What is sound design?
Capturing later and mixing individual sounds to create one single soundtrack for the project.
Sound design occurs at all stages of a production, but is essentially a post production phase, the process is also called sound edit.
The sound Designer
The demand for increasingly complex sound-tracks created the need for sound editors to have creative input.
The Supervising sound editor position known as the sound designer, the first film credit went
sound layers
The sound designer assembles a number of layers or tracks of sounds which are then mixed together to form one whole.
on some productions there might be 50 tracks of sound, most commonly there is 5-20
Dialogue - all the recorded dialogue from the actual shoot. Voice-over would be on a seperate track.
Sync - the rest of the recorded sound from the shoot, I.e someone getting into a car or walking across a room.
ADR - Automatic Dialogue Replacement, This is all the dialogue re-recorded or dubbed after the shoot, nearly all Hollywood Films use ADR for the whole film.
FX - Sound effects or elements, recorded specifically or the production or more commonly they will come from a sound FX library.
Foley - the recreation of sounds using props or other items.
Atmos - sound elements that make up the atmosphere, jungle, city, countryside sounds.
Music - Diagetic (Within the scene) or non Diagetic( music playing over the scene)
the Mix - once the tracks have been compiled and then edited to the locked picture, the sound edit goes into its final phase the mix.
The sound designer along with a mixer and other key members of the production such as the director and producer mix edit the final cut with the tracks.
The sound edit phase the sound designer and his team if there is one will compile all the tracks, editing the various sounds to the picture, making creative decisions all the time.
on larger productions invidiula tracts are handled by one person or a team, so you will have a Fx, Dialogue editor and so on.
Unlike stereo which is two channels, Dolby 5.1 has five channels for surround sound.
The art of sound design
Is to add depth, feeling and emotion to the picture. its not about making something sound loud, its about making it feel right so the audience believe in what they are seeing.
A clock ticking in the room, a bird in the tree etc/
to create silence add sounds you wouldn't normally hear, fly, wind etc.
Production may spend 7 weeks shooting but sound design will probably spend double that.
Sound will undo a good film.
nothing can be arbitrary.
Monday, 30 January 2017
Preproduction - Prop List and Storyboard
Prop List
Polaroid camera
Pens
Paper
Talcum powder and Marker pen for Tattoos
Suit
Fake Blood
Make up set for bruising
Pen Holder
Handbag
Half Empty Vodka Bottle
Gaffa Tape
Rope
Duffel Bag
Phone
Plastic Shower Curtain
Sunday, 15 January 2017
Simon Lawrence Directs Christopher Nolan
Simon Lawrence
directs Christopher Nolan
Christopher Nolan is the director of many blockbusters, such as the Batman Trilogy, Inception, Interstellar and Memento.
Born in England in 1970, he
is
best
known
for his often non-linear style and thought provoking stories.
His first feature film “The Following” kick started his
career, earning him enough to make his second film “Memento”.
His big break came when he was tasked with reviving the Batman franchise, his choice to give the film its dark undertones and serious nature made the films a hit.
Main Directing Credits
Following Memento Insomnia Batman Begins The PrestigeBatman The Dark Knight Inception Batman The Dark Knight Rises Interstellar
Christopher Nolan has a certain style of directing, he tends to tell a story in a non-linear fashion, such as with Memento, the film is told in reverse along with a linear story, he makes frequent use of flashbacks and tends to begin his films with a memory or past moment.
He also works with cast and crew he has worked with before, such as cinematographer Wally Pfister, Music Composer Hans Zimmer, and a range of actors such as Micheal Caine and Christian Bale to name a few.
My initial plan was to recreate a scene from Batman A Dark Knight, but then whilst I was researching Nolan, I watched Memento, I loved the premise and the non-linear style of telling a story, I then had to make a decision on whether to film a scene from Batman or Memento.
I looked at them in terms of achievability, whilst I would need more actors and locations for Memento, the Batman scene would require a lot in regards to costume and action, and whilst a great scene in terms of action and story development, I could have better flexibility and artistic choice with the scenes from memento.
Christopher Nolan is the director of many blockbusters, such as the Batman Trilogy, Inception, Interstellar and Memento.
His big break came when he was tasked with reviving the Batman franchise, his choice to give the film its dark undertones and serious nature made the films a hit.
Main Directing Credits
Following Memento Insomnia Batman Begins The PrestigeBatman The Dark Knight Inception Batman The Dark Knight Rises Interstellar
Christopher Nolan has a certain style of directing, he tends to tell a story in a non-linear fashion, such as with Memento, the film is told in reverse along with a linear story, he makes frequent use of flashbacks and tends to begin his films with a memory or past moment.
He also works with cast and crew he has worked with before, such as cinematographer Wally Pfister, Music Composer Hans Zimmer, and a range of actors such as Micheal Caine and Christian Bale to name a few.
Visually his films are dark and
gritty, usuasally
with a serious or solemn nature, he also likes to set up a character as a hero
or a person with morales
and
then by the end of the film show them to be an anti-hero or villain.
What Scenes I will Do -
y.
I looked at them in terms of achievability, whilst I would need more actors and locations for Memento, the Batman scene would require a lot in regards to costume and action, and whilst a great scene in terms of action and story development, I could have better flexibility and artistic choice with the scenes from memento.
The scene I want to re-create is the entire story of Sammy Jenkis. In the film, his story is told in a series of flashbacks, however I would like to tell the story as one whole, I would also like to include the scenes where Lenny is talking on the phone as it helps describe the scene and characters.
I would like to direct this scene as it is a pivotal scene in the film, it sets up a big reveal later in the film and makes the audience wonder why they are being told about Sammy, I also like this scene just for the emotional impact it has on the characters and on the audience.
The phone conversation is also interesting in the fact that we do not know until the end of the film who he is talking to, it also runs in a linear fashion as opposed to the rest of the film. It also exposes the story of Sammy.
I believe this scene, whilst not filled with action and suspense will help me learn about plot and experimental themes in terms on non-narrative plot structure and working with actors to get the right performance out of them.
Thursday, 12 January 2017
Contextual Studies - Louis Heaton - 12/1/17
Watching a Tv Show called Twin Peaks
Very Surreal, goes from serious to bizarre, has scenes that dont seem to make sense but add a disjointed sense to the show.
Genre - Postmodern TV/Subversive/experimental in a mainstream context
Whats the difference between experimental and conventional?
are there different types of experimentation in different genres of television?
what mode of critical analysis can we define experimental?
Aired on ABC- a primarily soap opera and sitcoms channel, change of tone for ABC
What can define experimental
challenges or subverts genre codes and conventions
innovations in stylistic presentation (Mise-en-Scene, Editing etc)
Innovations in Narrative (story happens in reverse)
Conventional
Linear Narrative
episodic series or continuous
Genre-Specific codes and conventions
Format (HollyWood Style)
Classic or stereotypical characters
Experimental
Non-Linear or fragmented narrative
Hybrid Format
Hybrid or Multi Genre
Innovative or Unusual
Unconventional Characters or ones that do not relate to a specific expectations of behaviour
Conventional Narrative Formats
Episodic Series - long running, 13 episodes in a series on average, prime time, self contained series, and closed revolution within each show.
Continuous Serial - Soap Opera - Traditionally daytime, open ended storylines to entince audience to come back.
Mini Series - Short Run Drama - (more than six hours in two or more parts) which combine the closed resolution of the episodic series which ongoing multi arc strands of the soap opera.
Sequential Series - similar to a episodic series with a narrative arc strands of a soap opera ending episodes with a cliffhanger.
Twin Peaks Narrative Format
First Season was a short 8 hour run similar to episodic serial or miniseries
episodically threaded narrative and cliffhanger finale of the sequential series.
Open Ended multi/character /multi plot lines of the continuous serial or soap opera
Genre Hybridity
Episodic
Forensic Rationality
central detective character
crime resolution and narrative closure
Soap Genre
continuing
emotional melodrama
multiple character arcs
crime may take weeks,months, years to be solved.
Supernatural/Horror
Demonic Possession
Native American Folklore
Post Modernism
Ideology Disruptive
deonctructs form, often in a playful way
may use elements of high and low culture
Mise En Scene
Pacific northwest small town setting (Rather than big city)
Costumes, Make up and set design evoke 1950 (although set in a contemporary timeframe)
Camera work
filmed in long or wide shots
Action held longer thann usual where it starts to become uncomfortable.
Sound and Music
Heavy use of both original and soundtrack music and surreal ambient sounds
music is used for heightened emotional effect.
Extra Diegetic Dramatic Elements
The red room extra dimensional location first seen in agent coopers dream.
BOB - Demonic Entitiy
Invitation To Love - fake soap opera seen briefly every episode of first series.
Acting and Character
features many conventional dramatic archetypes: Invesigator, sheriff, corrupt businessman.
Influence on other TV Dramas
northern exposure - quirky fish out of water show
X Files - FBI investigating the supernatural
Lost and Fringe - Surreal Sci-Fi and supernatural elements ; Fractured Timelines
The Sopranos - Tony Sopranos dream sequences
Very Surreal, goes from serious to bizarre, has scenes that dont seem to make sense but add a disjointed sense to the show.
Genre - Postmodern TV/Subversive/experimental in a mainstream context
Whats the difference between experimental and conventional?
are there different types of experimentation in different genres of television?
what mode of critical analysis can we define experimental?
Aired on ABC- a primarily soap opera and sitcoms channel, change of tone for ABC
What can define experimental
challenges or subverts genre codes and conventions
innovations in stylistic presentation (Mise-en-Scene, Editing etc)
Innovations in Narrative (story happens in reverse)
Conventional
Linear Narrative
episodic series or continuous
Genre-Specific codes and conventions
Format (HollyWood Style)
Classic or stereotypical characters
Experimental
Non-Linear or fragmented narrative
Hybrid Format
Hybrid or Multi Genre
Innovative or Unusual
Unconventional Characters or ones that do not relate to a specific expectations of behaviour
Conventional Narrative Formats
Episodic Series - long running, 13 episodes in a series on average, prime time, self contained series, and closed revolution within each show.
Continuous Serial - Soap Opera - Traditionally daytime, open ended storylines to entince audience to come back.
Mini Series - Short Run Drama - (more than six hours in two or more parts) which combine the closed resolution of the episodic series which ongoing multi arc strands of the soap opera.
Sequential Series - similar to a episodic series with a narrative arc strands of a soap opera ending episodes with a cliffhanger.
Twin Peaks Narrative Format
First Season was a short 8 hour run similar to episodic serial or miniseries
episodically threaded narrative and cliffhanger finale of the sequential series.
Open Ended multi/character /multi plot lines of the continuous serial or soap opera
Genre Hybridity
Episodic
Forensic Rationality
central detective character
crime resolution and narrative closure
Soap Genre
continuing
emotional melodrama
multiple character arcs
crime may take weeks,months, years to be solved.
Supernatural/Horror
Demonic Possession
Native American Folklore
Post Modernism
Ideology Disruptive
deonctructs form, often in a playful way
may use elements of high and low culture
Mise En Scene
Pacific northwest small town setting (Rather than big city)
Costumes, Make up and set design evoke 1950 (although set in a contemporary timeframe)
Camera work
filmed in long or wide shots
Action held longer thann usual where it starts to become uncomfortable.
Sound and Music
Heavy use of both original and soundtrack music and surreal ambient sounds
music is used for heightened emotional effect.
Extra Diegetic Dramatic Elements
The red room extra dimensional location first seen in agent coopers dream.
BOB - Demonic Entitiy
Invitation To Love - fake soap opera seen briefly every episode of first series.
Acting and Character
features many conventional dramatic archetypes: Invesigator, sheriff, corrupt businessman.
Influence on other TV Dramas
northern exposure - quirky fish out of water show
X Files - FBI investigating the supernatural
Lost and Fringe - Surreal Sci-Fi and supernatural elements ; Fractured Timelines
The Sopranos - Tony Sopranos dream sequences
Monday, 9 January 2017
Taxi Driver and Getting actors
screen Language
is a language you need to learn and continue to learn.
complex integration of visuals and sounds.
adds layers to the story which goes beyond the words on the page of a script.
Taxi Driver
directed by martin scorsese - example of how a director can add layers to a story
made on location with no special effects, scorsese created a complex story.
Travis - Ordianary Clothes , Every Man, metamorphis, unstable, racist anti hero, saviour, avenger.
selfish contradicts himself.
Betsy - white dress (pure/angel), in control, lover, truth. most normal person in whole film
Iris - Friend, Understands/ Blind Hero/ Innocence
U
Subsidary Characters are invested in, given depth and costume. Unique, Distinct and invested in.
Suit of Armour - when a character has a "suit of armour" when they put it on they are going to do something.
Setting -
time/setting/tone/character/mood/authenticity/story
locations are framed, around but not near people.
Camera
Travis appears big in the frame, the interviewer is small and low angle.
Travis is always coming at the camera
Camera pans around almost like we are travis.
prowls
Lighting and Colour
Red is the predominant colour
colour pallete is important to think about.
Editing/Rhythm
often non linear
Sound/Music/Detail
noir vibe, pulse, heartbeat, gets more aggressive as film goes on, parts are lament,
Perception/perspective
How you frame as director is the key factor on how the audience perceives the story
Key Director Moments
How you choose and present the characters
Where you set the story
how you frame and light the story
how you edit the story rhythm tone mood sound
Casting
What cast do I need?
Break Down your script into the requirement of cast, aim to cast all of the main characters, any passerby/extra type roles can be filled by friends as long as they are appropriate to the role.
Cast people suited for the role, cannot change important aspects just to make it easier to cast. Ok for american characters to be british.
if you have to change the character it has to be for a very good creative reason.
Character Profile
once you have broken down the script for the casting, create a character profile for each of the cast required, this will help you start to picture the person, and will help in advertising the role, even if you won't see these during the film,
Casting the rules
1 - be very clear that this is a student project.
2 - offer as a minimum, to any actor working on your project, travel expenses, food and drink and a copy of the finished project.
3 - every actor/contributor needs to sign a contributor consent form and ideally the artist contract.
Found under forms and useful information
isn't legally binding, but enables you to have a very clear understanding with anyone you engage in your project.
4 - whilst you may not be paying the actors take the approach that this is a proffesional relationship, treat them with respect at all times. they will be giving up their time so make sure it is a worthwhile experience for them
5 - good communication is key to finding and keeping the cast. (time/place/pick up points/ call sheet etc.
use a suitable communication tool such as email.
finding your cast
make sure that your script is ready and complete
character profile
schedule locked
output
extra info that might be important.
once project is ready and packaged find your actors
Two ways
Find someone directly
place an advert for the project roles.
Be precise in the advert
all key information required
StarNow - not just actors on this site
Drama Societies
Drama Courses
Friends who have acted before
whoever you cast must be appropriate to the role
Auditions
Try to arrange an audition or a meeting if you have enough responses.
this can be done at maidstone studios in one of the rooms, big attraction.
Skype Calls
Video Audition
Do not meet anyone on your own, or at your own home.
Be professional, be friendly
get actors to read from the script and/or come with a pre-prepared monologue
record it - if you have a number of people.
Engaging the actor
decide on their appropriateness for the role
ability
commitment
flexibility
attitude
Make sure the actor knows that you chose them because they are perfect for the role, gives confidence
keep the actor fully informed of the project, keeping them engaged.
finding and working with a great actor is a great asset to have, potentially helping you with future projects.
is a language you need to learn and continue to learn.
complex integration of visuals and sounds.
adds layers to the story which goes beyond the words on the page of a script.
Taxi Driver
directed by martin scorsese - example of how a director can add layers to a story
made on location with no special effects, scorsese created a complex story.
Travis - Ordianary Clothes , Every Man, metamorphis, unstable, racist anti hero, saviour, avenger.
selfish contradicts himself.
Betsy - white dress (pure/angel), in control, lover, truth. most normal person in whole film
Iris - Friend, Understands/ Blind Hero/ Innocence
U
Subsidary Characters are invested in, given depth and costume. Unique, Distinct and invested in.
Suit of Armour - when a character has a "suit of armour" when they put it on they are going to do something.
Setting -
time/setting/tone/character/mood/authenticity/story
locations are framed, around but not near people.
Camera
Travis appears big in the frame, the interviewer is small and low angle.
Travis is always coming at the camera
Camera pans around almost like we are travis.
prowls
Lighting and Colour
Red is the predominant colour
colour pallete is important to think about.
Editing/Rhythm
often non linear
Sound/Music/Detail
noir vibe, pulse, heartbeat, gets more aggressive as film goes on, parts are lament,
Perception/perspective
How you frame as director is the key factor on how the audience perceives the story
Key Director Moments
How you choose and present the characters
Where you set the story
how you frame and light the story
how you edit the story rhythm tone mood sound
Casting
What cast do I need?
Break Down your script into the requirement of cast, aim to cast all of the main characters, any passerby/extra type roles can be filled by friends as long as they are appropriate to the role.
Cast people suited for the role, cannot change important aspects just to make it easier to cast. Ok for american characters to be british.
if you have to change the character it has to be for a very good creative reason.
Character Profile
once you have broken down the script for the casting, create a character profile for each of the cast required, this will help you start to picture the person, and will help in advertising the role, even if you won't see these during the film,
Casting the rules
1 - be very clear that this is a student project.
2 - offer as a minimum, to any actor working on your project, travel expenses, food and drink and a copy of the finished project.
3 - every actor/contributor needs to sign a contributor consent form and ideally the artist contract.
Found under forms and useful information
isn't legally binding, but enables you to have a very clear understanding with anyone you engage in your project.
4 - whilst you may not be paying the actors take the approach that this is a proffesional relationship, treat them with respect at all times. they will be giving up their time so make sure it is a worthwhile experience for them
5 - good communication is key to finding and keeping the cast. (time/place/pick up points/ call sheet etc.
use a suitable communication tool such as email.
finding your cast
make sure that your script is ready and complete
character profile
schedule locked
output
extra info that might be important.
once project is ready and packaged find your actors
Two ways
Find someone directly
place an advert for the project roles.
Be precise in the advert
all key information required
StarNow - not just actors on this site
Drama Societies
Drama Courses
Friends who have acted before
whoever you cast must be appropriate to the role
Auditions
Try to arrange an audition or a meeting if you have enough responses.
this can be done at maidstone studios in one of the rooms, big attraction.
Skype Calls
Video Audition
Do not meet anyone on your own, or at your own home.
Be professional, be friendly
get actors to read from the script and/or come with a pre-prepared monologue
record it - if you have a number of people.
Engaging the actor
decide on their appropriateness for the role
ability
commitment
flexibility
attitude
Make sure the actor knows that you chose them because they are perfect for the role, gives confidence
keep the actor fully informed of the project, keeping them engaged.
finding and working with a great actor is a great asset to have, potentially helping you with future projects.
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