My PS
Partner.

My role in our adaptation of My PS Partner is sound recording. My main aim is to capture clear dialogue while supporting the relationship between the characters. In planning this role, I have started to think beyond whether a recording is simply audible. Breath, hesitation and changes in vocal delivery can influence how a performance is understood. This makes sound recording a creative responsibility as well as a technical task.

Chion’s (1994) concept of “added value” helps explain this responsibility: sound contributes meaning and emotion that viewers may appear to find in the image itself. For our adaptation, this suggests that reproducing the original framing alone would be insufficient. I also need to consider how voices, pauses and surrounding sounds shape the scene. Rather than copying every sound, I want to identify which details support the interaction and recreate their function within our production conditions.

Several screen production concepts inform my recording plan, particularly microphone placement, monitoring and sound continuity. I plan to test microphone positions during rehearsal and listen through headphones for background noise, handling sounds and changes in vocal clarity. A microphone position that works for a static shot may become unsuitable when an actor moves. Discussing framing and blocking with the camera operator and director should therefore help me balance recording quality with the visual requirements of each shot.

Sound continuity also requires attention across separate takes. Differences in background noise or vocal tone can make an otherwise smooth visual cut feel disruptive. Holman and Baum (2013) discuss continuity and ambience as aspects of sound design, which informs my approach to preparing recordings for editing. I therefore plan to record room tone at each location and document useful takes clearly. These preparations should give the editor more flexibility when connecting dialogue, although room tone cannot repair every problem or replace a usable original recording.

I am also considering the distinction between diegetic and non-diegetic sound. Dialogue and sounds belonging to the story world can establish the scene’s physical space, while music can guide an audience’s emotional response. However, adding music does not automatically make a scene more effective. I would discuss its use with the director and editor, especially where it might cover quiet speech or reduce the impact of a pause. Leaving space around a performance may sometimes communicate more than adding another layer.

At this stage, my main challenge is turning these principles into practical decisions within a small crew. I will need to communicate problems early and judge when another take is necessary. After filming, I will compare the planned sound with the finished sequence, focusing on dialogue clarity, continuity and emotional effect. This will help me evaluate my contribution through specific evidence rather than simply describing the equipment I used.