Film Sound Week 7 Fall 2023 PDF

FILM SOUND THE SOUND TRACK Some Relevant Terms: ★ Scene (sequence of shots - from theatre) ★ Shot (within a scene) ★ P.O.V. (point of view) perspective of shot More Relevant Terms: ★ M.O.S. (mit out sound - lmed without sound) ★ Cue (music sequence) ★ Montage (literally assembling - editing...

FILM SOUND THE SOUND TRACK Some Relevant Terms: ★ Scene (sequence of shots - from theatre) ★ Shot (within a scene) ★ P.O.V. (point of view) perspective of shot More Relevant Terms: ★ M.O.S. (mit out sound - lmed without sound) ★ Cue (music sequence) ★ Montage (literally assembling - editing) ★ Take - shooting a scene generally requires multiple tries/versions/takes. fi 1. PRE-PRODUCTION SCRIPT FINANCING SCHEDULING LOCATION CASTING PERMITS AND INSURANCE CREW AND EQUIPMENT RENTALS DISTRIBUTION ADVERTISING STORY BOARD 2. PRINCIPAL PHOTOGRAPHY SYNCHRONIZATION Timecode LOCATION RECORDING SOUND STAGE Film music/sound may be described as either: diegetic, screen* or source https://www.youtube.com/watch?v=wZj7gUIO-2k * terms from Michel Chion Or: non-diegetic, score or pit music* * terms from Michel Chion  3. POST PRODUCTION PICTURE EDITING SPECIAL EFFECTS, CGI  ADR: AUTOMATED (OR ADDITIONAL) DIALOG REPLACEMENT DUBBING SOUND EFFECTS FOLEY MUSIC SCORING  Post Production Sound SOUND EDITING Combining the layers: Location Sound, ADR, Foley, SFX, Music FILM SOUND Early History  Four time periods (Martin Marks) 1) 1895 – early 1900 vaudeville / music hall orchestra accompaniment – lms part of variety shows (short subjects) 2) 1905 – nickelodeon boom – mass audiences – into purpose built theatres with (principally) piano/organ/ mechanical instruments – lm music as a distinct profession 3) 1910 – theatres grow in size and quality – more budget for music – coincident with theatres with 1 + projectors (longer lms) and growing market for musical arrangements for lm music composer/performers – advent of musical director 4) late 1910 – 1927 nal period – grand movie palaces – spectacular theatre organs, large orchestras, conductors, lavish shows with skits, vaudeville, classic performers as prologues to lms fi fi fi fi fi fi Synchronous Sound & Aesthetic Challenges Controlling the Score: Max Winkler’s books of cue sheets (1912) The Trouble with original scores  it was a mere three or four years before there was not a single silent film in production in all of North America. This was not an evolution but a revolution of great speed and remarkable smoothness. Diegetic Sound changes he role and function of music Continuity Music changes in synchronous sound lm: (i) altered to accommodate sfx, dialogue; (ii) accurate synchronization & tempo mapping (iii) live music was of much higher quality: recording, playback of sound is a representation and an interpretation as much as the image is. fi MICROPHONES Re-Recording Dialogue and Music Controlling the Playback The Role of Music in Film A Summary & Speculations: Film was initially shown in Vaudeville theatres as an interlude between the live acts, hence the musicians were already in the pit. SOUND FILMS USING CLASSICAL MUSIC  Why Music? 1. Music fulfills a need to engage in the spectacle.  Why Music? 2. Music has always been an integral part of the spectacle.  Why Music? 3.Pragmatic Reasons ( & technological antecedents) Covered “noise”  Why Music? 4. Semiotic function:  Why Music? 5. Rhythmic beat to complement or impel rhythms and music on the screen:  Why Music? 6. Turns flat screen into 3d event.  Why Music? 7. (Historically) Antidote to the ghosts represented in the flickering black & white image. (Hans Eisler)  Why Music? 8. Bonds spectators together.  Why Music? 9. Music gives us pleasure.  Why Music? 10. We are highly socialized to this combination  Why Music? 11. Assists in creating the story. Curiously, the audience can be seen to desire everything but the music to be real. § There is a prejudice of the iconic (representation) for cinema and a prejudice for non-iconic or non- representation for music. Film music may be described as either: (a) diegetic or (b) non-diegetic i)Diegetic, screen or source music: Music is one of the few elements of the soundtrack which can shift easily between being perceived as either diegetic or non- diegetic. ii)Diegetic, screen or source music: High quality diegetic music can articulate space: Non-diegetic, pit or extra-diegetic music: No clear source in the story space: Advent of synchronous sound: Continuous music of the non-synchronous era was replaced by discontinuous, shorter cues. Because of the dif culties of dubbing or copying sound in the period prior to 1933, it was necessary to record the music during the lming. fi fi Consequences... FILM MUSIC FUNCTION Claudia Gorbman’s Rules of Narrative Film Music. VII Principles of Composition. From Claudia Gorbman's book: Unheard Melodies  Principles of Composition I I. Invisibility The technical apparatus of non- diegetic music must not be visible.  Principles of Composition II II. Inaudibility Music is not meant to be heard consciously. As such it should subordinate itself to dialogue, to visuals - i.e.. the primary vehicles of the narrative. Note use of ‘Ducking’ in Psycho Sequence: II. Inaudibility Principles of Composition II As music has its own inertia, there are better times for it to stop and start in order that it remain inaudible. III. Signifier of Emotion Principles of Composition III Soundtrack music may set speci c moods and emphasize particular emotions suggested in the narrative (IV) but rst and foremost it is a signi er of emotion itself. fi fi fi IV. Narrative Cueing Principles of Composition IV Referential / narrative: music gives referential and narrative cues, e.g.. indicating p.o.v.., supplying formal demarcations, and establishing setting and characters. BEGINNINGS ENDINGS IV. Narrative Cueing Principles of Composition IV CHARACTERIZATION IRONY V. Continuity Principles of Composition V Music provides formal and rhythmic continuity - between shots, in transition between scenes by filling the gaps. IV. Narrative Cueing Principles of Composition IV Connotative: music interprets and illustrates narrative events - based on the huge lexicon hinted at previously; it is clear that the studio music department will exploit this:  SOUND DIARY 7 LOUD SOUND DUE: TUESDAY, OCTOBER 24TH