final sound presentation for intro to film

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By Sean Fogarty, Chelsea Massa, & Mary Kate Thomerson CHAPTER 7: SOUND

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Page 1: Final sound presentation for intro to film

By Sean

Fogarty, Chelsea Massa, &

Mary Kate Thomerson

CHAPTER 7:SOUND

Page 2: Final sound presentation for intro to film

All sound that accompanies the filmMusic, dialogue, sound effects

DigitalCrisp and clean

Constructed separatelyFlexibleEasy to manipulate

Hard to studyCannot freeze a sound

SOUNDTRACK BASICS

Page 3: Final sound presentation for intro to film

Interest Silent Films accompanied by orchestra

Narration Voice over narration contributes/introduces the

story line http://www.youtube.com/watch?v=lOaV06ruMqg

Good Fellas Diner SceneUnderstanding

Alter perception of scene depending on sound http://frivolousdisorder.com/?p=535

Guidance Direct the attention of the audience

POWER OF SOUND IN FILM

Page 4: Final sound presentation for intro to film

AnticipationCreate suspense; Horror Films

http://www.youtube.com/watch?v=dnRxQ3dcaQk Jurassic Park Raptor Scene

Value to SilenceSound is routinely used, lack of sound becomes alien http://www.youtube.com/watch?v=6j1wKBbRQhk Panic Room

POWER OF SOUND IN FILM

Page 5: Final sound presentation for intro to film

LoudnessAmplitudeVibrations of the airConstantly manipulated

http://www.youtube.com/watch?v=vltUWa_tOhE&feature=related Twist and Shout

Characterizes dialogue http://www.youtube.com/watch?v=WLESwFqDm9k

Pulp FictionShows perceived distance

http://www.youtube.com/watch?v=MQQu5BDy2Wo Super 8

FUNDAMENTALS

Page 6: Final sound presentation for intro to film

PitchFrequency of sound vibrationsHighness or lowness of a soundMost sounds are a complex tone, or multiple pitches

Helps to distinguish between music, speech, and noises

Set the tone of a scenehttp://www.youtube.com/watch?v=WDpipB4yehk The Shining

FUNDAMENTALS

Page 7: Final sound presentation for intro to film

TimbreHarmonic Components Give a Sound “Color”

Combination of Harmonics, Frequency, and Overtones

Texture or Feel of a Soundhttp://www.youtube.com/watch?v=uhiCFdWeQfA Econ Teacher

FUNDAMENTALS

Page 8: Final sound presentation for intro to film

Each sound serves a purposeSelect sound to fulfi ll particular functionSound added freelySoundtrack 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; http://www.youtube.com/watch?v=cdbYsoEasio

Importance of dialogue, music, and sound effects vary by fi lm Dialogue – Breakfast Club Sound Effects – Almost anything Michael Bay Music – Musicals and, more recently, dance movies

CHOOSING SOUND

Page 9: Final sound presentation for intro to film

Change acoustic qualitiesLoudness, frequency, tone quality

http://www.youtube.com/watch?v=DwAOHVBKTwg

Sound Mixing Join sounds together

End to end; One over the other http://www.cracked.com/article_19639_5-ridiculous-origins-m

ovie-sound-effects.html

Clarified and simplified to stand outDialogue Overlap

Dialogue continues past a cut

SOUND MANIPULATION AND EDITING

Page 10: Final sound presentation for intro to film

Film scoresUse of pre-existing piecesComposed specifically for movie

http://www.youtube.com/watch?v=Hh4zxv7gYkY ET

Music strongly influence emotional reactionMelody or music can be associated with particular setting, character, situation, idea, parts of narrative, or scenes http://www.youtube.com/watch?v=Zn94j5F5YLc Darth Vader

SOUND AND FILM FORM

Page 11: Final sound presentation for intro to film

RhythmBeat, pulse, tempo, pace, or patternRhythmic qualities in sound effects alsoGunshots in gangster films

Speech is rhythmicCharacters show distinct pacing and syllabic stresshttp://www.youtube.com/watch?v=YRK541tosfI Joker

DIMENSIONS OF FILM SOUND

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CoordinationMatch rhythmic sound with rhythmic video Mickey Mousing

Disney characters move in sync with music, even when not dancing

DisparitiesCreation of contrasting video and audio rhythmhttp://www.youtube.com/watch?v=znEf9OVx32g Four Nights of a Dreamer

RHYTHM IN SOUND AND IMAGE

Page 13: Final sound presentation for intro to film

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.

http://www.youtube.com/watch?v=LE9t98Gox60

FIDELITY

Page 14: Final sound presentation for intro to film

Jacques Tati is a good specimen for the study of sound.http://www.youtube.com/watch?v=LzAoCsvvFBY

May be manipulated by change in volume.Ex: Curtis Bernhardts “Possessed” alters the volume in ways that aren’t faithful to sources.

FIDELITY

Page 15: Final sound presentation for intro to film

Sound has spatial dimension because it comes from a source.

2 types:

SPACE

• Sound that has a source in the story world.

• Often hard to notice.

• May be manipulated in unrealistic ways.

• Sound that comes from a source outside the story world.

• Sound effects can be made from this type.

• Entire films can be made completely with nondiegetic sound.

DIEGETIC v NONDIEGETIC

• http://www.dailymotion.com/video/xav22j_north-by-northwest-run-for-your-lif_shortfilms

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Diegetic sound can either be on or off screen Depends on whether source is in or outside of the 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.

SPACE

Page 17: Final sound presentation for intro to film

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.

SPACE

Page 18: Final sound presentation for intro to film

Disembodied voice that gives us information that doesn’t belong to any characters in the fi lm

http://www.youtube.com/watch?v=ND1X594F1wY

OMNISCIENT NARRATOR

Page 19: Final sound presentation for intro to film

Many times a fi lm’s narration deliberately blurs boundaries between two spatial categoriesUsed to puzzle/surprise audienceCreate humor or ambiguityAchieve 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

SPACE

Page 20: Final sound presentation for intro to film

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

SOUND PERSPECTIVE

Page 21: Final sound presentation for intro to film

Particularly marked in telephone conversations

Telephone split – seldom matches what phone calls sound like in reality

http://video.google.com/videoplay?docid=-7750754192792496799

SOUND PERSPECTIVE

Page 22: Final sound presentation for intro to film

Using stereophonic and surround tracks a fi lm can more strongly imply a sound’s distance and placement.

Without the greater localization off ered 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.

SOUND PERSPECTIVE IN THEATER SPACE

Page 23: Final sound presentation for intro to film

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

http://www.youtube.com/watch?v=HsLqCWP-cT0Simultaneous 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

TIME

Page 24: Final sound presentation for intro to film

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

http://www.youtube.com/watch?v=oIkpD2Nr5yI Sound simultaneous with the image in the story

can be external or internal http://vimeo.com/25660023

Non-simultaneous sound later than the image http://movies.netflix.com/WiPlayer?movieid=70151172&t

rkid=3325854 start as 35:19

used as transitions or to help pull the story together

DIEGETIC SOUND

Page 25: Final sound presentation for intro to film

Non-simultaneous sound that came earlier sounds that are not part of the story but came before the images shone

http://www.youtube.com/watch?v=tpH5L8zCtSk

Simultaneous usually a narration

Non-simultaneous sound came later someone narrating their own past http://www.youtube.com/watch?v=qq5NWgSa0iA

NONDIEGETIC SOUND

Page 26: Final sound presentation for intro to film

Christopher and Jonathan Nolan wanted the movie to be l ike a magic act in it of itself.

The movie isn’t shown in chronological order, the story order is switched up and some scenes repeat so that the audience has some knowledge but is never really certain of it. (almost l ike Citizen Kane)

Robert and Alfred are two rival magicians who compete to amaze

their audiences. This competition grows when Alfred is responsible for the death of Robert’s wife in an act. After this Robert becomes obsessed with Alfred’s trick of the transported man, and he eventually comes up with his own transported man act using a machine built by Tesla. During on of his shows Robert dies and Alfred is blamed and then hanged. The truth behind Alfred’s act was that he has an identical twin brother who would perform the acts with him, together they had two lives and each l ived a part of both. The movie ends with Alfred’s twin kil l ing Robert, who actually didn’t die, and then each tells the truth behind their tricks.

FUNCTIONS OF FILM SOUND: THE PRESTIGE

Page 27: Final sound presentation for intro to film

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. http://www.youtube.com/watch?v=gVTl90m1Auk 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.

FUNCTIONS OF FILM SOUND: THE PRESTIGE

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The similarity in sound in scenes clarifi es the parallelism between the two

http://www.youtube.com/watch?v=gVTl90m1Auk 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 fl ashbacks 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 fl ashbacks 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

FUNCTIONS OF FILM SOUND: THE PRESTIGE