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Modified English Version – Chinese Eight-Ball & Snooker Sound-Scape and Music Production Report

Synopsis

This collaborative arts project produced a ten-minute sound‑scape and music piece that serves as a promotional short film for both Chinese eight‑ball (Heyball) and snooker. Unlike a conventional snooker match recording, the work invites viewers into the acoustics of two cue sports. It was not a solo endeavour: my interdisciplinary collaborator Apple, who has a photography background, executed all of the filming while I acted as producer, performer and editor. Using an iPhone 17 Pro Max and a handheld gimbal instead of a tripod, we captured sessions across multiple venues to gather the diverse sounds of these cue sports and spent about the same amount of time editing. The final product combines edited footage, layered audio and custom music cues to tell a story from preparation to the thrill of potting balls.

Research

Understanding the sounds and culture of cue sports

Snooker is often described as one of the quietest sports. Although players concentrate on strategy and positioning, the arena is not sterile – whispers, referees’ calls, and the crisp impacts of cues and balls create a characteristic palette. An article on The Latest highlights how persistent coughing from spectators can distract players, and some fans say they would leave the hall out of respect if they felt a cough coming on. These observations informed our decision to emphasise micro‑sounds such as the cue sliding through chalked fingers, breathing before a shot and the hum of overhead lights.

Our project also explores Chinese eight‑ball (Heyball), a hybrid cue sport that emerged in China in the 1980s by combining the accessibility of eight‑ball pool with the precision of snooker. Spot On Billiards notes that Heyball tables are nine feet long (pool‑size) but fitted with snooker‑style rounded pockets and steel block cushions; balls will rattle out unless struck precisely. These differences shape both the pacing and the acoustic character of play. We wanted to capture and juxtapose the sounds of Heyball’s tighter pocket hits with the longer, more strategic shots of snooker.

Recent reports highlight the astonishing popularity of snooker and Chinese eight‑ball in China. An article celebrating Zhao Xintong’s triumph notes that since the 1990s the snooker industry has boomed in China, with an estimated 50 million people playing and more than 300,000 snooker halls nationwide, and that Chinese eight‑ball is even more popular. These figures show that cue sports have become a mass pastime and give our project the responsibility of presenting the sport’s appeal to a broad audience. As UK‑based creators, we sought to connect England’s snooker tradition with China’s vibrant cue‑sport culture.

To plan our shots and music, I reviewed World Snooker Tour (WST) promotional videos, BBC broadcasts and selected clips on FRI TV. The FRI TV platform is described as “the most complete billiards video library and the most comprehensive snooker Chinese data platform”. I especially studied videos from Yaroslav, a special contributor to FRI TV, whose work showcases the rhythm of cue sports. These references reinforced the importance of clean audio and informed our focus on micro‑sounds during recording and restraint in music selection.

Musical and sound design inspiration

Because the assignment centred on music, I studied sports broadcasts to understand how music interacts with action. BBC Sport often employs gentle piano or ambient pads during slow passages, switching to more intense cues when a player builds a break. I adopted similar dynamic pacing: minimal ambience during preparation and practice, shifting to rhythmic loops and low‑frequency synth tones during sequences of successful pots. Rather than dive into academic sound design theory, I watched behind‑the‑scenes footage of BBC and WST producers discussing their mixing choices and learned that layering variations of ball‑collision sounds can enhance impact.

Technical considerations and precedents

Smartphone filming and stabilisation

Research into mobile journalism taught us to stabilise the phone by leaning against a solid surface or wall when no tripod is available and to record 60 seconds of natural room tone before leaving a location. Since we relied on a handheld gimbal instead of a tripod, Apple applied these principles while shooting. The gimbal allowed smooth movement and flexibility when changing angles. We also monitored audio with headphones to ensure the built‑in microphones captured clean sound; modern smartphone mics provide surprisingly good fidelity when held close to the source, though ambient noise remained a limitation.

We also studied tips for using a handheld gimbal. DJI’s guide explains that a gimbal effectively reduces hand shake while on the move, enabling users to shoot smoothly while walking. It emphasises that gimbals are accessible for beginners and can help them achieve high‑quality footage. The guide further advises users to grip the gimbal with both hands for balance and stability. Inspired by these recommendations, Apple held the gimbal with both hands and calibrated it before filming to achieve smoother shots. The gimbal’s ability to film while walking allowed us to orbit the table and capture players’ movement and aiming, adding visual depth.

Precedents and inspiration

Professional cue‑sport videos guided our shot list. Many official clips use overhead tables, first‑person viewpoints and slow motion to highlight collisions. I noted how clearly the sounds are separated in broadcast mixes, with the “thwack” of a pot distinct from the softer rustle of chalk. Those insights encouraged us to film multiple angles and avoid cluttering the music.

Project management

Planning and scheduling

I wrote a brief describing a sound‑led journey through Chinese eight‑ball and snooker and developed a shot list covering preparation sounds (opening the cue case, assembling and chalking the cue, donning a glove, switching on lights), gameplay sounds (cue striking cue ball, ball‑on‑ball collisions, cushion rebounds, balls dropping into pockets, footsteps) and atmospheric elements (room ambience, hushed conversations, fluorescent lights). We also planned visuals: wide establishing shots, first‑person cue views, overhead table views and slow‑motion collisions. We scheduled three sessions over a week, each focusing on different aspects. Apple and I coordinated via a chat group to select quiet times at the venues.

Locations and equipment

After rejecting a noisy café in Leeds, we chose Victorio’s Snooker Academy and Ding Junhui Snooker Academy in Sheffield. These professional venues offered well‑lit, quiet environments and allowed us to record during off‑peak hours. The iPhone 17 Pro Max with its triple‑camera system recorded wide, medium and telephoto shots. A handheld gimbal provided stability for long takes and first‑person shots; we recorded in a high‑bitrate mode and later separated the audio for editing.

Recording sessions

• Session 1 – Preparation: We filmed the tactile rituals that begin a cue‑sport session. Apple captured close‑ups of my hands assembling and chalking the cue and wide shots establishing the space. We also recorded ambient room tone.
• Session 2 – Gameplay and variations: Multiple shot types were captured, including soft taps, powerful break‑offs, thin cuts and combinations. Using the gimbal, Apple filmed from a corner of the table and from my perspective. We focused on the sound of the cue meeting the cue ball, balls colliding and dropping into pockets, and recorded footsteps around the table.
• Session 3 – Backup and ambience: After reviewing takes, we returned to record clearer pocket sounds and slow‑motion clips of collisions. At Ding Junhui Snooker Academy, the hall’s reverberant acoustics added depth to the audio.

Music selection and sound editing

I curated royalty‑free ambient and rhythmic loops to complement rather than overpower the natural sounds. Early segments feature soft pads during preparation and practice shots. As the film transitions to successful pots, the music shifts to brighter loops with gentle percussion and low‑frequency synths. Inspired by FRI TV’s timing of music with key shots, I aligned drum hits with ball collisions. Sound editing involved trimming, normalising and balancing levels. I avoided advanced ADR or Foley, instead layering multiple takes of similar sounds when needed.

Editing workflow

In the non‑linear editor, I assembled shots chronologically to tell a cohesive story. The opening title fades into the cue case being unzipped; soft music introduces the tactile world. A montage of chalking, glove fitting and lights turning on emphasises preparation sounds. First‑person practice shots show the cue sliding through my bridge hand, with a hint of reverb to add depth. Gameplay sequences intercut wide shots with slow‑motion close‑ups; the music rises in intensity and percussion aligns with collisions. A climactic break sequence features several balls potted in quick succession, accompanied by energetic but minimal music and a layer of ambient whispers. The closing returns to calm pads as I rack the balls and switch off the lights, with credits thanking the academies and Apple.

Communication and documentation

We kept a shared spreadsheet logging session dates, tasks and outcomes. After each session, Apple and I reviewed footage and noted missing elements. Communication was informal yet efficient, with discussions before and debriefs after each shoot. I took still frames from the footage for evidence of work in progress (chalking close‑ups, overhead table views, first‑person shots, slow‑motion collisions and the closing shot), which accompany this report.

Evaluation

Strengths

• Authenticity: On‑location sound recording gives the film an authentic feel. By juxtaposing Heyball’s tight‑pocket “pings” with snooker’s longer, more resonant pots, viewers can appreciate distinct acoustic characters.
• Narrative flow: The structure leads viewers from preparation through practice, performance and reflection, maintaining engagement despite the absence of dialogue.
• Musical sensitivity: The music supports rather than overwhelms the recorded sounds. Dynamic shifts align with the energy of the game and mirror broadcast pacing.
• Efficient project management: The project was completed within weeks, adhering to the schedule and documenting progress. Despite limited resources, we produced a coherent piece.

Weaknesses and challenges

• Audio limitations: Smartphone microphones cannot match professional equipment. Delicate sounds like the cue sliding through fingers were hard to capture, and background noise from HVAC systems sometimes intruded. External recorders could improve quality in future.
• Visual quality: Although the iPhone 17 Pro Max produces high‑quality video, handheld gimbal shots can still suffer from minor wobble or focus issues. The first‑person shots were particularly challenging.
• Limited collaboration: Working primarily with one collaborator limited feedback and creative input. A larger team could provide fresh perspectives on angles, sound layering and musical themes.
• Simplistic music and editing: While supportive, the music lacks complex harmonic or rhythmic development, and the editing relies on straightforward cuts and slow motion. This matches the brief and our skill level but limits artistic depth.

Learning and growth

This project emphasised the importance of pre‑production planning. Creating shot and sound lists before arriving at the venue saved time and ensured essential elements were captured. It also showed that everyday environments contain rich sonic details if one listens carefully. From a music production perspective, I learned to choose and place music to enhance rather than distract from on‑screen action, and to synchronise tempo and dynamics with visual events. The experience underscored the value of accessible technology: with a smartphone and gimbal, careful planning and creative editing can tell a compelling story.

Working with Apple, an interdisciplinary collaborator, brought fresh perspectives. Her photographic experience guided our shot composition, while I provided music and sound design. This complementarity improved the work and demonstrated that creative projects benefit from teamwork. Reflecting on the final product, I realise that while we aimed to showcase the allure of both cue sports, our piece still lacks cultural context and narrative depth. Future versions could include interviews with players, stories about the history of cue sports or a voice‑over to enrich the storytelling. I also hope to explore virtual‑reality or 360‑degree video technology to immerse viewers in the perspective of the table. These ideas and reflections drive me to emphasise narrative and immersion in future audiovisual works.

Potential improvements and future work

To develop the project further, I would:

1. Use external audio equipment to capture cleaner sounds and free the phone for visuals.
2. Compose original music tailored to the footage, possibly sampling cue‑sport sounds as percussion or motifs.
3. Add narrative voice‑over to educate audiences unfamiliar with Chinese eight‑ball and snooker.
4. Engage more collaborators to diversify creative input and share workload.
5. Refine editing techniques, including colour grading, motion graphics and professional audio mixing.
6. Explore virtual‑reality or 360‑degree filming – immersing viewers in the cue‑sport environment from novel angles.
7. Delve deeper into cultural context – include historical introductions to cue‑sport cultures in China and the UK, or interviews, to enhance the work’s humanistic depth.

Appendices and Bibliography

Appendix A – Session logs (summary)

omitted for brevity

Appendix B – Screen captures (key frames)

• Preparation close‑up – Photo of hands chalking the cue and fitting a glove.
• First‑person view – Frame replicating the player’s sightline.
• Wide gameplay shot – Overhead view capturing multiple balls colliding.
• Slow‑motion collision – Frame showing balls in mid‑collision.
• Closing shot – Image of the table being racked and lights switched off.

Bibliography

Additional references include WST promotional videos, BBC Sport broadcasts and numerous FRI TV videos by special contributor Yaroslav, which informed our understanding of cue‑sport aesthetics and sound design.

The Latest – “Hacked off by coughing in snooker” article discusses how persistent coughing distracts players and how spectators may leave out of respect.

Spot On Billiards – “A Complete Guide to Heyball (Chinese 8‑Ball)” notes that Heyball combines the tactical nature of pool with the precision of snooker and originated in China; it contrasts table designs and explains why Heyball demands precise shots.

Mobile Journalism Manual – “Filming with a Smartphone” advises stabilising a phone against a solid surface when no tripod is available and recording 60 seconds of ambient sound before leaving a location.

TvChinese.net – The FRI TV description calls it “the most complete billiards video library and the most comprehensive snooker Chinese data platform” and notes that the domain FRI.TV hosts billiards broadcasts.

Guardian report – This article notes that approximately 50 million people in China play snooker or cue sports, with more than 300,000 snooker halls nationwide and Chinese eight‑ball being even more popular.

DJI gimbal guide – The guide explains that gimbals can stabilise footage while walking, are accessible for beginners and recommend holding the gimbal with both hands for greater stability.