Sound in FilmWhatareweLESSTolerantofinm.docx

Sound in Film
W
hatare
w
e
LESS
Tolerantofin
m
ovies:
G
rainy, shaky, low
lightim
ages
O
r
Badly
Recorded
Sound?
Sound in Film

W
hatare
w
e
LESS
Tolerantofin
m
ovies:
G
rainy, shaky, low
lightim
ages
O
r
Badly
Recorded Sound!
W
hy
is that?
Sound in Film
KCRW
interview

w
ith M
idge Coston on her new
film
,
M
aking W
aves
(interview
starts at 25:22)
https://w
w
w
.kcrw
.com
/new
s/show
s/press-play-w
ith-
m
adeleine-brand
Link to Trailer for her new
film
https://w

w
w
.youtube.com
/w
atch?v=W
sIE4x3xU
0Y
Film
and Sound
----W
illiam
D
ickso
n
E
xp
e
rim
e
n
tal So
u
n

d
Film
(Ed
iso
n
Lab
s)
First So
u
n
d
Film
P
ro
je
ct (1
8
9
4
/1
8
9
5

)
h
ttp
s://w
w
w
.yo
u
tu
b
e
.co
m
/w
atch
?v=
zaSrP
U
C
FryU
10
M
em

orable
Film
Sounds
https://w
w
w.youtube.com
/w
atch?v=9TjxvA4kjw
M
Elem
ents
ofFilm
Sound
A.Three
Phases
ofM
aking
Sound
(during
production)
B.D
ubbing

(post-production)
Range
and
Types
ofSound
in
Film
A.Four types
ofsound
A.D
igetic
and
N
on--diegetic
Sound
B.Autom
ated
D
ialogue
Replacem
ent (AD
R,Looping)

C.D
igitalM
anipulation
E
.
Foley
(3
reasons)
F.
Transitions
(4
kinds)
Post-Production Sound
Foley Videos
https://w
w
w
.youtube.com
/w
atch?v=O
O
N
aPcZ4EAs

G
ary H
ecker –
Top Foley A
rtist
https://w
w
w
.youtube.com
/w
atch?v=U
Q
s0U
yK8958
H
oley Foley
https://w
w
w
.youtube.com
/w
atch?v=Li6TSw
ybqjU

Foley
and
Film
Footsteps
(G
uy M
addin,9
m
.)
Shortdocum
entary
on
the
Toronto--based
Foley
group,
show
ing
the
process
ofcreating
sounds
forfilm

s
(i.e.foley)
Further Thoughts
on
Sound
Aesthetics
Atm
osphere
and
M
ood
Eraserhead
(D
avid
Lynch
1977)
Com
plem
entto
Visuals
and M
ickeym
ousing

King Kong
(Cooper, 1933)
Final Thoughts
on
Sound
Aesthetics
Sound
can
actively
shape
how
w
e
interpretthe
im
age
Sound
can
guide
us
to
focus

on
elem
ents
ofthe
im
age
Sound
can
affectus
on
its
ow
n
Sound
can
clarify
events, contradictthem
, orrenderthem
am
biguous
Sound
D

esign
in
Y Tu
M
am
a
Tam
bien
(Alfonso Cuaron,2002)
C
onsider the follow
ing w
hile w
atching this scene from
the film
:
S
ound Q
uality
S
ound M
ixing

Sound
D
esign
in
The Blair W
itch Project
(M
yrick and Sanchez, 1999)
W
hat m
akes this scene creepy?
Class Exercise:
Sound
D
esign
in D
racula
(Coppola 1992, O
scar for Best Sound Editing)
W
e
w
illlisten

to
this
scene
w
ithoutpicture
and
w
hile
doing
so
w
rite
dow
n
w
hatyou
hear.
W
hich of those sounds do you expect to be diegetic and w
hich
ones non-diegetic?
N
extw

e’llw
atch
the
scene
w
ith
picture, so
keep
track
ofhow
yourinitialexpectations
ofthe
scene’s
sound
design
m
atch
up
w
ith
how
itis
actualized.
D

iscussion
D
IY
Projectand
D
escription
Students
have
three
different “production”
options
for this
course:
Screenplays
M
ustbe
form
a
tted
according
to
professionalstandards
Convertto

PD
F
and
U
pload
to
course
M
oodle
site
Include
studentnam
e
and
ID
#,and
Com
m
231
on
frontpage
Editing
Videos

m
ustinclude
end
credits, including
nam
e
ofstudentand
Com
m
231
U
ploaded
to
Youtube or Vim
eo
V
ideos
E--m
ailthe grader
the
link
to
your
Vim

eo
or Youtube
channel thatgoes
directly
to
your
video
Include
in
the
e--m
ail full nam
e
and
ID
num
ber
of al students involved in project
Put“231
Video”
in
subjectline
ofe--m
ail

A
LL
PRO
JECTS
D
U
E
by
M
ID
N
IG
H
T SU
N
DAY, Dec. 8 th
D
IY G
raders
Send your video link to the follow
ing grader according to the first letter of your last nam
e

V
ideo links need to be either on Youtube
or V
ideo. If G
oogle D
rive be sure to “share” video w
ith
your assigned grader and send them
the link.
A
–D
: Kevin ([email protected]
um
ass.edu)
E–L: Cece
([email protected]
um
ass.edu
)
M
-S: Ifat ([email protected]
um
ass.edu
)

T
–Z: N
ora ([email protected]
um
ass.edu)
Send your V
im
eo or Youtube
links to the correct
grader or the project w
ill N
O
T be graded
D
IY
ProjectD
escription
(Paper)
M
U
ST
be

printed
out, stapled,and
handed
in
no
later than
Tuesday,D
ecem
ber 10
th
The
D
IY
Project M
U
ST
dem
onstrate
both
aesthetic and
technical aspects of
w
riting
and/or im

age
production
from
our course
m
aterial.
Descriptive
Paper M
U
ST
reference
course
m
aterial
(i.e. use term
inology from
the course to discuss your creative process and the
production)in
order to
explain
the
scope,goal,and
style
of the

particular D
IY
Project you’ve
chosen
and how
you w
ent about creating it.
Paper m
ust LEA
D
w
ith the Log Line for your project
Pop Q
uiz Six
Take Five M
inutes to review
your notes from
last w
eek’s classes
This w
ill be a closed-note pop quiz

Pop Q
uiz Six
Provide a definition for each of the follow
ing film
term
s:
1)
D
iegetic Sound
2)
N
on-D
iegetic Sound
Function
ofM
usic?
W
hat roles can m
usic play in film
s and television?

Function
ofM
usic?
W
hat roles can m
usic play in film
s and television?
O
verture
O
rientation
Foreshadow
ing
InternalStates
M
usic
and
Character
Function
ofM
usic
M

usic and Character
Can you think of an exam
ple of a fam
ous m
usical them
e
that is associated w
ith a film
character?
Function
ofM
usic
M
u
sic an
d
C
h
aracter
Fo
r
Exam

p
le:
Sau
ram
o
n
’s
Th
em
e
vs.Th
e
Sh
ire
Th
em
e
Sauram
on
h
ttp
s://w
w
w

.yo
u
tu
b
e.co
m
/w
atch
?v=
K
X
V
tp
O
H
Q
q
vY
Shire
h
ttp
s://w
w
w

.yo
u
tu
b
e.co
m
/w
atch
?v=
KviK
cU
M
vtEI
W
h
at is th
e effect o
f each
o
f th
ese leitm
o
tif’s?

Return
ofthe
Jedi
John
W
illiam
s
(com
p)
D
escribe D
arth
Vader’s
leitm
otif?
Return
ofthe
Jedi
John
W
illiam

s
(com
p)
H
ow
does
his
leitm
otifw
ork
differently
in
this
scene?
M
usic and/in Film
Convey
M
eanings
Juxtaposition
ofM
usic

and
Im
ages
Lyrics can propel story but can also run the risk of being too
literal
Retain
Integrity
(on
it’s
ow
n)
D
escriptive
(e.g. m
ickeym
ousing, non-diegetic)
Collaboration
w
ith
M
usic
Com
posers

Translate source
dram
a
into M
usic
--Contribute M
usic during production
--After production w
raps
--H
elp shape story from
beginning
D
ead
M
an
Jim
Jarm
usch
(D
ir)and
N

eilYoung
(Com
p)
“M
akah
Village”
M
usic
Cue
“…
w
ith
just
a
guitar, com
posed
the entire
soundtrack
for
a
film
”
----Blind
Carre

D
iscussion
Q
uestion
s
1.
H
ow
w
ould
you
describe
the
m
usic
cue
for this
scene?
2.
W
hat is
the
effect ofthis
m

usic
to
the
scene?
3.
H
ow
does
the
m
usic
m
eet or challenge
our expectations
ofa
m
usicalscore
for a
W
estern?
G
rizzly

M
an
(2005)
W
erner H
erzog—
D
irector
H
enry
Kaiser—
M
usic
producer
Richard
Thom
pson—
Com
poser
“In
the
Edges: The
G
rizzly

M
an
Session”
A
behind
the
scenes
look
at producing
m
usic
for the
feature
docum
entary
about Tim
othy
Treadw
ell’s
life
and
death
am
ong

grizzly
bears
This
scene
show
s
an
im
prom
ptu
celli duo
set to
a
grizzly
bearfight
recorded
by
Treadw
ell.
M
usic and Film
Katy
Perry:PartofM

e
(2012)
M
usic D
ocum
entary
Childish G
am
bino –
“This Is A
m
erica”, M
usic V
ideo
https://w
w
w
.youtube.com
/w
atch?v=V
YO
jW
nS4cM
Y

W
arning: this video contains violence
O
K G
o –
“I W
on’t Let You
D
ow
n”,M
usic
Video
https://w
w
w
.youtube.com
/w
atch?v=u1ZB_rG
FyeU
Film
M

usicals
Realist
----A
Staris
Born
Inside Llew
yn
D
avis
----O
nce
C
oco
Form
alist
---Frozen
----D
ancerin
the
D
ark
----An
Am
erican
in

Paris
----Across
the
U
niverse
Les
M
iserables
M
ix
----D
ream
girls, Chicago
M
oulin
Rouge
----Singin’ in
the
Rain
----Rock
of Ages
----The
Sound
of M

usic
M
usic and Film
M
usicalBiographies
M
usicalD
ocum
entaries ConcertM
ovies
Film
O
peras
Anim
ated
M
usicals
Film
s H
eavily
Relianton
M

usic
G
rizzly
M
an
(2005)
W
erner H
erzog—
D
irector
H
enry
Kaiser—
M
usic
producer
Richard
Thom
pson—
Com
poser

“In
the
Edges: The
G
rizzly
M
an
Session”
A
behind
the
scenes
look
at producing
m
usic
for the
feature
docum
entary
about Tim
othy
Treadw
ell’s
life

and
death
am
ong
grizzly
bears
This
scene
show
s
an
im
prom
ptu
celli duo
set to
a
grizzly
bearfight
recorded
by
Treadw
ell.

M
ovie
M
usic
2011: O
scar--N
om
inated
Scores
h
ttp://w
w
w
.npr.org/2011/02/27/134061536/m
ovie--m
usic--2011--oscar--nom
inated--scores
Perhaps you
m
ay
recall these
scores if you’ve
seen

the
m
ovies.
H
ow
to
Train
Your D
ragon
Inception
The K
ing’s Speech
127 H
ours
Social N
etw
ork
Pop Q
uiz 7
1.
Provide a brief description of tw
o of these five film

soundtracks
2. H
ow
does the
m
usic “fit”
or com
plem
ent
the
im
ages from
the
m
ovies?
H
ow
to
Train
YourD
ragon
(John
Pow

ell)
H
ow
to
Train
YourD
ragon
(John
Pow
ell)
H
ow
to
Train
YourD
ragon
(John
Pow
ell)

H
ow
to
Train
YourD
ragon
(John
Pow
ell)
Inception
(H
ans
Zim
m
er)
Inception
(H
ans
Zim
m
er)

Inception
(H
ans
Zim
m
er)
Inception
(H
ans
Zim
m
er)
Inception
(H
ans
Zim
m
er)
Inception
(H
ans
Zim

m
er)
The
King’s
Speech
(Alexandre
D
esplat)
The
King’s
Speech
(Alexandre
D
esplat)
The
King’s
Speech
(Alexandre
D
esplat)

The
King’s
Speech
(Alexandre
D
esplat)
127
H
ours
(A.R. Rahm
an)
127
H
ours
(A.R. Rahm
an)
127
H
ours
(A.R. Rahm

an)
127
H
ours
(A.R. Rahm
an)
The
Social N
etw
ork
(Trent Reznor and A
tticus Ross)
The
Social N
etw
ork
(Trent Reznor and A
tticus Ross)
The

Social N
etw
ork
(Trent Reznor and A
tticu
s Ross)
The
Social N
etw
ork
(Trent Reznor and A
tticus Ross)
Experim
ental M
usic
M
ost m
usic
that w
e
hearin

film
s
is
readily
identifiable
as
just that –
m
usic.
H
ow
ever, a
num
ber ofcom
posers
create
experim
entalm
usicalscores
A
.
U
se
ofnon-traditionalinstrum

ents
(garbage
cans, conk
shells, broken
glass, m
odified
pianos)
John Cage
B.
U
nusualcom
binations
ofinstrum
ents
and
genres
(sitarw
ith
electric
guitar, Arabic
vocaltrills
w
ith
hip

hop
beat)
D
ead
M
an
W
alking
N
usrat Fateh
Ali Khan
w
ith
Eddie
Vedder: Tablas
and
Slide
G
uitar, m
ixing
of
South
Asian
and

N
orth
Am
erican
instrum
ents
and
m
usicians
C.
Com
posing
m
usic
in
a
m
anner that breaks
from
the
standard
conventions
ofm

usicalarrangem
ent
(Reznor and
Ross)
Experim
ental M
usic
(John
Cage)
http://w
w
w
.youtube.com
/w
atch?v=m
yXAU
EuECqQ
Experim
ental M
usic
(Khan
and

Vedder)
https://w
w
w
.youtube.com
/w
atch?v=exanYRN
dzP4
Inside
M
an
(
L
e
e
, d
ir
;
R
a
h
m
a

n
, c
o
m
p
)
S
p
ik
e
L
e
e
c
h
o
s
e
a
n
e
x
is
t
in

g
s
o
n
g
t
o
a
c
c
o
m
p
a
n
y
t
h
e
o
p
e
n
in
g

t
o
h
is
“
a
lm
o
s
t
a
b
a
n
k
r
o
b
b
e
r
y
fi
lm

”
Q
uestion
W
it
h
t
h
e
s
o
n
g
a
n
d
ly
r
ic
s
r
e
c
o
g

n
iz
a
b
ly
S
o
u
t
h
A
s
ia
n
, b
u
t
h
is
s
e
t
t
i
n

g
r
e
c
o
g
n
iz
a
b
ly
N
Y
C
,
h
o
w
d
o
e
s
t
h
e

s
o
n
g
“
fi
t
”
h
is
m
o
v
ie
?
h
t
t
p
s
:
/
/
w
w
w

.y
o
u
t
u
b
e
.
c
o
m
/
w
a
t
c
h
?
v
=
R
W
R
F
W
W

o
3
_
U
I
Extra-Credit Q
uiz (3 points) D
ue D
ec.3
rd
Baby D
river, Edgar W
right (dir.) 2017
Tim
ecode: 00:58:52 –
01:27:40
W
rite a one-page paper addressing the follow
ing:
1--the role(s) m
usic plays in helping to tell

the narrative (be specific)
2--how
m
usic adds to the dram
a and action (be descriptive)
3--instances w
here m
usic is used in a diegetic
or a non-diegetic w
ay (be precise)
A
m
adeus
(Forem
an, 1984)
Pay
attention
to
how
the
picture
and
sound

editing are
constructed
forthese
scenes.
M
usic (obviously, considering
the
subjectm
atter)plays
an
im
portantdram
atic
role
in
this
story.
1)
W
hatis
the
function
and

effectofthe
m
usic?
2)
Is this a RealistorForm
alistuse
ofm
usic?
3)
W
hen
is
the
m
usic
diegetic
and w
hen is it non-diegetic?
Exam
Tw
o

H
igh Score = 26
Low
Score = 14 (x2)
M
edian = 21
A = 38
B
=
49
C = 17
D
= 15
F = 2
Exam
Three
Cum
ulative
M
ajority of Q
uestions on last third of course
(N
ov. 5–D

ec. 10)
Friday, D
ec. 13th
1–3PM
in ILC S240
Types of edits
•
1. Straight cut
•
2. M
atch cut
•
3. Jum
p cut (jarring effect)
•
4. Fades, out and in (to black, to colors)
•
5. Focus out and in
•
6. Iris out and in
(early film
technique, rarely used now
)

•
7. D
issolve
•
8. W
ipe (Kurosaw
a, Star W
ars)
•
9. Cutaw
ay / insert
Classical Editing in D
ram
atic Contrast
N
orth by N
orthw
est
(H
itchcock, 1959)
H
ow

does the editing m
akes this scene intriguing?
--length of shots
--repetition of shots
--types of edits
--sound
U
northodox Editing in D
ram
atic Context
M
artha M
arcy M
ay M
arlene (Sean D
urkin, 2011)
Jum
p Cuts and Sound Bridges
Jarring shift in locations –
w
hy, to w
hat effect?

Further Thoughts on Editing
--Continuity editing (avoiding disjuncture in tim
e/space)
–Sound Bridges
--Flash-backs, flash-forw
ards (shifts in tim
e-fram
e –
for w
hat purpose?)
--Superim
positions (double exposure)
--Establishing Tim
ing and Rhythm
through Shot Length
–Condensing Tim
e, Expanding Tim
e
–Parallel Tim
e through parallel editing

Po
p
Q
u
iz
6
=
2
p
o
in
ts
M
o
n
tage
in
The G
raduate
(M
ike
N
ich
o

ls, 1
9
6
7
)
W
rite
d
o
w
n
as m
an
y typ
e
s o
f e
d
its yo
u
can
d
ete
ct in

th
is sh
o
rt
m
o
n
tage
1
.
Id
e
n
tify at le
ast o
n
e
ju
m
p
cu
t
o
r

m
atch
cu
t
in
th
is se
q
u
e
n
ce
–
an
d
exp
lain
w
h
y yo
u
id
e
n

tify th
e
cu
t as e
ith
e
r a ju
m
p
cu
t
o
r m
atch
cu
t
Sound in Film
Biology
Invention
1877, , 1895,1927
Considerations
----lack of sensory

incom
pleteness
unlike
other art form
s
Elem
ents
ofFilm
Sound
Top G
un (Tony Scott)
Academ
y Aw
ard N
om
ination, 1987
--O
riginal Song
--Sound
--Sound Editing
Tw
o

view
ings:
1)W
ithoutSound
(M
O
S: “m
itoutsound,”
“m
otion
on
screen,”
“m
otoronly
shot”)
2)W
ith
Sound
•
----W
hatis
the
soundtrack
com

prised
of?
•
----W
hatand
how
does
the
sound
add
to
the
scene?
Film
an
d
So
u
n
d
----W
illiam

D
ickso
n
Exp
e
rim
e
n
tal So
u
n
d
Film
(Ed
iso
n
Lab
s)
First So
u
n
d
Film
P

ro
je
ct (1
8
9
4
/1
8
9
5
)
•
h
ttp
s://w
w
w
.yo
u
tu
b
e
.co
m

/w
atch
?v=
zaSrP
U
C
FryU
Foley
G
ary H
ecker –
Top Foley Artist
Sony Pictures Foley Studio
https://w
w
w
.youtube.com
/w
atch?v=U
Q
s0U
yK8958

H
oley Foley
Foley for W
ildlife D
ocum
entaries
https://w
w
w
.youtube.com
/w
atch?v=Li6TSw
ybqjU

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