Audience Feedback on Storyboarding

Kirsty and I worked together on drawing the storyboard and gained feedback from a target audience which suggested some ideas. 

Our original storyboard lacked scenes of horror and did not victimise a character which resulted in a lack of interest. Therefore we changed the beginning of the trailer from Sylvia sorting out old photos in her room to a flashback scene of the five friends on their camping trip from the past. This is then disturbed by a loud banging knock sound which changes to the present of Sylvia being woken up and opening her front door to find a parcel. 

Originally we simply had Sylvia opening up the parcel to reveal a necklace of her friend Chelsie, who died unknowingly on the camping trip. However the feedback suggested maybe we could incorporate more horror by including a butchered bone in the box as well to horrify and shock the audience. 

The scenes of Sylvia at home in the evening remained the same however is shown as a bad nightmare she has instead of real life that encourages her to talk to her friends who were on the camping trip. Originally we told the story as the friends were scared by the occurrences and so visited the forest where Chelsie died however the target audience felt that if they were scared, then they would not return to the forest. Therefore we changed it so one character, Matt, suggests going back to the forest to give Chelsie justice. The remaining three friends did not agree and attended school the following day where Matt was not present and so then decide to see if they could find him in the forest.


We incorporated more fast flickers of Chelsie to help increase the pace of the trailer and haunt the audience.


To include an alternative element of horror we decided to incorporate the idea of an Ouija Board that will show parts of the four friends trying to communicate with Chelsie (their dead friend). To include horror we decided to go round the circle of friends in the present day flickering between shots of them being traumatised and hurt in various ways that relate to Chelsie's death. This then cuts to a long shot of Sylvia sobbing loudly flickering between a close up of a demon-like appearance of Chelsie and a close-up of Chelsie drowning.


Towards the end of the trailer where the shots are at the fastest pace we decided to have close up shots of the Ouija board spelling 'DIE' over three shots. In between these three shots were each of the four characters looking hurt and distressed.


We finish the trailer with a long shot of the forest with Chelsie looking ghost-like with a flickering, strobe effect to create sharp, short bursts of film. This cuts to the title of the film and then the credit and release date.

Storyboard

Below is the scanned in documents of the trailer storyboard. Between Kirsty and I we drew the scenes and wrote the comments describing the shot types, sound effects and transitions.

Research: Sound Analysis

Below is the link to my video analysing sound used in Horror Films:

https://youtu.be/m9gi7ODr_t8

I have pasted my sound transcript in case some scenes move too quickly for viewers to read:

The score is the first thing that the audience hear, the instrumental chiming noise can immediately create an eerie atmosphere as it is an uncomforting tone of collision of the bars that can connote the genre of the film as horror. 

The trailer starts with the score playing and shows the production logo. The score used in the Babadook sounds like an unsettling, eerie organ key being pressed. This can suggest that the book is the sinister source of horror because the visuals shown of the mother and son reading a book in bed should be a relaxing, calm and homely activity, yet because of the score, this is not portrayed. The setting of the room having dull colours with low-key lighting can also imply the sense of horror further as this comes across as unhomely.

Following on from this is the introduction of characters where we see the book for the first time and hear the characters dialogue. From the way the mother asks where the book has come from suggests that she is unaware of the book implying that there is something mysterious and strange about it. The eeriness of the score playing in the background of the dialogue alongside unfamiliar sound effects makes ordinary events that should not be scary become unsettling which further highlights how there is something suspicious and unusual about the book.

When the mother begins to read the book she has a calm tone to her voice showing no fear, however the words used create the idea that there is something horrifying about it; “if it’s in a word, or in a book, you can’t get rid of the Babadook.” The use of the negative contraction word “can’t” suggests that no matter what you do there is no possible way of disregarding the Babadook, this foreshadows that the horror within the film is going to relate to not being able to eliminate the horror.

When the ‘Babadook’ is announced for the first time the score introduces an ‘ahhh’ sound coming from ominous voices, implying some form of supernatural spirits to signify the presence. This can make the audience feel intrigued and to create enigma to find out what the story is about, who the Babadook is and what he is going to do to the mother and son as well as creating a feeling of anxiety in relation to this character.

After the mother has read the line “you can’t get rid of the Babadook” the score changes from simply an ominous organ sound to including what sounds like ominous choir voices. This corresponds with dialogue of the mother and the sound effects suggesting how the Babadook is an ongoing presence in the characters’ lives.

The following deep noise sounds like a monster breathing heavily. This can imply that an inhumane monstrous character is related to the book. This creates fear among the audience as they do not know the relevance of the monster as of yet – assuming that it is the Babadook. This heavy breathing can portray the arrival of the Babadook and can suggest that it is coming to life, making it clear that his presence is progressing as the trailer progresses through the sound emulating it.

A main use of the non-diegetic sound is used to create emphasis on ordinary movements that have some significant impact as well as incorporated effects to further create tension and horror upon the audience. For instance the emphasised synchronous sounds of moving the bed sheets when looking under the bed and the creaking from opening the wardrobe matches the visuals which contributes to the horror as these sounds are everyday sounds that we would not think much of ourselves however we can distinguish that the stressed sounds have some significant impact to the story. The sound of the doors creaking can contribute to the sound of the Babdook’s presence coming closer to the characters in addition to adding to the horror genre as this noise is often associated with horror therefore the audience can establish that horror is the chosen genre.

The constant chiming and thud sound within the score creates a rhythmic pace for the audience to follow which maintains their attention and builds up tension where scenes of action and horror are about to occur. The chiming noises are uncomforting against the harsh banging sounds as they contrast with one another. Because the sounds are not compatible with one another this can symbolise the conflict between the binary opposites of innocence and evil, implying conflict and danger on the audience. The heavy banging sound against the calming chimes creates a harsh impression on the audience which can make the audience feel uncomfortable and fearful. This can also suggest conflict and collisions between the two opposites portraying the horror genre.

As the trailer progresses the dialogue between characters becomes more uneasy due to the series of disruption. Later on in the trailer when the mother has reported how her son is seeing ‘monsters’ she gets very upset, emotional and shaky, which we can hear through her dialogue, as it comes across as the realisation of her going through this alone with her son with no one else to help. The dialogue is also used as a sound bridge to overlap scenes so that what we are hearing does not synchronise with what is being shown on the screen so that we can concentrate on the behaviour of the characters. The breathing sound within the score becomes heavier and more intense creating momentum suggesting that the horror events are getting closer. In addition to creating the impression that the Babadook is getting closer to the protagonists, hence their troubled and anxious tone of voice.

When the mother looks through the book on her own the score remains with the single drumming bang sting with her dialogue telling herself that “It’s just a book, it can’t hurt you”. Between when the mother says ‘book’ and ‘it can’t hurt you’ the sound effect of a monstrous screech is included. This highlights that it is not just a book, and that there is presence of the antagonist. Then we hear the sound of fire on the BBQ burning the book. The fire crackling is emphasised through synchronous sound to help reinforce the action being shown. Therefore the audience can see, hear and understand that the mother has tried to remove all of the Babadook’s presence.

Halfway into the trailer during the scenes of the house at night, silence is used to create the idea that the previous scene of burning the book had resolved the issue of the Babadook. However when the mother is in bed there is a sudden deep sounding triple knock which can suggest that the Babadook is trying to enter the house. This was foreshadowed when the mother was reading the book and said how the Babadook will arrive after three loud knocks. The following sting of the thump sounds like breaking through wood, as though the Babadook had broken his way into the house. This makes the audience feel apprehensive about what the Babadook is capable of. Furthermore the audience cannot see the Babadook but are shown the impacts he creates on the protagonists which highlights his power and evil presence.

After this we hear a heavier breath sound effect and the pace of the score increases, with the drumming sound getting stronger with no choir voices. This makes the atmosphere more intense and fearsome as the loss of the voices could imply that the mother and son are now alone and are up against the Babadook on their own.

When the Babadook’s figure is shown in the background of a scene through an eyeline match, it disappears with a quiet screaming sound effect. This can suggest that the heavy breathing effect from the beginning of the trailer has intensified to a more powerful sound that reinforces the significance of the Babadook and contributes to the horror and restlessness of the audience.

The sound effects used for the Babadook throughout the trailer suggest when the danger and horror is most significant when we see his impact on the characters. Not revealing everything leaves the audience with questions that make them want to watch the film. The use of the Babadook’s sound effects to imply danger differs from typical horror film trailers which commonly use bangs, crashes and screams to signify the horrific and violent events without giving too much away visually. For instance when there are first hints of the Babadook’s presence we hear heavy breathing which gets deeper as the trailer progresses suggesting that it is getting closer. This changes to a quiet screeching sound and then later onto his voice implying that he is present in the character’s view. The unfamiliar and strange sounds made by the Babadook indicate how the book is unordinary as the audience cannot recognise the sounds.

A cut after the mother walking away from the police station is followed on by a close up page of the book of a character holding a knife whereby the sting of a knife slashing through air is used. This emulates the glimpse of the abrupt shot of the book which creates instant fear among the audience as this form of violence is terrifying; particularly as it is a weapon that is often used for everyday usage only. This creates the impression that the horror can occur in the everyday life of the audience.

When we hear the Babadook’s dialogue the score returns, during the scene of the mother being lifted off the bed, with the ominous choir vocals portraying that the supernatural spirits have control over the mother and possess her. Again this shows the visuals of the Babadook’s effect on the victims without actually seeing him - only hearing him to establish his presence.

The voice of the Babadook has a very low pitch making his voice sound deep and monotone, creating an effect of an unforgettably dark vocalisation. Especially when he repeats “bring me the boy”, this creates the impression that he is demanding and unresponsive. His voice comes across as inhumane and robotic like adding to the horror effect immediately making the audience fear against him. Furthermore the pace of his voice is slow resulting in his speech to linger in the minds of the characters and audience. This can create a frightening impact on the viewers as it makes them feel uncomfortable hearing the voice over in their head giving them the idea that there is a supernatural presence close to them.

The synchronous sounds in the trailer are used to exaggerate the sound of the action. You can hear the mother shutting the door, locking the door, and closing all the windows clearly because they are emphasised through matching a stereotypical sound of that action to the action shown on screen. This makes the simple actions, which the audience might do themselves without taking too much notice, have a significant impact to help reinforce the action shown. This makes it clear to the audience what the mother has tried to do.

The dialogue of the son when the mother has been possessed is a repetitive noise as though he is trying to block out what is happening or trying to defend and protect himself from the power of the Babadook. The noise he makes is an ear-splitting chant that remains ringing in the audience’s minds making them feel uncomfortable and disturbed.

Towards the end of the trailer where the pace is at its peak, the sound organisation has become chaotic corresponding with the sanity of the mother. The screeching sound of the Babadook has increased making the situation very intense and invading, making the audience feel further disturbed. In addition to hearing the mother scream and car swerve implies how distressed, anguished and deteriorated the mother has become.

The title screen of ‘If it’s in a word’ is revealed with the sound effect of a crashing, breaking through wood sound which indicates that the Babadook has invaded the lives of the mother and son.

The sting of a knife slashing through the air returns when the mother has been possessed and relates back to the character drawing in the book earlier on in the trailer. This creates immediate distress on the audience as they do not know what the mother is going to commit and instantly fear for the son as he is now alone up against the Babadook and his mother, and so the audience want to save him.

The dialogue of the mother to her son changes after she has been possessed – she becomes very threatening towards him. This contrasts to the beginning of the trailer and in another scene whereby she tells her son that she is sick and needs help. This stresses how she is desperate for help and worried for her and her son. This creates anxiety on the audience because they are concerned for the son. It also creates enigma as to what will happen to him, and what the mother will do. Therefore this contributes to the tension and horror.

All the action and sound comes to a halt when the title screen of ‘The Babadook’ is revealed with a sudden sharp clash of cymbals followed on by heavy breathing which this time is the mother. The heavy breathing is joined by the mother’s dialogue of “It isn’t real, it isn’t real. It isn’t real” to try and calm herself down from what has happened. The score now sounds like sirens going off indicating how the events were alarming. The finale of the Babadook’s voice is much slower and ends in a pitch of a high piercing, screech leaving the audience feeling restless as the last thing they hear is the Babadook’s demoralising expression.

The credit screen appears with the ending of the Babadook’s voice pronouncing its name which appears to disperse, fading out along with the score coming to an end that also fades out coming to a silence which implies that it has all come to an end.

The use of sound is a key factor in the horror film trailer because it is used to set a mood that makes the audience feel restless as well as not giving too much away from the film.

For instance in ‘The Babadook’ sound is used to notify the Babadook’s presence as we do not see him, only hear some sounds made by him and the effects on the characters. This makes the audience apprehensive as to what he is like, and why he is like this, resulting in them wanting to watch the film.

Sound Analysis Conclusion

•      Sound is used to heighten suspense and horror upon the audience which enhances the emotional impact of the scenes shown.

•      Both diegetic and non-diegetic sound is used in horror film trailers. The diegetic sound includes the dialogue of characters and ambient sounds. The non-diegetic sound includes the score, sound motifs, sound effects, stings and synchronous sound. The use of diegetic and non-diegetic sound together can set the scene and pace of the trailer as well as making the audience feel uneasy.

•      The tempo of music increases as tension and dramatic action occurs with a range of pitches used to help create an intense and uneasy atmosphere among the audience. The variations in sound tempo and pitch can disorientate the audience because so much is going on that they cannot focus on one thing.  

At the beginning of the trailer the sounds used is mostly a score and character dialogue. This is because this is where the equilibrium is being shown therefore the audience can relate to the characters and build relationships with them. As the trailer progresses, the pace of the trailer increases and so more sounds are introduced to build up tension and drama, such as sound motifs, synchronous sounds and sound effects.

Dialogue between characters helps with the building up of relationships so that the audience can interpret how they behave with one another and how this changes as time passes. The tone of protagonists’ dialogue become more uneasy, nervous and unstable at significant events of horror. This demonstrates to the audience how they feel weak, vulnerable and helpless, making the audience feel sympathetic and concern for the victims.

The score is non-diegetic so the characters cannot hear it therefore the audience can hear more than what the characters can. This can create dramatic irony in addition to portraying the genre as horror. Furthermore it creates a rhythmic pace for the audience to follow that also creates an eerie mood and atmosphere that makes the audience feel anxious through the varied pace and pitch of sound. Commonly at the start of the trailer the score is calm and tranquil to reflect the protagonists’ lives at the current time. The pace increases as time progresses symbolising the chaos brought into the lives’ which can disorientate the audience making them feel further uncomfortable.

The pace of the score can be used to create tension within scenes when there is a significant moment that needs to be highlighted so that the audience can prepare for any dramatic action that is going to happen to the characters. Towards the end of the trailer where intense action is at its peak, fewer visuals are shown meaning that the audience are relying on the sound to inform them about the events in the film leaving them wanting to see what happens in the film.

Ambient sounds help set the scene of the environment by making it feel realistic to the audience as the sounds are part of the diegesis. Using these sounds in horror films can impact the audience by making them feel disturbed knowing that the sounds used in the horror film could be familiar to what they are used to in their everyday life, making the horror last longer.

Sound motifs can define which characters are victims and villains through the pitch and tempo of sound used. For instance unfamiliar, disturbing and uncomforting sound effects are commonly used when portraying the antagonist to make the audience fear against them and immediately dislike them. Whereas for the victims, the sounds used are more settling and during events where they are suffering, a more upsetting, touching sound is used to make the audience feel empathy towards the protagonists.

The sounds associated with the villain are always more aggressive, intense and unsettling compared to when showing the victims.

The distressing, unfamiliar sound effects contribute to making the film more horrific by setting the mood and giving life to lifeless objects. The enhanced sounds can make the audience feel uncomfortable and play on viewers’ thoughts which can recur in their minds making the horror impact longer.

Synchronous sound is used to match with movement going on in the scene to add a more dramatic approach as it reinforces the action shown. This makes the action more significant, realistic and create suspense on the audience because they might not know the relevance of emphasising the sound, leaving them to question what is going to happen. Typically it is used when the villain is walking towards the victims - their footsteps are emphasised to create uncertainty on the audience to make them feel as scared as the protagonists.

Stings and hits should be timed to surprise the audience and signify when a key event is being revealed. The short bursts of sound tend to be loud, sharp, irritating sounds that make it uncomfortable for the audience to listen to yet intriguing for them to want to know what will happen. The harsh, discordant and unexpected sounds can also make the audience feel instant fear and restlessness because they can distinguish that horror is related to these sounds.