lecture #7: sound and music
DESCRIPTION
This week we look at sound and music and their relationship to the film edit.TRANSCRIPT
THE
ART
OF ED
ITIN
G
MU
SI C
& S
OU
ND
ED
I TI N
G
CLASS 7
S H A N N O N W A L S H / S M 2 0 0 2 / S P R I N G 2 0 1 4
S C H O O L O F C R E A T I V E M E D I A , C I T Y U N I V E R S I T Y H O N G K O N G
HISTORY OF SOUND IN FILM
DIEGETIC
Sounds that are visible on screen (voices of characters, sounds made by objects, music from things we see)
NON-DIEGETIC
Sounds that are not visible on screen (Narrator, music, sound effects outside narrative space)
DIEGETIC & NON-DIEGETIC
Sound Design in Star Wards Episode II
https://www.youtube.com/watch?v=5ogCVi0WqrQ
STAR WARS EPISODE II
THEORY OF SOUND
Sound is as key as Image – inaudible dialogue is unusable footage
Every place has a sound
• Background conversations & the particulars of place (birds, sirens, traffic lights)
• Sound library and building your own library
Tips & Tool of Sound Recording
• Atmospheric sound
• Tools of recording POV recording
• Room Tones/ Thumbprints/Balloons
• Mic placements, camera perspectives
What you can do in the mix & edit – what mixing can’t solve
• Location sound recordist
• Boom operator
• Folly artist
• Sound Editor
• Sound Mixer
• Music composer /Score
PRODUCTION & POST-PRODUCTION SOUND TEAM
• Location recording
• Sound stage
• Folley
• Re-recording
• Dialogue editing
• Sound design (sound library)
• Mix
• Mastering
STAGES IN SOUND PRODUCTION
In the Final Mix with my Sound Editor, Daniel Lagace & Mixer / Sound Engineer, Jean Paul Vialard at the National Film Board in Canada.
THE CONVERSATION
Walter Murch talks about the music score used during filming. (min 19:20)
APOCALYPSE NOW
Opening sequence
DOG DAY AFTERNOON