4 February 2011
2 February 2011
Technical Skills Development, Sound
A sound film is a motion picture with synchronized sound, or sound technologically coupled to image, as opposed to a silent film. Reliable synchronization was difficult to achieve with the early sound-on-disc systems, and amplification and recording quality were also inadequate. Innovations in sound-on-film led to the first commercial screening of short motion pictures using the technology, which took place in New York City in April 1923. Sound plays a vital role in film and helps shape the way the viewer reacts and watches a motion picture. Sound influences and enhances what we see on the screen.
Use of Sound
Direct sound. Live sound. This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal.
Studio sound. Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound.
Selective sound. The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic.
Sound perspective/aural perspective. The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants.
Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.
Dubbed dialogue. Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing.
Wildtrack (asynchronous sound). Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later.
Parallel (synchronous) sound. Sound 'caused' by some event on screen, and which matches the action.
Commentary/voice-over narration. Commentary spoken off-screen over the shots shown. The voice-over can be used to:
· introduce particular parts of a programme;
· to add extra information not evident from the picture;
· to interpret the images for the audience from a particular point of view;
· to link parts of a sequence or programme together.
The commentary confers authority on a particular interpretation, particularly if the tone is moderate, assured and reasoned. In dramatic films, it may be the voice of one of the characters, unheard by the others.
Sound effects (SFX). Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.
Music. Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western).
Silence. The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.
The sound that we are using in our thriller is just dialogue from the actors, a voiceover at the end of the scene and the thriller soundtrack at the beginning and the end.
Professional Job Roles
Professional Job Roles
Courtney Lang - Director
The main responsibilities of a film Director are to look over the entire artistic vision of the film. A film Director looks very carefully at the flow as well as the content of the plot. They keep a close watch on the actors' performance by giving them a certain role to play and by eliciting the necessary range of emotions needed. A film Director visualises the complete script, controls the film's entire artistic and dramatic content of the film. He also guides the technical staff as well as the actors in completing his vision of the film. The Director is always selected by the Producer.
The Director works closely with the cast and crew to shape the film. Some like to conduct rigorous rehearsals in preproduction while others do so before each scene. In either case this process is essential as it tells the Director how the actors are going to play the scene, which enables them to make any necessary adjustments. Directors often use storyboards to illustrate sequences and concepts as well as set up camera angles.
The Director also plays a key role in post-production. He or she works with the Editor to ensure that the emotion of the scene reflects the story and the Directors wishes. The Director also advises on the colour grading of the final images, adding warmth or frigidity to the composition of the shots to reflect the emotional subtext of the character or environment. He or she also participates in the sound mix and musical composition of the film. In conclusion we can see that the Director has a huge role to play in the production of a film.
In Depth Interviews
In Depth Interviews
Courtney Lang
Name: Wojtek Siewers
Age: 18
Do you like thriller movies? Why?
I like thriller movies because most of them vary and have different twists and storylines to them. I like the excitement and thrill it brings. But I don’t like the bloody, gory films. I look more at the storyline. I like it when there are famous well-known actors and actresses because then I know the film is going to be good.
What is your favourite sub-genre of a thriller?
I like action thrillers because they normally have a climax and I love the tension and suspense which builds to it beforehand. Most of the action thrillers have guns or violence in them with special effects and explosions which really appeal to me.
What is your favourite thriller at the moment and why?
My favourite thriller at the moment is “Inception” because I like the confusion to it and the way you have to really get involved with the movie and think about what is happening. I also like all the special effects like when the city lifts up and becomes a mirror image. I like the actors in the film as well like Leonardo Dicaprio is a good actor so it makes the film so much better.
What sort of ending do you prefer thrillers to have?
I like typical happy endings especially if the film has had horrible or sad events happening. I like it when the film has had two certain people who want to be together and then it finally happens. In the film “Psycho” I like the ending because the crazy murdered gets caught and is punished for what he has done. I sometimes like the occasional cliff-hanger because it leaves me in suspense and I know that there is most probably going to be a second movie which I look forward to.
If you were going to make a Thriller movie what would you do to attract your audience?
I would use famous actors or actresses to attract the audience because I know from my own experiences that people like watching good well known acting. I would make sure there is a unique story that hasn’t been heard of and I would use plenty of special effects because they are good.
Name: Sara Powell
Age: 32
Age: 32
Do you like thriller movies? Why?
I do not like thriller movies that much because they tend to be full of action, explosions, fighting and horror. The only time I will watch a thriller movie is when there are good reviews and also good actors like Brad Pitt or Leonardo Dicaprio. I prefer a typical rom-com where there is a happy ending and lots of funny parts.
What is your favourite sub-genre of a thriller?
I like comedy thrillers that are really funny and have a lot of good jokes and laughs. There is not enough comedy thrillers made because all Thrillers are mostly action or fantasy etc etc. It is not fair for women like me who do not want to sit there and watch people getting blown up or punched in the face.
What is your favourite thriller at the moment and why?
My favourite thriller at the moment is Twilight –Eclipse. My daughter watches it a lot and really loves it and seen as I watched it with her I have really been drawn in by the whole storyline. I like the fact that the human and vampire fall in love. I’m pretty sure that it’s a Thriller anyway. Ha!
What sort of ending do you prefer thrillers to have?
I love happy endings when the guy gets the girl or the family stay together. A typical womanly response I guess! As I have said before I hate action and horror because they normally have miserable endings with lots of lives lost. I take films literally as if I am part of what’s happening so when someone dies I sympathise and sometimes get upset but if the film ends on a happy note I am happy and glad I sat and watched the movie.
If you were going to make a Thriller movie what would you do to attract your audience?
I would create a comedy thriller as there are not many recent good ones. I would use good looking actors you know, the typical hunky man and pretty women because that draws the audience in. I would include both females and males so they both genders like the movie.
Research, Funding and Distrubution
Funding and Distribution
Film finance is an aspect of film production that occurs before pre-production, and is concerned with determining the potential value of a proposed film. Film finance is a subset of project finance, meaning the film project's generated cash flows are used to repay investors, and generally not from external sources. This however has been met with new ways to protect principal, and insure against loss of investor's assets.
Government grants
A number of governments run programs to subsidize the cost of producing films. For instance, in the United Kingdom the UK Film Council provides funding to producers provided certain conditions are met. Governments are willing to provide these subsidies as they hope it will attract creative individuals to their territory and stimulate employment. Also, a film shot in a particular location can have the benefit of advertising that location to an international audience. Government subsidies are often pure grants, where the government expects no financial return.Tax schemes
A number of countries have introduced legislation that has the effect of generating enhanced tax deductions for producers or owners of films. Schemes are created which effectively sell the enhanced tax deductions to wealthy individuals with large tax liabilities. The individuals pay the producer a fee in order to obtain the tax deductions. The individual will often become the legal owner of the film or certain rights relating to the film, but the producer will in substance continue as the real owner of the economic rights to exploit the film. Governments are beginning to recognize that enhanced tax deductions are an inefficient way of supporting the film industry.Elements
- Story rights: The right to produce a film based on a play, novel, video game or as a remake or sequel can cost anything from a couple of thousand to over £10 million. An original screenplay by a
- Screenplay: An A-list screenwriter can be paid £1 million to write the first three drafts of a script, with a further £1 to £12 million sole credit bonus. Once the story has been agreed upon and the script locked. Typically the development of a script consumes 5 percent of a film's budget.
- Producers: Film producers and executive producers are often well-paid, with a top producer earning a seven-figure salary upfront as well as bonuses and a share of the profits.
- Director: The DGA minimum is about £14,000 a week, for a minimum of ten weeks' work. An A-list director can command £5 to £10 million a film.
- Cast: An A-list actor can ask for anything from £10 million to £30 million, plus £3 million in perks (trailer, entourage, etc.) and 10-20 percent of the gross profits. Sometimes an actor will accept a minimal fee in exchange for a more lucrative share of the profits. Union extras are paid around £130 per day (plus extra for overtime or if they provide their own wardrobe) but on a low-budget film non-union extras are paid less, sometimes nothing at all.
- Production costs: The cost of actually shooting the film including sets, wardrobe, location filming, hotels and transportation. Shooting costs could easily amount to £500,000 a day for 100 days.
- Visual effects: Employing a hundred employees of Industrial Light and Magic for over a year can turn a big-budget film into a mega-budget film. Computer-generated imagery (CGI) work in post-production can be expensive.
- Music: The top film composers can ask for a seven-figure salary to compose an hour or so of original music. (In addition, the artist may wish to see a screening of the film to see if it meets their approval.). Sometimes a film will turn to unknown or little-known artists willing to sell the rights to their song for a small fee in exchange for the publicity. Typically, the music budget of a major motion picture is about 8 percent of the final total.
Film distribution
The distribution of a film is the process through which a movie is made available to watch for an audience. This task may be accomplished in a variety of ways; for example, with a theatrical release, a home entertainment release (in which the movie is made available on DVD-video or Blu-Ray disc) or a TV broadcast.
Standard release
The standard release routine for a movie is regulated by a business model called "release windows". The release windows system was first conceived in the early '80s, on the brink of the home entertainment market, as a strategy to keep different instances of a movie from competing with each other, allowing the movie to take advantage of different markets (cinema, home video, TV, etc.) at different times.
In the standard drill, a movie is first released through movie theaters (theatrical window), then, after approximately 16 and a half week, it is released to DVD (entering its video window).
Simultaneous release
A simultaneous release takes place when a movie is made available on many media (cinema, DVD, internet...) at the same time or with very little difference in timing.
Simultaneous releases bear great advantages to both consumers, who can chose the medium that most suits their needs, and production studios that only have to run marketing campaign for all releases.
Our Thriller
Our thriller is a british film therefore its independent and the funding we get to produce the film comes from the government and some of the money we have saved up.
Similar Textual Analysis
The Day After Tomorrow Opening Sequence
Sub-genre: Sci-Fi, Adventure and Action
Rating: 15
Written and Directed by: Roland Emmerich
With respect to camera work and sound the first thing we see in the beginning of the clip is the Metro Goldwyn Mayer (MGM) trademark lion. This connotes power and authority as well as giving validity to the film. Following this the title sequence starts properly. Fading up from black, white san-serif text appears fading in and out with the credits giving us information about who made the film. This effect makes it look very ghostly and puts fear to the viewer and adds tension to the movie. Whilst the titles are rolling we can hear a non-diagetic sound of a girl chiming and we can also hear violins in the background. The girl chiming makes us get goose bumps because it’s very quiet and all you can hear is her and her voice is hitting really high notes. The fact that the music is so calm makes you feel very peaceful relaxed and forget about everything. The black background then gradually fades and we get a CGI tracking shot of blue water with ice. This is a CGI shot because Antarctica couldn’t be tracked that well. During the opening sequence we get an Ariel view of Antarctica giving us our setting for the movie. We see large ice burgs and the blue water. Blue signifies serenity and peace as it is a very tranquil colour the blue also tells us that were at sea somewhere. Over the water we can see the name of the film appear but what the director has done is make it seem like the title is actually there floating on top of the ice and creating a shadow instead of just adding it normally. He did this in my opinion to make it seem as if the name is very important and very big and bold that it creates a shadow. This could also connote that ‘The Day After Tomorrow’ will cast a shadow upon the world and the fact that it’s over the ice suggests that the future actions could relate to the cold and ice.
As the camera continues to look over the icy land a caravan appears and we get a 360 look of the convoy. This is done so that we can see the setting fully and it connotes that the convoy is the only thing around for miles. As we get the 360 'Larsen b ice shelf Antarctica' appears on the bottom of the screen so we now have a destination that we can identify. From the 360 we cut to a close up of the American flag. This tells us that the camp is held by the Americans. We then get a shot of two characters. We instantly get a conventional scene with an old man teaching a younger man how to work the drill. 'You see how it's done?' shows that the older man is trying to teach the younger one something. The younger man then responds 'yeah I think I got it' shows he's not too sure he understood and his language connotes that he's very laid back and has lack of experience. 'Boss will chew my head off if these chords get messed up' shows that the older man is not the one in charge and that someone else controls him. This is shown by the way the older man speaks about him. We then track the older man who goes to a pile of metal canisters with cylinders of ice inside them and picks up 3. From that we then cut to the inside of the convoy and we get a mid shot of the old man opening the door from the inside. We then track the old man to go further inside the convoy which introduces us to the third character which must be the boss. The camera then tilts up so we see both men’s faces. 'You let Jason operate the drill?' this connotes that the boss has no trust in Jason and that he cares about his work. We then cut outside and we see a mid shot of Jason working on the drill. We then cut again to a close up of the floor and a crack appearing which starts go get bigger and the camera starts to tilt up so we can see how long the crack is. We then cut back to Jason and a close up if the drill going straight through to the ground and Jason trying to pull it up. As the crack circles him and the drill we can see fear in his face which connotes that he is very scared and doesn't know what’s going on. We then cut back to the convoy where we get a mid shot of both the old man and the bosses face. They don’t say anything they stand in silence as they are listening to what's going on outside. The effect of the silence is vital as it builds suspense and Showa that they too are confused as to what's happening. We then get a high angle mid shot of Jason circled by the crack and the boss and the old man are being tracked outside. Once they get
All three characters were dressed in yellow snow outfits. This connotes that it was very cold and they are quiet open and happy as they have chosen yellow out of all possible colours. This scene was set in Antarctica and we could hear wind blowing throughout the whole scene which showed it was very cold and abandoned. The fact that the convoy was the only thing around for miles connotes that these three men must be there for work as no one would live there or go for a holiday. They had a waving American flag at the beginning of the scene this connotes that they are very proud Americans and that they might be the first ones to ever step foot on that certain area of Antarctica. The convoy was very simple on the outside, normal and looked a bit like a tin can. Despite how the outside looks the inside was the total opposite. The inside of the convoy was full of information and high technology which connotes that they are there for work and might be researchers.
In conclusion what I have gained from watching a clip from a sci-fi movie is that to gain the viewers attention and to build suspense one technique to use is silence. Silence can build a very tense atmosphere and make the viewer think what's going to happen next and want to keep watching. Silence in this scene was used when jack was about to jump across the divide. Another main technique which I think is good to build suspense is close ups of people’s faces at very intense moments. So for example re close up of jacks face when he saw how big the gap has gotten showed that he was surprised and might have been scared. By using a close up we can gain the upper hand of making the viewer have different opinions on how the character might feel.
In conclusion what I have gained from watching a clip from a sci-fi movie is that to gain the viewers attention and to build suspense one technique to use is silence. Silence can build a very tense atmosphere and make the viewer think what's going to happen next and want to keep watching. Silence in this scene was used when jack was about to jump across the divide. Another main technique which I think is good to build suspense is close ups of people’s faces at very intense moments. So for example re close up of jacks face when he saw how big the gap has gotten showed that he was surprised and might have been scared. By using a close up we can gain the upper hand of making the viewer have different opinions on how the character might feel.
Script
Script
Main company logo.
Fade to black.
Fade up: (Red Chillers font):
You hurt the ones you love the most
1) Int. Bedroom (Day)
a) HA MS over the shoulder Bethany laying on her bed, drawing pictures of her mum on a sketch pad, with several attempts already torn off.
MUM (VO)
Bethany, I told you to come and help me set the table!
b) LS Bethany collecting the sketch papers up.
MUM (VO)
Don’t make me come up there again!
c) Mid Over the shoulder shot of Bethany looking at the door
BETHANY (Shouting)
Coming now, OK?
d) Bethany rushes to collect her drawings up now, as she is threatened by her mum’s arrival.
MUM (VO)
5 ... 4 ...
2) Int. Kitchen
a) CU mum putting down knife on chopping board, staring to go towards the hall.
MUM
3 ... 2 ...
3) Int. Bedroom
a) LA MS Bethany stuffing sketches under the bed.
b) LS Bethany leaving the bedroom, revealing that there is still some sketches in view.
c) CU sketches, showing death scenes.
d) MS Bethany bumps into her mum just as she is closing the door.
e) CU mum’s impatient face.
MUM (SHOUTING)
Oh Bethany, look at this room! It’s a mess!
f) POV shot of the messy room, ending on Bethany.
MUM (VO)
Young lady, why don’t you tidy things up as you go along? I want all that to wash.
g) LS mum starts tidying up the bed, putting away the colouring books and crayons etc. She spots the sketches sticking out from underneath the bed.
MUM (picking up pile of clothes)
Washing machine. Now!
h) Bethany leaves the room with the pile of clothes.
4. Int. Landing
a) CU sock falling on landing floor.
5. Int. Bedroom
a) MS Mum looking down at semi-revealed sketches.
MUM
What the ...?
b) LS LA underneath the bed as arm reaches towards the pile of screwed up papers in the middle.
c) Reverse angle MS Mum holding the picks out the papers from underneath the bed. She turns to look more towards camera at one of them.
d) BCU sketch of death scene in park, with the words “Little Miss Perfect” on.
e) CU look of concern on mum’s face.
Flashback dissolve to:
6. Ext. park
(Negative effect)
a) Tracking POV shot LS of mum pushing Bethany on swing.
b) MS brother walking towards them, with another boy and a girl.
c) LS the three of them together at the swings (SRS sequence).
BROTHER
I’m going now, OK? Got to meet Courtney in twenty, remember? She’ll kill me if we’re late.
MUM
But you promised to get some sweets and a drink for Bethany.
BROTHER
Got em here (taking out from jacket). Little Sweeties for Little Miss Perfect ....
(Giving to Bethany, who snatches them)
You haven’t seen half the things she does when you’re not around.
Flash forward dissolve to:
7. Int bedroom
a) CU of mums shocked face.
b) CU of mums hands flicking through papers
c) BCU Mum’s face.
d) BCU bedroom scene on paper ....
Flashback dissolve to:
8. Int Mum’s bedroom (Night)
a) LS Bethany standing by her mum’s double bed holding her pillow and teddy bear.
b) Close up of mum’s face sleeping.
c) MS Bethany creeping strangely towards her mum.
d) CU Bethany’s hand stroking her mum’s hair.
e) MS Bethany steps back, suddenly forcing her pillow onto her mums face with anger, the mum shocked into being awake ...
f) BCU Bethany’s face grimacing, overpowering her mother with a strange force.
g) Graphic match of the eyes as she snaps back to reality.
Flash forward dissolve to:
9. Int bedroom
a) POV MCU mum looking down at papers, dumbfounded.
b) LS mum walking out of the bedroom, carrying the papers and shutting the door behind her.
10. Int Kitchen (Night)
a) Establishing shot Bethany by the window.
b) MS mum walking into the room (from behind).
c) MS Bethany, tilt down to reveal knife in her hand.
d) MS mum looking at the knife, and then Bethany.
MUM
What is that? What are you doing with that knife?
e) MS of Bethany walking towards her mum slowly.
BETHANY:
I’m here to save you mummy.
f) (Canted angle) CU Bethany’s face as she slowly moves toward her mum.
f) (Canted angle) BCU Bethany slowly lifting up the knife and smiling.
Fade to black.
VO MOTHER
Scream .... (as knife is plunged into her)
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