Meet Steven Silvers, a filmmaker and a member of the StudentFilmmakers Filmmakers Network. See Steven’s Network profile to connect.
Work and Experience
I began field recordings when I moved to Seattle during high school. We lived in the middle of the forest so I spent most of my time outside, listening to the trees, the ground and the animals. I responded to the sounds occurring around me with the harmonica, and then I realized how influential the natural environment was. I decided to take an old fashioned tape recorded out that I found in my parent’s basement, and would record myself playing the harmonica in the forest.
One day when I went out to the forest, I decided to just record the sounds of the environment. I noticed patterns, color and ambience between the sounds. A strange beast sounded in the distance (it was most likely a bear), but it was so bewildering to me. Since then, I bring a recorder with me wherever I go. You never know what sounds you will hear, and usually you don’t even realize the strangeness of ambient sound until to start recording it. I now have a decent sound library.
Tools and Technologies
I use a Zoom recorder with two mics plugged in (a Shure SM57 and Sennheiser). Sometimes I use a Sanken as well to gain a more dynamic range. Most 8-shaped mics are useful for ambience with MS recording.
Memorable Experiences
My favorite project was when I created a 16mm film on a 1950s Bolex camera in Vancouver B.C. There were so many road blocks and complications with shooting film. Plus, it was only me who made the film and the actor of course. This allowed me to focus only on the film and contributed to the overall feeling of isolation and solace within it. I had several different film stocks which I switched between at different locations, so I was constantly cutting rolls, labeling the ISO and replacing it with the proper film stock for that location. But it payed off in the end by giving me a unique style. The ultimate film location I had was a broken down brick house in the middle of a dried and weeded field. Only one side of the house was left intact with its metal frame revealing the structure.
On the day of the shoot, I saw construction workers take down the sight. I had to finish shooting that day, and I luckily found an abandoned train track which worked out well, contributing to the film noir feel. I edited the film by physically cutting and taping it on the Steinbeck which was a unique experience. I also edited it digitally to release it online. When I was shooting the film, I had a certain melody and tone stuck within my head so I created the score in its entirety throughout the night.
I remember when it hit dawn as I created the climax of the composition, the first sunlight shining through the windows. It was a beautiful sight.
Current Projects
I’m currently filming, recording and editing performances at House of Blues and other venues around LA for Live Nation. I’m also working on a dystopian film noir feature length script that takes place in the near future. Also, I’m continuing to develop sound effects and using various samples in my music.
Advice for Aspiring Composers
Listen to inspiring artists and create a piece similar to their style, with your own take on it in order to create your own sound. Melody is key. Keep it simple and don’t overuse sound design or effects.
Links
http://networking.studentfilmmakers.com/szs88/ https://soundcloud.com/szsilvers 16mm short film – www.youtube.com/watch?v=AnE73as2Two EDITING AUDIO
- Find a sound designer that speaks to you the most.
- Experiment with software plugins to create new sounds – be as detailed as you can.
- Alter natural recordings to create sound effects while maintaining clarity.
Field Recording
When recording ambience, go to the same place at least twice because new sounds will come up. Make sure your recordings sound natural and unique without having to edit too much (do not over EQ, but rather record it properly). But, dramatic tone in your recordings is more important than sounding realistic.
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