Tuesday, 11 March 2014
Wednesday, 5 March 2014
P1. COMPOSING FOR FILM P1
9 tips when writing music for films.
1. Network, communicate, keeping up with the contacts.
Always keep your eyes and eyes peeled for new music opportunities, if your a writer, Dj or composer always keep yourself in range of film creator as copyright can cost a lot for directors and if your there to hand then you can be doing very well in the music market and have your music in films and this will also pay well.
2. Know what the film director wants.
Always listen carefully to film directors and what ort of music they want in their film so you can go away and create that piece of music or similar and if its to there liking you have made yourself some money and marketing.
3. Ask for references materials.
Ask the director for any song that they like or would like any genres similar to that as it will make it easier for you to get an idea of what they want, but just use this as a guideline to what to create not to copy and pass of as your own will minor difference.
4.Make sure you have the right gear.
When creating a piece of music for a film director make sure that you have the right equipment to suit what they want for example if they wanted a sound of a live and it wouldn't be much good to recreate sounds using music software or of music library's because your not giving the director what they really want.
5. Be original
If you are not original they you will not stand out from the crowd and in the directors mind. Do not try to recreate and already known piece of music with just some differences because that will not satasfy the director and might not want to use your piece of music.
6.Experiment
Try to experiment with different types of music genre, beats and sounds so that you give off a wide rang of different types of music, this will show that you are more interesting and will have a better chance of using your music. Look at other film that the director have done to find out his type of music choice and try to fit it with with what he wants and being different is never a bad thing.
7. Avoid music cliché
Avoid making your music sounding the same because you do not want people to think that it is just the same type of music through the film or films. This will bore and audience and you wont making any progress in your career.
8. Keep the director in the loop.
Keep your director in close contact you don't want to end up making a brilliant piece of music but with a different type of genre of what they director wanted.
9. Keep what format the director needs.
Make sure you make the music in the right formate for what the director needs or wants for example ADAT, DAT, eds, AIFF files or WAV files. What ever you do, do not make the files MP3!
Hans Zimmer intentions when making the sound track for Dark Night was "not just to make a summer block buster, truly provocative and people could truly hate"
The qualities that Hans Zimmer wanted.
1 To make it sound like razor blades of string.
2. Making it the minimum that he possible could and people still recognise it when they heard it.
3. Define a character in one not.
I think the final peice works really was as, as he said the sound keeps drawing you in more and more just like the way that he joker does in the films and you defiantly can associate that sound with him and the way he is in the film.
1. Network, communicate, keeping up with the contacts.
Always keep your eyes and eyes peeled for new music opportunities, if your a writer, Dj or composer always keep yourself in range of film creator as copyright can cost a lot for directors and if your there to hand then you can be doing very well in the music market and have your music in films and this will also pay well.
2. Know what the film director wants.
Always listen carefully to film directors and what ort of music they want in their film so you can go away and create that piece of music or similar and if its to there liking you have made yourself some money and marketing.
3. Ask for references materials.
Ask the director for any song that they like or would like any genres similar to that as it will make it easier for you to get an idea of what they want, but just use this as a guideline to what to create not to copy and pass of as your own will minor difference.
4.Make sure you have the right gear.
When creating a piece of music for a film director make sure that you have the right equipment to suit what they want for example if they wanted a sound of a live and it wouldn't be much good to recreate sounds using music software or of music library's because your not giving the director what they really want.
5. Be original
If you are not original they you will not stand out from the crowd and in the directors mind. Do not try to recreate and already known piece of music with just some differences because that will not satasfy the director and might not want to use your piece of music.
6.Experiment
Try to experiment with different types of music genre, beats and sounds so that you give off a wide rang of different types of music, this will show that you are more interesting and will have a better chance of using your music. Look at other film that the director have done to find out his type of music choice and try to fit it with with what he wants and being different is never a bad thing.
7. Avoid music cliché
Avoid making your music sounding the same because you do not want people to think that it is just the same type of music through the film or films. This will bore and audience and you wont making any progress in your career.
8. Keep the director in the loop.
Keep your director in close contact you don't want to end up making a brilliant piece of music but with a different type of genre of what they director wanted.
9. Keep what format the director needs.
Make sure you make the music in the right formate for what the director needs or wants for example ADAT, DAT, eds, AIFF files or WAV files. What ever you do, do not make the files MP3!
Hans Zimmer intentions when making the sound track for Dark Night was "not just to make a summer block buster, truly provocative and people could truly hate"
The qualities that Hans Zimmer wanted.
1 To make it sound like razor blades of string.
2. Making it the minimum that he possible could and people still recognise it when they heard it.
3. Define a character in one not.
I think the final peice works really was as, as he said the sound keeps drawing you in more and more just like the way that he joker does in the films and you defiantly can associate that sound with him and the way he is in the film.
Friday, 28 February 2014
P1. Research into Recording Foley Sound and Sound Effects
Foley artist are the people that create the sound effect for the background music for example say there is someone on screen running down the road and you can hear foots steps, the footsteps are what foley artist creative to be used in that specific film sequence.
when creating foley sound, foley artist create the sounds while watching the film sequence that they are creating the sound for, they have various different equipment and items that they use. They near enough use anything they can get there hands on.
Foley is essential in making a film environment feel real, during the making of the fil the dialogue is the only thing that the microphone records. To become a foley artist first you must have a good imagination to your ear with the sounds you create are are able to recreate the sounds that you see in the film.
It is better to use real object rather than to create sound through digital production as it give it more of a realistic feel to it and it makes it more of a unique feel to it as if you used the same footage from the digatal productions then I would sound the same as if you used that footage at a different point and there could even be some legal implications to it as some people could have a copy right over
when creating foley sound, foley artist create the sounds while watching the film sequence that they are creating the sound for, they have various different equipment and items that they use. They near enough use anything they can get there hands on.
Foley is essential in making a film environment feel real, during the making of the fil the dialogue is the only thing that the microphone records. To become a foley artist first you must have a good imagination to your ear with the sounds you create are are able to recreate the sounds that you see in the film.
It is better to use real object rather than to create sound through digital production as it give it more of a realistic feel to it and it makes it more of a unique feel to it as if you used the same footage from the digatal productions then I would sound the same as if you used that footage at a different point and there could even be some legal implications to it as some people could have a copy right over
After Effects - Anni super speed P1
a mask around her to blur her out when she runs so it has more of an effects and doesn't look like the clip was just sped up but I done a small part of it and it wasn't as effective as I thought it would be. So instead I just sped up the clip and added the sound of footsteps to give it more of a realistic feel to it. I also cut the clip into 3 so it didn't look to amateur, like i've just thrown a sped up clip into the sequence. the first part of the clip was at normal speed then the second one was slowly getting faster to a super speed but as you could see her feet started to try a slow her down that is when I cut the clip so it looked like she was in control of her speed instead of the editor I think this had a better effect by doing it this when being view by others.
Thursday, 27 February 2014
Research into Recording Ambient Sounds and Dialogue P1
What is Ambient sound?
Ambient sound is an atmospheric sound and noise pollution, ambient sound is an the background sound that you either see a in a clip or that has been added to make it look like its come from that object or subject. For example is you see a door open and you hear a creaking door sond then that would be ambient sound either its been added in or is really the sound of the door. Some rough cuts don't have much or any ambient sound as they either havent had to to be added and was not caught of the camera mic, so after a rough cut the ambient sound is normally added after. This is a useful thing to do as you can mute out the sound of the camera mic if it isn't what you want and add the sounds that you want ad the end because if you use the camera mic sound then it woild be muffled either by with or other nosie pollution..
Adding ambient sound after you have recoded the scene is useful as if you don't add it as ambient sound it would over play or loop over dialogue or other sound that you do want in the shot/scene and if there the sound overlapped other sounds that you wanted then it will be very difficult if not impossible to take out and pull apart the sounds from each other.
In the creation of Hunger Games the programme that was most used in the pre production as a programme called Avid. Avid media composer is the most widely use NLE for profession films and film editing.
This is a Jungle scene from Hunger Games. In this scene you hear many different sounds all mist that are jungle related but ofcourse it was not recordered during the actually filming of the film, it was pre recorded in the forest or a junbgle and then added it, this is called ambient sound. But then again the advantage of recording on set is that you get real sound and in some accocians it give it a better feel and more realistic vibe, it also saves adding it in during the editing process which could argue saves time. Some director like to use ambient sounds so they can minipulate what you show the audience and what the audience sees but some directors like using actually sounds from the shooting to make it more real.
After Effects - Smoke effect P1
In after effect I edited the teleport SFX shot. In which i added smoke to create more of a effect to the audience as if it didn't have the smoke it wouldn't look real and wouldn't be effective to the viewer because you would be able to tell that all I done was cut the clip up. I got the smoke of Joules present and changed the size and colour of it so it it matched the character that is teleporting. I created the smoke and change it so it was more realistic and i done that by also making the smoke slow fade out and disappear instead of it suddenly being there then it suddenly disappears which I think was done well and it very effective.
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