My group for the studio 3 project Game of Thrones Sound Replacement was faced with a few limitations over the course of the trimester. The major limitation we faced was the composer we had been collaborating with quitting the project. We’d originally asked him to join the project as none of us (Bran, Ananda, Lisa and I) had experience with or knowledge of composing. We knew he did and would have collaborated with us effectively. We were left high and dry after his abrupt departure from the project. We had contemplated ditching the composition idea altogether but eventually agreed that an original score for the scene was essential (we’d pitched that idea as one of the key points of artistic merit to the project). Ananda and Lisa had been the people in charge of composition and had been working closely with the composer up until that point so they decided they’d take responsibility for composing all of the music from that point onward. They put what little knowledge they had of composing to good use and I believe they’ve produced a beautiful score that is very suitable and appropriately emotive for the scene.
The second most limiting point we’ve experienced during the production process has been the lack of studio time available to us for mixing. This is partly due to there being only one suitable studio for 5.1 mixing (the C24). Though we booked C24 studio time ahead of time (foreseeing it being booked out closer to the end of the trimester) we found that we could still have used more. This is partly our fault – we could have adopted more effective time management strategies, HOWEVER, none of us had worked on a sound replacement project to this extent so couldn’t foresee certain obstacles leading to our need for more studio time. As you may know, individual audio students at SAE are allowed to book a maximum of four hours per studio, per week. This is obviously a limitation in itself. We had used up all of our hours in the C24 one week. We desperately needed just a few more hours in order to get our 5.1 mix completed on time. We innovated around this problem by bribing a classmate to book some hours for us in their name in exchange for beer. Had we not done this, we wouldn’t have submitted the surround mix as close to the quality we desire. Of course we could have done with some more mixing hours but were satisfied with what we eventually handed in.
The aforementioned methods in which we navigated around these two major obstacles were imperative in the desired quality and timely submission of our product. Had we not adopted them, who knows what would have happened?! Or what we would have handed in?!