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Final mix – Bringing everything together
This week had been completely centred around building the final mix for my film. It’s the first time everything I’ve recorded, designed and composed has come together in one place and it’s been strongly satisfying hearing the project finally take shape. A lot of the work had been focused on the foley I recorded earlier…
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Foley room session
This week our main focus as a group was to start getting our final mix to speed. We talked about how where progressing within our group. I talked about my final mix, and how I was slowing working towards the deadline. Jessica mentioned to me about how panning and or playing my mix in 5:1.…
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NOWISWHENWEARE BFI
NOWISWHENWEARE NOWISWHENWEARE is an exhibition that was shown in October to accompany the BFI film festival. I was introduced to this exhibition by my lecturer Jessica Marlowe and wanted to check it out. The artist is Andrew Schneider who is know in the film industry for his works on The Sopranos (1999) and Northern Exposure…
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Emotional narratives and subjectivity, filming through sound
Paul Davis Why use music on film? My response to this was multifaceted. I think it has several uses, one might be too evoke a feeling where it is needed. We are able to do this in several ways, like to have a sad song played at a sad part of a film. However, directors…
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Margret Tait Aerial (1974)
This four minute poet film by Margret Tait touches natural elemental feeling like water, air and fire. It doesn’t follow a narrative sonically and is more structured for a musical score than a narrative driven film. Instead of us pushing through a plot, Tait constructs a world of rhythms, textures and emotional pulses. Taits films…
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The art of storytelling with sound
Hunger by Steve Mcqueen Walter Murch’s words encapsulate this perfectly “You have more freedom with sound than you do with picture. There are, consequently, fewer rules. But the big three things—which are emotion, story, and rhythm—apply to sound just as much as they apply to picture. You are always primarily looking for something that will…
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Foley
Inside the Pinewood foley studio Jack Foley We Need To Talk About Kevin directed by Lynne Ramsey Reflections Learning about Foley, from the precision of Pinewoods studio to the legacy of Jack Foley himself has completely reshaped the way I think about sound for screen. These sessions have shown me that sound isn’t just something…
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PureData
This week we had a lot of new content especially on this open software called PureData, its a creative community for makers, musicians and engineers. It’s a block type coding site that you can code hardware and software. In this particular lesson we had our first look at Beagleboard. Beagleboard are a stripped down audio…
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The voice in cinematic language
John Akomfrah Review of the arrangement for my sounds collected Last week we went out and recorded environmental audio whilst making a sonic map of what we heard around us. I collected some audio signals into an arrangement and in todays lecture we watched a short film with my audio layered in top. Surprisingly, it…
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Audio visual language
Lesson overview: In today’s session we looked at the course content of Sound for Screen unit guide. We had a couple of administration tasks to do then we talked about the type of audio visual language that’s used in the audio for sound industry. We also examined some historical examples of sound for screen and…