Specialising and Exhibiting

Week1-Sound for screen

London film festival 

Carole Schneemann Barbican

”We gestate in sound and are born into sight.”FOCUS: The interview among people in charge of films.

What elements make up a soundtrack?

Synopsis?/THX 1138(1971)/

Sync/no sync sound

Diegetic / non diegetic off screen/ on screen

Dialogue sync

ADR Alternative dispute resolution (we believe the illusion to be the truth)

VoiceOver

Atmosphere (constant and long)-sound psychology for films (high/low frequency ,resonators)

Sound FX (short, maybe just like a glimpse)

Foley-smashing water melons (might use in terror films)

Music

Sound design (preset for the environment)

FOLEY— He estimated that he walked 5000 miles in the studio doing footsteps.

Acousmetre–a kind of voice-character specific to cinema that derives mysterious powers from being heard and not seen.the power of seeing all/omniscience/omniscience to act on the situation/the gift of ubiquity

(narrative/sound not on the screen/adv in the screen)

Synchresis–Synchresis is in the forging between something one sees and something one hears-it is the mental fusion between a sound and a visual when these occur at exactly the same time. Synchresis is an acronym formed by telescoping together the twi words synchronism and synthesis.

Added value–whatever virtues sound brings to the film is largely perceived and appreciated by the audience in visual terns-the better the sound-the better the image.

inappropriate-different volume levels in tracks

Call me by your name?band?

Sound en creux ‘in the gap’

Offscreen sound-A man escaped (how sound can tell points of you?)artistic points having beforehand*

Steve McQueen

[mix pre6/mix pre 10/mix side microphone MS418]

“IF YOU’VE WATCHED HER IN “KILLING EVE,” YOU MAY THINK YOU’VE EXPERIENCED THE FULL EXTENT OF JODIE COMER’S TALENT. BUT YOU HAVEN’T, AND CERTAINLY NOT BEFORE YOU’VE SEEN HER IN SUZIE MILLER’S VIRTUOSIC PRIMA FACIE. COMER’S EMBODIMENT OF TESSA IS THE ESSENCE OF BRAVURA.”

Prima Facie was the recent film I watched and I really loved it. The tension brought by Comer shows her weakness of being a female. Even though she was a lawyer, she was talkative and persuasive, for a woman who knew that “the law on sexual assault spins on the wrong axis” and that women were so often doomed to lose. The professional strategist and cynic of the start seemed too far removed from the believer in true justice she later became.

Comer has a lot to carry, playing every character, and is even tasked with moving tables around in a production whose stagecraft is filled with oddities, though its has a strong central set (design by Miriam Buether): a barrister’s chambers that is all leather chairs and oak tables, with floor-to-ceiling case files. It becomes stripped down to blackness as it progresses, with chairs tipped over and pelting rain. A musical heartbeat effectively accompanies tense moments (sound design by Ben and Max Ringham) but other compositions (by Rebecca Lucy Taylor AKA Self Esteem) conjure the ambient electronic sounds of an Ibiza beach bar, while the lighting design (by Natasha Chivers) is full of manic flashes.