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Final sound presentation for intro to film


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Final sound presentation for intro to film

  1. 1. CHAPTER 7: SOUND By Sean Fogar ty, Chelsea Massa, & Mar y Kate Thomerson
  2. 2. SOUNDTRACK BASICSAll sound that accompanies the film  Music, dialogue, sound effectsDigital  Crisp and cleanConstructed separately  Flexible  Easy to manipulateHard to study  Cannot freeze a sound
  3. 3. POWER OF SOUND IN FILM Interest  Silent Films accompanied by orchestra Narration  Voice over narration contributes/introduces the story line  Good Fellas Diner Scene Understanding  Alter perception of scene depending on sound   Guidance  Direct the attention of the audience
  4. 4. POWER OF SOUND IN FILM Anticipation  Create suspense; Horror Films  Jurassic Park Raptor Scene Value to Silence  Sound is routinely used, lack of sound becomes alien  Panic Room
  5. 5. FUNDAMENTALSLoudness  Amplitude  Vibrations of the air  Constantly manipulated  ated Twist and Shout  Characterizes dialogue  Pulp Fiction  Shows perceived distance  Super 8
  6. 6. FUNDAMENTALSPitch Frequency of sound vibrations Highness or lowness of a sound Most sounds are a complex tone, or multiple pitches Helps to distinguish between music, speech, and noises Set the tone of a scene  The Shining
  7. 7. FUNDAMENTALSTimbre Harmonic Components Give a Sound “Color” Combination of Harmonics, Frequency, and Overtones Texture or Feel of a Sound  Econ Teacher
  8. 8. CHOOSING SOUND Each sound serves a purpose Select sound to fulfill particular function Sound added freely Soundtrack is not always made after image track  In many cartoons it is made first Not all sound is recorded for that specific project  Some editors reuse music and effects stored in a sound library  Wilhelm Scream; Importance of dialogue, music, and sound effects vary by film  Dialogue – Breakfast Club  Sound Effects – Almost anything Michael Bay  Music – Musicals and, more recently, dance movies
  9. 9. SOUND MANIPULATION AND EDITINGChange acoustic qualities  Loudness, frequency, tone quality Sound Mixing  Join sounds together  End to end; One over the other  sound-effects.htmlClarified and simplified to stand outDialogue Overlap  Dialogue continues past a cut
  10. 10. SOUND AND FILM FORMFilm scores Use of pre-existing pieces Composed specifically for movie  ET Music strongly influence emotional reaction Melody or music can be associated with particular setting, character, situation, idea, parts of narrative, or scenes  Darth Vader
  11. 11. DIMENSIONS OF FILM SOUNDRhythm Beat, pulse, tempo, pace, or pattern Rhythmic qualities in sound effects also Gunshots in gangster films Speech is rhythmic Characters show distinct pacing and syllabic stress  Joker
  12. 12. RHYTHM IN SOUND AND IMAGECoordination Match rhythmic sound with rhythmic video  Mickey Mousing  Disney characters move in sync with music, even when not dancingDisparities Creation of contrasting video and audio rhythm  Four Nights of a Dreamer
  13. 13. FIDELITYExtent to which sound is faithful to the source as we conceive it.Purely a matter of expectation.If sound is unfaithful to its source and we are aware of it, usually done for comic effect. 
  14. 14. FIDELITY Jacques Tati is a good specimen for the study of sound.  Y May be manipulated by change in volume. Ex: Curtis Bernhardts “Possessed” alters the volume in ways that aren’t faithful to sources.
  15. 15. SPACE Sound has spatial dimension because it comes from a source. 2 types: DIEGETIC v NONDIEGETIC • Sound that has a • Sound that comes from a source source in the story outside the story world. world. • Sound effects can be made from • Often hard to this type. notice. • Entire films can be made • May be completely with nondiegetic manipulated in sound. unrealistic ways. • lif_shortfilms
  16. 16. SPACE Diegetic sound can either be on or off screen  Depends on whether source is in or outside ofthe frame. Can be used to represent what a character is thinking.  Ex: Speaking thoughts even though lips not moving  other’s usually can’t hear them EXTERNAL DIEGETIC SOUND: way we as spectators take to have a physical source in the scene.
  17. 17. SPACE INTERNAL DIEGETIC SOUND: comes from inside the mind of a character– subjective  can’t be heard by other characters: SILILOQUIES Nondiegetic and internal diegetic sounds are often called SOUNDOVER because they don’t come from the real space of the scene. Diegetic and Nondiegetic sound blur. Ex: Cavalry rescue scene from Stagecoach.
  18. 18. OMNISCIENT NARRATOR Disembodied voice that gives us information that doesn’t belong to any characters in the film
  19. 19. SPACE Many times a film’s narration deliberately blurs boundaries between two spatial categories  Used to puzzle/surprise audience  Create humor or ambiguity  Achieve other purposes Space of the narrative action isn’t limited to what we can see on the screen----same for sound Off screen sound:  Crucial to film – can create illusion of bigger space.  Can also create restricted and less restricted narration
  20. 20. SOUND PERSPECTIVE Characteristic of diegetic sound Sense of spatial distance and location analogous to the cues for visual depth and volume that we get with visual perspective. Can be suggested by volume  ex: loud= near ; soft= more distant  changes in volume may suggest characters movement through space Can be created by timbre  Most noticeable with echoes
  21. 21. SOUND PERSPECTIVE Particularly marked in telephone conversations Telephone split – seldom matches what phone calls sound like in reality  - 7750754192792496799
  22. 22. SOUND PERSPECTIVE IN THEATER SPACE Using stereophonic and surround tracks a film can more strongly imply a sound’s distance and placement. Without the greater localization of fered by the stereophonic channels, we might scan the frame for sources of the sound. Stereo reproduction can specify a moving sounds direction.  Ex: Rumble on right side of screen that moves across with plane fly over.
  23. 23. TIME Synchronous sound- what we see produces what we hear  example: dialogue Asynchronous sound- when what we see doesn’t match what we hear  example: the first talkies  -cT0 Simultaneous sound-sound that takes place at the same time as the image in terms of the story events Non-simultaneous sound-we hear sounds that occur earlier or later in the story than the events we see in the image  example: sonic flashback- one character hears the voice of another from earlier
  24. 24. DIEGETIC SOUND Non-simultaneous sound earlier than the image  sounds come from earlier in the story  Examples: sound flashback, sound bridges(the sound lingers even through the image as moved on), and flash forward  Sound simultaneous with the image in the story  can be external or internal  Non-simultaneous sound later than the image  =3325854 start as 35:19  used as transitions or to help pull the story together
  25. 25. NONDIEGETIC SOUND Non-simultaneous sound that came earlier sounds that are not part of the story but came before the images shone  Simultaneous  usually a narration Non-simultaneous sound came later someone narrating their own past 
  26. 26. FUNCTIONS OF FILM SOUND: THE PRESTIGE Christopher and Jonathan Nolan wanted the movie to be like a magic act in it of itself. The movie isn’t shown in chronological order, the stor y order is switched up and some scenes repeat so that the audience has some knowledge but is never really cer tain of it. (almost like Citizen Kane) Rober t and Alfred are two rival magicians who compete to amaze their audiences. This competition grows when Alfred is responsible for the death of Rober t’s wife in an act. Af ter this Rober t becomes obsessed with Alfred’s trick of the transpor ted man, and he eventually comes up with his own transpor ted man act using a machine built by Tesla. During on of his shows Rober t dies and Alfred is blamed and then hanged. The truth behind Alfred’s act was that he has an identical twin brother who would per form the acts with him, together they had two lives and each lived a par t of both. The movie ends with Alfred’s twin killing Rober t, who actually didn’t die, and then each tells the truth behind their tricks.
  27. 27. FUNCTIONS OF FILM SOUND: THE PRESTIGE Each place and event is given its own sound, such as the warmer sound of theater after a trick was preformed or the slow swell of the music before an act.  1:42:22 Also there are many sound bridges to connect scenes Use a dialogue hook where a scene ends with a line and then cuts to another scene, usually having to do with the line. Parallels are made between the love lives and careers of the two men. The sound of metal clinking is repeated throughout the entire movie, like the clang of a trap door or the sound of Alfred’s chains.
  28. 28. FUNCTIONS OF FILM SOUND: THE PRESTIGE The similarity in sound in scenes clarifies the parallelism between the two Tl90m1Auk  1:55:30 The use of the two magicians’ diaries help the audience understand where in time they are in the story and assist in leading to flashbacks for more information  7:30 and 11:32 Eventually the diaries aren’t shown anymore, but voice overs are used, it makes clean transitions from flashbacks back to present time  46:33 The opening of The Prestige foreshadows the way the rest story will be presented by starting with an important scene being played with a voice over  0:57