162: developing a narrative · recreate except by reshooting the whole scene again always monitor...
TRANSCRIPT
162: developing a narrativeLecture 4 Sound for effect
Why is sound important?
“Often people don’t consider sound as an importantfactor - it is. Design the sound fully before the shoot.
One or two badly framed shots will not ruin a film, butbad sound will - it will lose its audience”
Evans, R. (2006) Practical DV Filmmaking, focal press, Oxford
http://www.youtube.com/watch?v=tvHG0Mb9LLY
TED talks : Julian Treasures - The 4 ways sound affects ushttp://www.ted.com/talks/julian_treasure_the_4_ways_sound_affects_us.html
Sound is powerful due to the way we are largely unconscious of the effect it has on us. It is
therefore a powerful filmmaking tool if we deal with it in a conscious and constructive way.
Sound design is the art and process of manipulating audio elements to achieve a desired effect
en.wikipedia.org/wiki/Sound_design
ONCE UPON A TIME IN THE WEST OPENING SCENE 6.00 HTTP://WWW.YOUTUBE.COM/WATCH?V=YUMJKRN_QXW
WHAT EFFECT DOES THE SOUND DESIGN HAVE IN THESE SCENES?
PSYCHO SHOWER SCENEHTTP://WWW.YOUTUBE.COM/WATCH?V=8VP5JEAP3K4
One of the major identifiers of amateur films as opposed to professional quality films is the poor quality of the sound design, particularly in drama shorts. This is partly because the emphasis is placed on the visual elements of the story
with the sound being a secondary consideration and thought about at the end of the production process rather than the beginning. Sound is then rushed and
problems are often ‘covered up’ by laying an audio soundtrack under the whole film.
Sound should NEVER be an afterthought but should be planned.
"Getting good sound is one of the most affordable things that you can do to up your production
values and make your movie look better"
Diegetic Sound
Sound whose source is visible on the screen or whose source is implied to be present by the action of the film, such as:
◦ voices of characters ◦ sounds made by objects in the story ◦ music represented as coming from instruments in the story space
Diegetic sound is any sound presented as originating from a source within the film's world. Diegetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame.
Non-diegetic Sound
Sound whose source is neither visible on the screen nor has been implied to be present in the action:
◦ narrator's commentary ◦ sound effects that are added for dramatic effect ◦ mood music
Non-diegetic sound is represented as coming from a source outside the story space.
! Dialogue: the words spoken by the actors. This is either recorded as ‘sync sound’ (as the actors spoke it during filming) or non-sync via the ADR (Audio Dialogue Replacement) process. This is diegetic.
Narration/Voice over: Non-sync recorded dialogue. This is non-diegetic sound i.e. sound that characters inhabiting the film world would not hear.
Sound f/x: Effects can be recorded on location as sync sound or recorded in post production as foley (http://www.youtube.com/watch?v=UNvKhe2npMM ) but the key to making them effective is to make sure they fit the film world you are creating and don’t destroy the reality & continuity of the film world. (wilhelm scream http://www.youtube.com/watch?v=cdbYsoEasio)
Sound effects are normally diegetic as they mirror the on screen actions and are often ‘hyper-real’ or emphasized. (Spaced gunfight - http://www.youtube.com/watch?v=W2tLKjeOstg)
Ambience (wildtrack/buzztrack): This should always be recorded on location as you will obtain exactly the right atmosphere and level of echo to match the location & dialogue recording - this is important for maintaining continuity between cuts in the edit.
Music: soundtrack and score. Can be diagetic (e.g. playing on a radio) and non-diagetic - mood & atmosphere music
Waiting for the end of the world - http://www.bbc.co.uk/filmnetwork/films/p00f86m6
‘All dialogue and narration is clear and ambient sound is appropriate. Any added sound effects or music contribute to the story. There is no unintentional sound . Music levels do not overpower action
and dialogue.’ shortieawards.org audio criteria
Waiting for the end of the worldJob experiment...
Good/Bad sound design?
Gray 1 - http://www.youtube.com/watch?v=vgFULJ5GGLk&feature=related
What do we think of this audio?
Inception - http://vimeo.com/13396749
HTTP://VIMEO.COM/23772081 – REALISM FROM 3.40
Waiting for the end of the world - http://www.bbc.co.uk/filmnetwork/films/p00f86m6
‘All dialogue and narration is clear and ambient sound is appropriate. Any added sound effects or music contribute to the story. There is no unintentional sound . Music levels do not overpower action
and dialogue.’ shortieawards.org audio criteria
Waiting for the end of the worldJob experiment...
Good/Bad sound design?
Gray 1 - http://www.youtube.com/watch?v=vgFULJ5GGLk&feature=related
What do we think of this audio?
Inception - http://vimeo.com/13396749
HTTP://VIMEO.COM/23772081 – REALISM FROM 3.40
Example FCP timeline & audio tracks
Sound levels (rubber banding / mixer)
CHECKLIST FOR AUDIO:
Pre-production:
think about your audio at the beginning of the process. What elements of a sound design do you need to source?
start sourcing your f/x as soon as possible so you get the right one and, if necessary, have time to clear its use
really learn your kit. Understand what diiferent microphones are for and do and play with them in test recordings. Use a sound mixer.
on your recce, think carefully about how you will record sound and if you need any additional resources (material to deaden the sound)
Production:
take a full range of microphones with you on set - rifle mics, tie-clip mics etc. - even if you didn’t plan to use them just in case something unexpected happens
always record sync sound: it is very easy to get rid of if you don’t need it, almost impossible to recreate except by reshooting the whole scene again
always monitor the sound via the sound mixer or camera with proper headphones always record sound f/x in the location (e.g. door opening) as sound will be correct always record atmos/wildtrack
Post-production:
spend almost as much time on the sound as you do the visuals! never think ‘that will do’: always go for the best you can possibly get.
http://filmsound.org
Sound for Film and Television, Holman, T. (2002)
Digital Film-making, Figgis, M. (2007)
Practical DV Filmmaking, Evans, R (2006)
Producing & Directing The Short Film & Video, Irving, D.K. & Rea, P.W. (2006)
Video Production Putting Theory into Practice, Dawkins, S. & Wynd, I. (2010)
http://www.audionetwork.com/http://creativecommons.org/legalmusicforvideos
http://www.mobygratis.com/film-music.html
Resources
next week; Rough cut feedback sessions Group 1 (9:30-10:30) Group 2 (10:30-11:30) Group 3 (11:30-12:30)
162MC Assignment hand in:Monday 27th Feb 8.30-4.00pm ET ReceptionCompleted Edit (DVD/CD)Completed and clearly labelled blog sheet
Coursework 2 briefProduce an individual edit of the film that you have been involved in producing.
Pay close attention to each aspect of the edit, the use of visuals, the pacing, the overall style and particularly in your use of sound for effect.
Reflect on the edit decisions that you make in your blog and the reasons why you have edited in a particular style
GROUP 1 (12:30-1:30)
OLUWASEYI SANYAOLULAURA DOUGLASDAMON COATESEMILY HORLERCLAIRE WALLISHANDSOME NDLOVUANDREW DALEYNICOLA SMYTHANTONINO GAGLIANOCAIXIA ZHUOJAMES MCCAUGHLEYKATIE HUMECHRISTOPHER GARNERSTACY MCBRIDEMYROSLAVA TERLECKYMATTHEW O'NEILLANDREI MANTASTEFANIA BUZATUAMY WILKINSONANWAR MEAHWURA BALOGUNSHERIQUE BROWN
GROUP 2 (3:00-4:00)
ASHLEIGH HODGSONRYAN ROCHE
LANI MILLARDJACK WIGHTMAN
SARAH MATTHEWSLUCAN GOERING
DALE DRIVERYUSUF KHAN
FRANK MENSAHTHOMAS LONGSTAFF
LUKE COLLINSJACK MORTIMERPAIGE THOMAS
DELISSA MCWILLIAMSLAURA GEORGE
LUKE CUTTSCHARLOTTE DEAKIN
BRETT SAYERVINURI PERERADANIEL HOOPERJOSHUA FARMERADNAAN KHAN
GROUP 3 (4:00-5:00)
TERENCE SMITHCHARLOTTE SINCLAIR-BROWN
DANIEL BIDDLESAM HEALEY
MUBASHAR FARIDJAMES POOLE
THOMAS WOODSADAM HINCE
SHANNON CLINTONJOSEPH GRAHAM
MATTHEW CLIFFORDDAVID BIRD
EBONY BROWNALEX LANCASTER-BAKER
MICHAEL HUDSONSARAH NOBLE-WEBB
SHELLEY PHILLIPSSHEILA SMITHJOSEPH JEPPS
DELAVI KADI-MENDSONCHELSEA BALLAAM