My name is Jie Liu and I am currently studying Digital Media. I am interested in sound design, music, and how audio can influence storytelling and emotional experience in media. Through my studies, I enjoy exploring how sound can shape atmosphere and add meaning to visual content.
I chose the Audiovision studio because I am particularly interested in the relationship between sound and image. I would like to develop my understanding of how audio and visuals work together to create narrative, emotion, and immersion for the audience.
I have limited experience in sound design, but I am able to experiment with GarageBand to create simple background music and basic soundtracks. However, I consider narrative thinking to be one of my strengths, and I am particularly interested in using sound and visuals together to support storytelling and emotional expression.
During this semester, I hope to learn how to use a range of sound design software and develop a better understanding of the technical processes involved in audio production. I am particularly interested in exploring how different tools can be used to create sound effects, build soundscapes and support audiovisual synchronisation.
Week 2 – sound practice
Week 3 – sound practice
In this week’s exercise, I experimented with triadic interchange to create a short musical piece. By repeatedly copying chords and adjusting one note by a semitone or whole tone, I gradually developed a chord progression with relatively smooth voice leading. Through this process, I found that this method offers both flexibility and limitations. On one hand, it allows exploration of new harmonic relationships without relying on traditional tonal systems. On the other hand, because the smooth connection between voices needs to be maintained, some transitions can sound abrupt and require multiple adjustments to achieve a more natural flow.
In terms of instrumentation and melody, I experimented with both piano and flute sounds, and also combined the two. For the melody, I explored two different approaches: one that is simple and calm, and another that is faster and more energetic. However, I found it challenging to integrate the melody and chords naturally. At times, I felt unsure about how to balance them, so I had to try multiple combinations. After several attempts, I decided to use a simpler and more stable melodic structure.
After comple, I show it for my roommate. She pointed out that one of the chord transitions sounded slightly abrupt and suggested keeping more common tones between chords to improve the smoothness. Based on her feedback, I adjusted some of the chords, which helped create a more natural transition overall.
Week 4 – Sound
This classroom exercise started from a simple melody. I first created a basic melodic line, and then used the software to adjust it so that it gradually felt more rhythmic and layered. After that, I used a similar process to match it with a suitable beat, so the overall piece would sound more balanced. Finally, I added and tested different instruments, listening back and adjusting them to find the sounds that worked best with the melody and rhythm, so the music could feel more complete.
Week 5 – Sound
This piece is inspired by the dark, suspenseful atmosphere of Stranger Things. I used electronic beats, driving drums, two contrasting bass layers, and three different effect instruments to build tension and mystery. The sound aims to create a retro, cinematic mood while giving the track energy, depth, and a sense of unease.
Week 7 – Sonic Branding (Idents + Jingles + AI exploration) – Elevenlabs
1. Tech / Entertainment – Netflix (Jingle)
This piece is designed for a streaming platform like Netflix. It is a short ident used for a logo or intro moment. I used deep bass hits and cinematic impact sounds to create a strong and dramatic tone. It finishes with two short percussive hits to create a punchy and memorable ending. This works well for Netflix because it feels cinematic, immersive, and powerful, which matches the experience of watching films and series.
2. Youth / Social – TikTok (Ident)
This piece is designed for a platform like TikTok. It is a short ident used for quick brand recognition at the beginning or between short videos. I used upbeat electronic sounds and rhythmic patterns to create a playful and energetic tone. The sound is fast, catchy, and easy to remember. This works well for TikTok because it reflects the platform’s dynamic, youth-oriented, and short-form content experience.
3. Wellness / Skincare – Aesop (Jingle)
This piece is designed for a brand like Aesop. It is a 20-second jingle used for brand storytelling or promotional content. I used soft pads, organic textures, and a simple melodic line to create a calm and slightly romantic atmosphere. The melody is gentle and memorable, supported by a subtle rhythmic flow. I also included a short spoken tagline, “your nature, your balance,” to reinforce the brand’s focus on natural and holistic wellbeing.
Week 9 – HBH EP1 S1（《HBH》
The score plays a central role in constructing tone, character identity, and narrative progression. Rather than remaining consistent, the score is highly adaptive and scene-specific, shifting in style, instrumentation, and intensity in response to changes in character perspective, emotional state, and narrative direction.
The instrumentation varies noticeably across scenes. Early in the episode, the score features strong percussive elements (drum beats), layered with gradually intensifying strings, which build tension and establish momentum. As the episode progresses, electronic elements and hip-hop influences—including basslines, rhythmic vocal textures, and light rap—are introduced. In more intimate or transitional moments, the score shifts toward guitar or bass-driven textures, often more subdued and minimal. In contrast, lighter scenes, such as those involving group interactions at school, incorporate brighter, possibly string-based melodic elements, creating a sense of openness and social energy.
A key strength of the score is how it transitions between musical styles in alignment with character identity and emotional tone. For instance, scenes centered on female characters often feature rhythmic vocal-based textures and more fluid, expressive sound layers, while scenes involving male groups shift toward heavier hip-hop beats with prominent drums and restrained vocal elements, reinforcing a sense of attitude and social positioning. These stylistic shifts not only reflect current emotional states but also foreshadow narrative developments, subtly preparing the audience for upcoming shifts in tone or conflict.
The entry and exit points of the score are also carefully controlled. Music frequently enters alongside voice-over narration during character introductions, then drops in volume (ducking) to prioritize dialogue clarity. At critical narrative turning points—particularly when transitioning from exposition into the main storyline—the score and voice-over both cut out entirely, creating a moment of silence that signals structural and emotional reset. As scenes unfold, the score gradually re-enters and then fades out toward scene endings, maintaining a fluid connection between sequences.
In addition to the score, diegetic and environmental sound design significantly enhances realism. For example, in the basketball court scene, spatialized sound effects—including echoing voices, impact sounds, and crowd reactions—create a convincing acoustic environment. The use of sudden silence followed by sharp vocal reactions heightens the dramatic impact and emphasizes the emotional weight of the moment.
If I were to suggest one improvement, I would consider introducing more dramatic sonic elements in moments of conflict or underlying tension. While the current score effectively conveys a youthful and energetic tone, it remains relatively consistent in its emotional palette. In scenes involving confrontation, secrecy, or emotional complexity, the addition of dissonant textures, darker tonal layers, or more suspense-driven sound design could create stronger contrast and enhance dramatic impact. This would not only increase audience engagement, but also build anticipation and curiosity about the narrative development.
Overall, the score functions not merely as background accompaniment, but as an active storytelling device, shaping audience perception, reinforcing character identity, and guiding emotional engagement throughout the episode.
Do you hear that？
This scene uses fragmented scoring, where music appears only during key emotional moments rather than playing continuously. At the beginning, the focus remains on dialogue and ambience, allowing the audience to settle naturally into the scene. Between 0:08–0:11, a low and powerful sound hit followed by silence creates a sudden sense of unease. The music re-enters at 0:19 and gradually intensifies after 0:40, reflecting the escalation of tension. At 0:46, the music suddenly stops again, leaving only suspenseful sound effects, which draws more attention to the visuals. Then, between 0:48–0:49, three drum hits synchronize with the visual zoom-ins, reinforcing the suspense.
However, I feel that the music in this sequence is still slightly too restrained, and the emotional dynamics could be stronger. For example, heavier low frequencies, sudden rhythmic shifts, or more noticeable suspense stingers could further enhance the dramatic quality of the scene and increase the audience’s curiosity and tension.
Semester Review and Reflection
This semester’s sound design studies gave me a deeper understanding of the role of sound in moving image work. Through the video dubbing exercises in the first half of the semester, improvisational music creation using GarageBand, and the analysis of film sound design and brand audio, my understanding of sound design gradually expanded from the basic idea of simply “adding sound to visuals” to a broader awareness of its narrative and emotional potential. Initially, I tended to use background music or environmental sound primarily to supplement the atmosphere and information within a scene. The GarageBand improvisation exercises encouraged me to experiment with using music to express mood and emotional tone, while the analysis of film and brand audio helped me observe that sound can serve more complex functions, such as shaping character identity, controlling narrative pacing, creating suspense, reinforcing emotional transitions, and even influencing how audiences interpret visual content.
For example, during classroom analysis of film and television works, I began paying attention to how score enters, exits, or pauses in response to changes in character, emotion, and narrative progression, as well as how environmental sound and silence can enhance immersion and dramatic tension. These exercises gradually helped me understand that sound does not simply serve realism, but can also function as an active element in narrative expression.
Reflecting on my early creative work, I identified a clear tendency to rely on stereotypical sonic associations for certain types of visuals. While this approach could quickly create an effective match between sound and image, it often resulted in outcomes that were predictable and lacking in creativity or individuality. Through this semester’s learning, I also began to reflect on the need to move beyond this habitual way of thinking in future projects. Rather than only asking what sound is appropriate for a given image, I believe it is equally important to consider how sound might reshape or transform the meaning of that image.
For the final projects, I completed two works with distinctly different approaches. Procedural Worlds Silent was a completely dialogue-free and sound-free video, requiring me to design both the music and sound effects entirely from scratch. Compared with the version presented during the progress presentation, I placed greater emphasis on the transitions and overall flow between sound elements, aiming to create smoother connections between visual scene changes. This project also offered greater creative freedom, as it did not contain a clearly defined narrative structure; the sound could therefore be developed in various emotional directions, such as sadness, horror, or calmness, depending on the emotional or narrative meaning the designer wished to assign to it. In contrast, DC Stargirl – No Score was more focused on film scoring, requiring the construction of an appropriate emotional atmosphere in response to an existing narrative. I used two contrasting musical sections to support the dramatic progression, moving from tension to a brief moment of silence and relief, then toward a sense of lurking unease, and finally into sadness following an unexpected event.
Looking back on the semester as a whole, I believe I have made progress in emotional design and atmospheric music creation. However, I still recognise limitations in detailed sound effects work, technical proficiency, and time management. At times, I am able to understand my own design intentions clearly, but that does not necessarily mean the audience will experience them in the same way. Moving forward, I hope to devote more time to developing stronger sound layering, rhythmic control, and more nuanced and creative approaches to sonic storytelling.
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