Within scene 3 we are in the location of a white void. Although this is during a song and will most probably drown out the majority of the ambient sound I still want to ensure that the sonic world feels real.
We are in a white void, there is no beginning nor no end. Visually we are restriced by the edge of the frame, audibly, it is endless. I must replicate this space within the sound design and to do this I decided to look THX 1138. Within this film there is a space called 'Limbo Prison'. Walter Murch explains how the room tone is of upmost importance to convince the audience about the gravity of the space.
“It’s basically the room tone from the Exploratorium in San Francisco. . . . It’s a veil of mysterious sound—it doesn’t have anything specific to it, but it is full of suggestive fragments.”
For our White Void scene I will be visiting large empty spaces to capture ambient tones. Halls, churches and indoor sport courts all have massive spaces that carry their own unique tone. I will travel to these separate locations and, with permission, capture the sounds. It will then be a process of trial and error to see what tone fits the best. My initial opinion is the larger the space the better.
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