Sound Design - The Importance of Sound

Use of sound - The sound of hard footsteps could also be a hear beat, a glock or even the shooting of a gun.

Sound design is the process of layering the sounds and effects to create a single soundtrack on a project.

You should take as much time on the sound as you would do on the camera, even if you would not think it is important (but it is)

In the 1970's a demand for more complex sound tracks created the need for a sound editor.
The first person to be credited for it was Walter Murch ->
Apocalypse Now: https://vimeo.com/6784121

Commonly there will be 5-20 layers of sound in a project.

Sound Tracks:

Dialogue: Recorded on the actual shoot, voiceover on a separate track.
Sync: Recorded from the shoot which is not dialogue, ie: someone walking across the end
ADR (Automatic dialogue replacement): Dubbed over after the film
FX: Certain sound effects, for example a car engine, recorded specifically for production or  Sound FX Library, which can be found online, through the software or even Foley Artist sounds.
Atmos: Sound effects that make up the atmosphere for a particular location.
Music: Diegetic music on a radio or similar or Non- diegetic added in afterwards.

Compiling all the tracks, making creative decisions all the time that fit the action. On big productions, each track will have one person assigned to them, FX for one person, Dialogue for another for example.

The mix is compiling all the tracks into one single track, this is the most creative part as you are deciding what you hear. Still editing in the mix phase.

The art of sound design is to make it feel right for what we are seeing, and to add depth, even if it is a vastly different area it still has to sound right. A clock ticking, a dog barking - that much detail.

Art of silence - Hearing things that you would not normally hear, by having the sound of a fly etc it shows how quiet the scene is. To create silence you have to add in sound.

You don't have to add music to create tension, it can be sound effects.

However you can do it entirely through music if you feel it fits well.

You need to create a specific emotional moment and this is done with sound design.

Spending double what they spent shooting a film in the soundtrack and sound design. When you are planning and shooting, think about the audience will hear.

Sound Recording Tips:
Always get as close as possible with the mic.
If it is windy, try and position the actor with their back to the wind.

Always use a buzz track so you can add into the background of the edit - 1 minute of nothing so you can have that as backing track.

MY FILM - Part 3 Storyboards (Film Prep)

 Here are my storyboards for my scene. I know I can't draw but they are a good guideline to what I want to shoot on the day. Of course coverage is a big issue that I need think about on the day, it will take a lot of time to get the same shot from a lot of angles but in editing it will give you a lot more of a chance to get the scene right. I have written that on each page to remind myself... As well as to remember the 180 degree rule because I may have accidentally broken it last time...

MY FILM - Locations and Actors Part 2 (Film Prep)

For my project I am recreating this scene from Orphan Black.
 http://www.dailymotion.com/video/x580bgg

I chose this scene because it is a good introduction to the show and also allows me to give my own interpretation on what I think should be going on.

The parts of the scene I am going to change are;
1) I will use a train like the original scene but due to restrictions due to filming on a national rail service I am going to film on a historical railway but I have been talking to Spa valley Railway back and forth and they do have a variation of trains running that day, and I think the diesel train service would suit the scene most.

2) I am changing the bar scene into a cafe scene because I feel it is a better place for them to have a natural conversation. I have been in contact with about 5 cafe/restaurants in Tunbridge Wells (same place as the railway) and they have said I can film at their shop so I just need to decide which one will suit the scene most. I am thinking an outside seated location slightly away from a road would be ideal.

3) Something I will inherently have to change is the woman getting hit by a train in my scene, this was the part that put off a lot of railway stations from letting me film as they said that even insinuating it would void any sort of filming. So I am going to have to be creative in the way I show it in my reenactment. I think I will have to show the characters feet walking to the edge of the platform and then cutting to black and using sound effects to insinuate someone getting hit.

4) In terms of visual style I want to change a few things from the scene. Most of the scene is shot long-lens and from far away and for my scene I would like to slightly change that by being a bit closer to the main character. This would be to get to know the character a little more, because in this opening scene there is not to much in the way of giving the character away, we don't learn much about her from the opening scenes.  I am slightly struggling with the apartment scene that happens after the bar scene because filming in a house is looking like it may be tough, however the kent film office suggest AirBNB which I have looked into and is possible but locations are scarce and expensive.but I will find a solution before filming day.

Here are the initial storyboards from my plans for the scenes, I will update them as I get new ideas but these are a basic plan of what I want to create in my scene. I will upload them as a seperate blog post.

Here are a few pictures of where I am going to film:

Tunbridge wells west station













Cafe

In terms of actors I have done all of my casting so far through casting call pro. I have had good responses for the main character Sarah and I am in talks with 4 people who I have narrowed it down to. We are in conversation to know if they can make the day now as most of them have sent me a video of them reading the lines so I can review, but of course I don't want to make a final decision on someone who is not comminuted. As for the 2nd character it is ending up being a little more complicated. I have had responses to my adverts but they are based up north even though in my post I did specify east sussex, and as for direct contact through profiles I have not got any responses.

The way that I have been selecting actors to be in my scene are through the complex system on CCP in which you can select gender, eye colour etc all the way down to eye colour, but I don't want to be that specific as I do want some replies in a relatively short space of time. I will just have to wait a few more days and then I might try out Drama societies that where listed on myUca  but I will give the people I have messaged a chance before I jump to another platform of finding actors.

Lighting Workshop and Camera Blocking Workshop w/ Steve Finn

Here are some pictures from our recent workshops with Ferg, Sam and also with Steve Finn. I learnt a lot in this sessions as they taught me a lot about lighting that I would have never thought of and the gels and filters you can use to make the shot a lot less harsh. As well as knowing where to place the lights for the best shot and also to convey the emotion you wanted. Steve was also very interesting to listen to because he knows so much about staging and blocking and it should really help us make sure our scenes are well filmed.

Editing - Duel, Continuity Editing, Main Reasons

Duel (1971)
The use of editing in this scene is great in the way everything comes in closer as the scene goes on and the action gets faster.

The shots of the speedo also show us easily that the chase is speeding up without us having to just tell from the outside shots.

The use of a long lens made the truck look closer than it probably was meaning that it made the whole scene much more intense.




Editing:

- Unique to filmmaking, and known as an invisible art because if it is done well then you won't notice it.
- Telling the audience how you want the audience to vision their work.
- Think about the editing before you film as you will need as much material possible when you come round to editing.
- Editing is true to the very first movie with editing "The great train robbery" where it has a proper narrative.
- Editing used to done on a Steenbeck (Pictured)
which is incredibly different to today's software.
- Films nowadays are cut a lot quicker as we have the software to do so, however films like goodfellas was cut on a steenbeck and seen as one of the best films of all time. So this shows that just because we now have the software to edit quicker and better, it doesn't mean the film will be better.

Continuity Editing:
- The main type of editing to have a story with a proper narrative.
- French new wave editing is a form of discontinuous editing and crossing the line consistently.
- Continuity editing is creating the continuous story, but this means you don't need to include every bit of action.
- Cutting material you don't need is the hardest part, especially if it's taken a long time to film.
- Biggest mistake is to leave too much in, and too much material.
- Getting the pacing rice is very important. Too quick and you can't keep up and too slow and you will easily get bored of what is happening.
- A back and forth scene doesn't needed to be edited that way. Pacing will change emotion.
- Cut for a reason, never cut for the sake of it, it must add something to the scene.
- When you cut: what and why are you showing and also how long are you cutting for.


Atonement:
Only clean single shot is right near the start of when they meet at the table. This is powerful as it instantly shows us that they have not seen us in a long time and obviously love each other.

The use of the extreme close up on the hands that there is a connection but the use of the close up is so we can clearly see what is happening.

Match on action:
- Matching an action from one shot with a similar action in the 2nd shot.
- Bone spinning up in the air then matched to a nuclear vehicle in space  (2001: A Space Odyssey)
-  Cutting things that might not work together (Godfather Christening scene) but when they are edited together it makes it powerful. This is because it's the irony of killing others whilst the bringing into the world of a new baby.

Fading in and out between scenes is a good way of showing time passing.
Dissolve can show time passing as well if you time it with a match on action.
Log clips with proper names and reference.
Assembly cut/ Rough cut/ Fine cut/ Final cut

Lighting Workshop #1 - 3 Light setup

Today we had our first workshop with lighting and it really opened up the possibilities for making the scenes look better. I feel for my scene personally, natural light will be used more as all of my scenes are outside. However this workshop was very useful, for these shots we had to use 3 lights to make the person in shot look brighter but not unnatural. After adjusting the camera settings we got a nice shot which will be added to the blog soon.

Contextual Studies: Metaphor and Meaning

A metaphor is a figure of speech is a implied or hidden comparison between two things that appear unrelated but share some characteristics.

Shakespeare's "All the world's a stage"

A way to stimulate the audience by making them think in a new way.

Allegory - An extended or complex metaphor, or connected series of metaphors
an allegory usually has two meanings: literal and symbolic (or metaphorical)

Allusion -  An indirect or passing reference, usually with no metaphorical intent
often used as a homage or nod to a film related show or films writers/directors inspirations

Analogy - A literal comparison without further meaning (a metaphor uses analogy with greater meaning)

Metaphor in TV and Film
- While writers may use verbal or literary metaphors, most metaphors in TV & film with be VISUAL
- Metaphors generally need to be constructed of familiar visual symbols and references and cannot overly complex
- Like a verbal metaphor they will break down if there are too many analogies to process at once. But there are many analogies to process at once. But there needs to be enough detail that the metaphor is recognizable

Jessica Jones:
Based on marvel comic book character
Although grounded in realism , TV series acknowledges in-world superpowers, marvel universe and comic book roots
Created and produced by largely a women's team
Critically acclaimed  93% on rotten tomatoes

The dominant narrative theme is power and control.

Abuse as a metaphor:
Jessica's friend Trish is a victim of childhood abuse (Physical and drugs) ny showbiz mother
Kilgraves new backstory reveals him as a childhood abuse from medical experiments.
Both characters become control freaks

Addiction as a metaphor:
It is a metaphor for both control and loss of control
Jessica's alcohol abuse is her coping mechanism
Former soldier called simpson abuses red pills that give him a superpower.
Jessica's addict friend is made to stalk her by kilgrave in return for drugs

Surveillance as metaphor:
Used as a metaphor for abuse and control
Jessica's surveillance work is an expression of her need to control
Kilgrave stalks jessica by surveillance and when discovered , he forces her to self-surveil by sending selfies.

Superpower as metaphor:
Manifestation of control and a metaphor of "the other"
Mrs Eastmans attempt to kill jessica is motivated both by revenge and fear of the gifted
Marvel Xmen have interpreted as a metaphor  for civil rights struggle and LGBT issues.

Visual metaphor in Jessica jones:
Cockroach scenes bookend episode 2
Jessica looks at a cockroach while thinking about kilgrave capacity for survival
By the end of the episode we know now that she is going confront Kilgrave, and kills the cockroach which symbolises that

Static vs Dynamic metaphor

Static: Obvious and constant It usually reflects one characteristic and one character
Dynamic:  Is one that provides new information as the narrative, continues. It is often shared with characters and/or found in new situations and new locations.

Why filmmakers might use metaphor:
Aesthetic/ artistic - To provide another level of meaning beyond literal or superficial
Freydian/Psychological - Alternative means of interpretation beyond the conscious
Political -  Allow filmmakers tackle a controversial subject or matter.

MY FILM - Locations and Actors Part 1 (Film Prep)

I have started getting responses from actors regarding my project now. I started off my messaging actors who fit the appearance of my main character - Female, black hair etc and I was basically messaging through casting call pro asking if they where interested in the project. I have sent out about 12 messages so far, casting call pro locks you at 5 per day and none the less I have started to get a lot of interest. I did clearly state that it is a student film and will be filmed at the start of February and currently has no set location as I am still in talks with the Kent film office, but still I have had 5 responses as I write this.

The people I have contacted so have also been told that I don't have a huge budget and will only be paying for travel expenses and food, but thankfully the people on casting call pro are really professional and understand that.

As for locations I have had a bit of trouble getting the train station sorted meaning I may have to rethink my plans. I thought I had a great plan for this but the kent film office said I had to contact each station directly meaning that I have no responses as of yet. As for the cafe and the house I'm having similar problems.I was told to book a house through AirBNB which will set me back at least £50 from what I have seen. As for the cafe I will have to contact them individually but I feel that most cafe's won't check their emails regularly, but I will try. I do feel that if it's a worst case scenario we can always ask on the day and find somewhere which will let us film, but of course I don't want it to come to that.

Overall it has been tough to get everything sorted but I feel that I am getting there and just need to make sure with Simon that my scene and script is ok before I proceed further with booking the house for filming etc.

Steve Finn - The Role of The Director

By doing your homework and your prep you won't get what you need done, done.

THE ROLE OF THE DIRECTOR
Pre Prep:
Understand the script
Have a creative vision of the script
Try to solve any problems at this stage in liaison with the producer and script editor
Prepare ideas in advance of rehearsing with the cast - motivations, characterisations, blocking and camera scripting

Rehearsals:
Working with the cast to achieve a mutual vision of how the scene is to be played and staged

After rehearsals:
Create floor plans, camera plans and shot lists in the light of rehearsals

At the start of the shoot:
Inform the crew of the shooting plan
Create a good working atmosphere

During the shoot:
Be in charge
Allow all the cast and crew to have a creative input
Manage the time available
Finishing too early is a sign you haven't used all your resources - You have no excuses if the end result is poor
Finishing too late is a sign of not being properly prepared or not being flexible when problems occur

After the shoot:
Brief your editor of your overall vision
Ensure that the best material is used wherever possible
Step back from the scene and take an objective view of your work

At all times:
Take a responsible attitude to the safety of those around you

--

Steve says that he hopes you could mute the scene and still work out what is going on, this shows a good understanding of showing a story through pictures not words

You need to make sure the person who is directing is running things - Open to feedback but make sure that you are running the show.

Create a strategy to make the scene entertaining if the script has be written badly. Adding extra actions in the scene could make it more interesting, if the dialogue and current script is set in a boring way.

Definition of a good master shot is one that you want to use over and over and over...

Good coverage in a scene is important because it means that you can vary the page of the scene, depending on how it comes out you can choose which you prefer.

How do we communicate our thoughts on this scene to the audience. It's about how we block the scene. How the whole shot fits together in correlation to how the actors and camera move around the set.

CONTEXTUAL STUDIES: Postmodernism TV - Twin Peaks

Twin peaks was a TV show made from 1990 to 1991. It was created by Mark Frost and David Lynch. Lynch has a strange style and is known for his strange sense of humour and also his use of surrealism. The show was made for the ABC network. It was a style change for ABC as they did not normally delve into this genre.

The series is going to return in May 2017 as 18 episodes.

EXPERIMENTAL:
Challenge and/or subvert genre codes and conventions.
Innovations in stylistic presentation. - Mise en scene, editing etc.
Innovations in narrative. - How the story is told Structure and time.

Some conventions of Experimental are: Non linear - Hybrid format - Hybrid or multi genre - Innovative or unusual visual and audio techniques - Unconventional characters or do not relate to specific genre expectations.

Conventional narrative formats:

Episodic format: Usually long running 13 or more episodes. Primetime, self contained storylines and closed resolutions within each show.

Continuous serial: Traditionally daytime. Open ended storylines with cliffhangers.

Episodic serial: Could be known as a mini series which combine the closed resolution of episodic series with the ongoing multi arc strands of the soap opera.

Sequential series: Development of the episodic series format which run narrative arcs throughout the series and end the season on a cliffhanger.

The first season of twin peaks was short and only 8 hours in total.
Episodically threaded narrative and cliffhanger finale of the sequential series.
Open ended multi character / multi plotlines of the continuous serial or soap opera.

Postmodernism:
Ideologically disruptive
Deconstructs form, often in a playful way
May use elements of high and low culture.
Meta references or self reflexivity

Mise en scene in Twin Peaks:
Pacific Northwest small town setting.
Costume, makeup and set design evoke 1950's
Unconventional lighting and staging.
Scenes filmed in wide and or long shots.
Action held longer than usual in the frame.
Heavy use of both original soundtrack and surreal ambient sounds.
Music is used for heightened emotional effect.
Use of diegetic and non - diegetic leitmotifs associated with a certain character.

Director Presentation: John Fawcett

Director: John Fawcett 

He was born in Canada in 1968 and his first film was a short called Half Nelson in 1992. His first TV show was in 1996 and most of his shows have revolved around the Horror and Drama genres.

Main Credits as a director:
Ginger snaps (2000)
Orphan Black (2013-Present)
The Dark (2005)
Boys Club (1996)
These are the main 4 that he is known for but has directed 43 films and tv shows in total.

His Style:
He does an incredible job of building and squashing suspense meaning you are never sure what's going to happen next. This means the viewer is always on the edge of their seat. I also feel that he adds so many layers to his stories, especially in orphan black where it feels another new story line has been created.

He likes to use handheld camera in his work and also likes to hold a shot sometimes longer than is comfortable to make the viewer feel the impact more.

Another thing about Orphan Black is that overlaps into many different genres. It is mostly seen as a Drama and Thriller it also takes significant conventions from Sci-Fi, Comedies and even to a certain extent it feels like a sitcom in some scenes. Somehow all these genres work well together to make a really good TV Show.

It's a trailer but it shows the great way that he creates tension through his work.

My original scene that I am going to recreate.
http://www.dailymotion.com/video/x580bgg




I want to create this scene because I think it can really test my skills as a director, partly due to the fact I know I'm not going to be able to have someone getting hit by a train for example so it means I will have to come up with a clever solution to it.

It will also be testing because the same actor will be in the shot twice so it will be tricky to make that look right.

I would like to possibly go further into detail of Beth and what her life was like, as in this scene we don't get too much information.

As I know I cannot create some scenes (Like the train hitting Beth) so I think I will use a drone shot of the train coming towards the station. I also think I will set the dialogue based scene in a cafe instead of a bar, I think it would help with the lighting of the scene and I feel it is much more likely I could actually film.

Casting - Directions

What cast do i need?

Aim to cast all of the main characters - Background people CAN be someone from the classroom.

You cannot change the sex, age or ethnicity of your character.

You should only change the make up of the characters if you have a proper reason, Must leave evidence on why you did it.

Character Profile:
Once you have broke down the script, create a profile for each character. Go in depth about what you want.
THIS WILL HELP YOU PICTURE THE PERSON WHEN YOU ADVERTISE IT.

Rules of casting:
Always be clear that this is a student project.
You should offer the actor at minimum, food and drink, travel expenses and a copy of the finished project. Be incredibly clear, as you don't want hassle of different opinions on what we agreed.

Every actor, presenter, contributor needs to sign a contributor consent form. Under forms on MYUCA. Not a legally binding contract but it shows clear understanding.

Treat it as a professional relationship, treat everyone with respect as they are giving up their time to work on the project.

Keep the communication clear as it will make sure that the communication is clear. Time, place, direction and pick up point, call sheet.

Keep the communication via email as it is most professional.

 Can post an advert or contact people directly. Make sure the advert is incredibly clear about what the actor is doing and also what they will be doing.

Alternatives: Drama societies - Drama courses - Friends - Other casting websites.

Auditions (can take place at the maidstone tv studios) or ask people to upload showreels. Skype calls could also be a good way to do an interview. Be professional, be friendly and get the actor to read from the script.

Make sure the actor is committed, is flexible and are also good to work with.

Let the actor know that they where selected because they where perfect for the role, make sure you don't hire the only person that responds.

Taxi Driver - Sign Language

- It is a language you must learn and will continue to learn.

- It is a complex integration of visuals and sounds.

- Importantly, it allows you to add layers to the story that go beyond the words on the page of the script.

- it is a language you must learn and continue to learn

Taxi Driver:

- Great example of how the director can add layers.

- Made on location with no special effects he created a complex story through the simple use of what he had in front of him.

Travis:

Looks ordinary at the start of the film and does not complain about what he has been through in the army. We notice the scar on his back means that he may be hiding something, extra layer of the story.

The Mohawk shows that he ready to cause damage, something used whilst in the army. 101st division. Complete parallel to the start.

The build-up of an anti-hero, it’s so hard to support him by the end as he does so much wrong through the film. However, the film made us support him at the start of the film.

Betsy:

First we see of her is an innocent, clean person symbolised by the white dress. It shows purity. The colour red when she is at her desk when her and Travis first meet.

Iris: Starts off as the innocent person who seems to be trying to escape from someone. Then as the film goes on we know her as a friend to Travis who in a way tells him what he is doing, but he ignores her by turning into a monster.

Other characters are unique, distinct and invested. They are chosen specify for that role which means their performance is exactly what they would have wanted whilst shooting the film. 

Suit of Armor:

When someone is ready to go to war, they will wear this item of clothing or something to do with the clothing will be significant. 

Setting:

Time/Setting/Tone/Character/Mood/Authenticity/Story

A lot of the main locations in the film are confined showing us he is kind of trapped and cornered in.

The camera is always seeming to follow Travis; he is pretty much always the focus of every scene. He is only not the main character in a few scenes.

Scorsese use red in a lot of his films, in taxi driver it can many things, but for me it shows us that this could end up in a bloody mess and this red influence kind of tells us that before it happens.

If you can add a colour pallet into your film it could add that extra layer which is very important as it’s something you can’t tell from a script.

Continuity is broken a lot on Taxi Driver, sometimes it does not matter if you break it as long as it works.

Use of the soundtrack is like a heartbeat, as the film goes on this gets progressively more aggressive.

Perception/ Perspective: We give the key perspective on how the viewer perceives the film.

KEY MOMENTS:

Where you Film

How you frame and light the film.



How you edit via Rhythm/Tone/Mood/Sound