (Themes and Ideas)

Dark Surroundings

For exhibition 5, I decided to experiment with the surroundings and props. As this

was vital for how the viewer was going to be engrossed whilst listening to the

audio video. As my video was based on a horror theme it was necessary that I

used a dark space, in creating a scary atmosphere. The seating's and sound props

such as the speakers, headphones and AV headset correlated towards my theme.

Leaving everything to synchronise well with each other.

75 76

Work in progress, Gurvel Bhakar, 2020

Title - Lone Survivor

Plot Summary

Tom and his goons are messing around in the streets on a quiet night,

when they come across a mansion of a house. Out of nowhere a wom-

an screams calling for help from a window, later being dragged from

behind by an unusual suspect, (anti-protagonist). The boys panic and

run for their lives however, Tom suddenly trips leaving him unconscious

and stranded all alone. The scene begins with Tom waking up in an emp-

ty dark room. Tom is all alone and must escape the mansion to survive

the Freak.

Sounds Used

Played Piano Music

Apple/Meat (Knife Stabs), (Foley Sound)

Voice/ Mouth Sounds (Creating Ambient/Foley Sounds)

Heartbeats (Foley Sound),(Surround Sound)

Heavy Winds (Field Recording)

Rain (Filed Recording)

Monster Growling (Foley Sound)

Metal Materials (Foley Sounds)

Glass Jars (Foley Sound)

Heavy Footsteps (Foley Sound)

Page Turnings

Water Drips

Knocking Doors

Key Sounds

Cardboard Boxes (Foley Sound)

Cupboard Slams

Door Handle

Squeaky Door Slam

Draws Opening

Footsteps (Surround Sound)

Metal Bars (Foley Sound)

Metal Dish Banging (Foley Sound)

Rattling Metal Cage

Rolling Metal Car (Foley Sound)

Rubbing Glass Window

Unlocking Doors

Zipping Bag

Metal Weights (Foley Sound)

Lone Survivor, Gurvel Bhakar, Video Making, 2020

Lone Survivor, (Click on Link)

Final Piece

79 80

Final Video Making (Degree Show)

In my final audio video, I included more sound techniques to create innovative

sounds towards the narrative. Each sound technique had its own unique rea-

soning to immerse the listener in the audio video as much as possible.

Foley sounds - Recorded Fruit stabbing and created ambient Voice sounds.

Field Recordings - Natural recorded Wind and Rain sounds.

Surround Sounds - Recorded Water drip drop sounds and Walking Footsteps.

Created Sound, (Click on Link)

Work in progress, Gurvel Bhakar, Video Making , 2020

(Sound Gameplay Interaction ONLY), Gurvel Bhakar, 2020

Single Immersive Installation

Lone Survivor, (Click on Link)

Final Piece