Filmmaking tips

SOUND Design, Effects, and Musical Design in Film. Tips

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SOUND DESIGN
FILMMAKING NOTES

Film Post Production and What Is Sound Design?

The process of creating the soundtrack for the visuals of a film. Since silent films began to talk, filmmakers have been looking to improve the post production of their film. It has become a whole new creative world as people like George Lucas proclaim that “It is 50% of a film.”

CINEMATIC SOUND DESIGN MULTIPLIES TWO OR THREE TIMES THE EFFECT OF THE IMAGE

IT HAS FAILED IF IT DISTRACTS THE AUDIENCE

SOUND DESIGNING IS ABOUT EMOTION, STORY AND RHYTHM

QUIET IS GOOD – THE BEST SOUND DESIGN IS THE SOUND INSIDE SOMEBODY’S HEAD

THREE COMPONENTS IN SOUND EFFECTS AND SOUND DESIGN
SPOKEN LANGUAGE
MUSIC
SOUND EFFECTS

SPOKEN LANGUAGE
-An actor can emphasize one word over the other and thus change the meanings of the sentence completely.
-It all depends on the dramatic contract
-Two types of spoken language- MONOLOGUE AND DIALOGUE
-Interior monologue-what the actor is thinking

MUSIC
-Directs channels of emotions that are already present with the audience
-Propels the action and increase the audiences emotional involvement in a project
-Powerful and manipulative art form that never needs translation into a foreign language
-Effects the entire spectrum of emotions
-Moves us to think and feel a certain way
-Can take us into realms we have never experienced
-Can provide ironic contrast
-Characterization can be suggested. Certain characters have certain music
-Underlines speech, especially dialogue

If you’re a DIRECTOR, remember the MUSIC when there is silence in a shot. At times you can hold the shot longer as the music will give it a greater effect

-Music can take awhile to make its statement. HOLD THE SHOT

MUSIC PERFORMS THREE BASIC FUNCTIONS IN SOUND DESIGN
1) To play the action in a scene
2) To play obliquely or play the subtext of a scene
3) To play against the action in a scene

MUCH LIKE THREE PRIMARY COLORS -These three functions can be combined and manipulated to create many gradations of MUSICALINTERPLAY
The best music taps into the core emotion of a film
-Moves plot along
-Enhances cohesiveness of the drama
-Reflects what’s obvious on the screen, what isn’t
-Speaks to the deepest levels of emotion the audience is suppose to feel

GOOD FILM MUSIC BECOMES A CHARACTER ALL ITS OWN

Give film a THIRD DIMENSION

MUSIC SHOULD ONLY BE IN THE FILM WHEN THERE IS A DRAMATIC REASON FOR ITS EXISTANCE

“So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it’s gratifying to have something you have done linger in people’s memories.”
-John Williams, Composer (Star Wars,Superman,Jurassic Park)

SOUND EFFECTS IN SOUND DESIGN

The first thing in approaching a new project for the DIRECTOR is to make a list of sounds which they think might be effective. Thinking about the characters in the film and the environment in which they move.

Finding moments in the story where sound can add to the character. Their motives and the story

The pitch, volume and tempo of sound effects can strongly effect meaning of film

HIGH PITCHED SOUNDS often employed in suspense sequences
LOW PITCHED SOUNDS often emphasized the dignity of solemnity of a scene

LOUD SOUNDS tend to be forceful, intense and threatening
QUIET SOUNDS delicate, hesitate and often weak

SOUND EFFECTS WORK ON A SUBCONSCIOUS LEVEL
-Also serves sympbolic functions to the characters

ABSOLUTE SILENCE tends to call even more drama. Audience not used to it.

QUALITIES OF SOUND

LOUDNESS
-Film sound constantly manipulates volume
-Loudness will be effected by perceived distance
-Often the louder the sound, the closer the take will be

Some films exploit radical changes in volume for shock value. When a quiet scene is interupted by a very loud noise

PITCH
-The perceived “highness” or “lowness” of the sound
-Pitch is the principal way we distinguish music from other sounds in the film

TIMBRE
-Gives each voice, musical instrument and sound effect its unique coloring and character
-The harmonic components of a sound, given in a certain tone quality
-At the most elementary level, loudness, pitch and timbre enables us to distinguish amonng all of the sound in a film

DIMENSIONS OF FILM SOUND IN SOUND DESIGN

RHYTHM
-A recurring sound that alternates between strong and weak elements
-All three types of sound on the sound track have their own rhythm. Possibilities independent of one another
-Sound usually accompanies movements and often continues over cuts
-Sound many motivate movement in the camera

FIDELITY
-Whether the sound is faithful to the source as we conceive it
-Purely a matter of the viewers expectations-A slammed door gets a slammed door

SPACE
-The source of the sound
-From actual actions in the PICTURE or outside source like the film score
-Often a filmmaker will use sound to represent what a character is thinking

TIME
-Sound relates temporarily to film images in two ways
-VIEWING TIME – length of fim
-STORY TIME – length of time in film

“The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.”
-Mike Figgis, Director (Leaving Los Vegas, Timecode)

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Interview with Composer/Musician Michael Abels (GET OUT)

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michaelabels.jpgMichael Abels is an African-American composer known for his orchestra works Global Warming, Delights & Dances, and Urban Legend, and choral pieces such as Be The Change and Limitless. “GET OUT” was his first foray as a composer in the film industry, and it definitely won’t be his last. It was great interviewing this extremely talented musician.

Matthew Toffolo: Where were you born and raised? Was music something you always wanted to do as your career?

Michael Abels: I was born in Phoenix AZ, although I lived on a farm outside Aberdeen, SD with my grandparents from infancy through age 6. My earliest memories are of music — seriously, I can remember my grandmother’s recording of Edvard Grieg’s In The Hall Of The Mountain King terrifying me in the crib. Ironically, that’s now my job.

MT: How did you get the job composing the film “Get Out”?

MA: Writer/director Jordan Peele heard an orchestral piece of mine, Urban Legends, on YouTube. It’s a very dynamic piece in which all hell breaks loose, even though it’s also quite tonal. Jordan said this piece convinced him I could bring a fresh voice to film music. He wanted someone who could use the film harmonic language with an African-American perspective.

MT: How was your working relationship with with director Jordan Peele?

MA: Jordan is whip-smart, unbelievable talented, and refreshingly modest. He knows what he wants, and is extremely capable of communicating what he’s hearing and feeling. At the same time, he respects his team as artists, and enjoys the collaborative process. Did I mention how funny he is? A dream to work for.

MT: What are you generally looking for in a director in terms of guidance and tone for your music?

MA: It’s helpful when a director can communicate the feelings a piece of music brings up for them, or the feelings that a character is feeling, or that they want the audience to feel. Most people who are drawn to directing are great at this, since they are storytellers.

MT: What do you think a producer/director is looking for when they bring on their composer to score the film?

MA: The director is looking for someone who can bring the music they are hearing in their imagination to life. The producer is looking for someone who can bring the director’s musical imagination to life on time and under budget. It’s great when these priorities align!

MT: What is your passion in life besides music?

MA: I appreciate home design, I’ve seen my share of home improvement shows. I also love riding my bike, and try to bike at least once a week no matter how stressful the rest of my life is.

MT: What’s next for you? Will you be composing more films?

MA: I have a wind orchestra commission that I’m working on. Yes more film is in the works.

MT: What move have you watched the most times in your life?

MA: The Sound of Music. Do Re Mi changed my life forever. “One word for every note, by mixing it up, like this…” Rogers & Hammerstein taught me that writing music is simple and fun! Been striving to make that lesson true ever since.

MT: What advice do you have for young musicians who would eventually like to compose movies for a living?

MA: Write the music that inspires you, because writing music purely for money will make you hate your creative life. Try to remove your ego from every piece you write. It’s so difficult to be inspired-yet-unattached, but it’s required to remain in a highly creative state. And you are a composer, regardless of whether you have a high profile project to your credit or not. Be the person you want others to see.

GET OUT Movie:

getoutfilm.jpg

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. 

Tips to hiring the best crew members for your film

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HIRING A CREW
FILMMAKING NOTES

Job Hiring Your Production Crew – When hiring your CREW, first and foremost what you’re looking for is other leaders. People who will take their position and own it – make themselves the LEADER of that job. This is a collaborative medium. Everyone can pour themselves into the film, no matter which position they have, and just plain make the film better.

If everyone on your set works that much harder, and believes in the project with their inner soul, then you have the makings of a great film. In previous films I’ve learned what not when hiring a crew.

As the Producer and/or Director, you are the LEADER of the film. You have to make tough decisions. Hiring Your Crew is the first, and sometimes the toughest, decision you have to make.

I’ve learned two major hiring mistakes in the past:

1) DO NOT hire someone who thinks they are doing you a favor.

If you’re a first-time filmmaker or you are just beginning, you may tend to want to hire a DP, for example, with loads of experience. That is a smart decision, no question, but the danger is that they might think they are just helping you out by coming on board. What happens when they are not emotionally linked to the project? They are there to help out, not to become a part of the overall team.

If you hire someone with a great resume of prior experience, no matter if they are an actor, editor, sound designer, etc., make sure there is an equal partnership in your relationship, and that you are both working with each other because of this great project you have, and for no other reason.

Hiring someone who’s doing you a favor WILL ALWAYS end badly. Every relationship you start has to begin on equal footing.

Same goes for the other way around. DO NOT hire someone that YOU want to do a favor for. It sounds like a nice thing to do, hiring a family member, friend of the girlfriend, etc…BUT nine times out of
10 it never ends well. And these are the people you have a hard time firing, too.

2) DO NOT hire your friend because they are your friend

The film is the ego of the project. Everything must be done for the sake of making the best film possible. And that includes hire the best person for each job.

We all tend to want to hire people that make us the most comfortable, right away. The people we already know, and don’t have to go through the “getting to know you” stage of the relationship. But are they the best person for the job? Is there someone better you can find with the means you have?

This is your film. Your mission is to make the best film, and sometimes making the hard decisions about whom you bring on will give you the best film.

When HIRING YOUR CREW, they have to pass the TEST. A good measure is if they can answer these THREE QUESTIONS with a PERFECT SCORE:

1) Do they have INTEGRITY?

-Do they tell the truth, keep their word, take responsibility for past actions, admit mistakes, and fix them?
-You can rely on their reputation in the field and their reference checks (always ask for references, even for freebie films). Reference checks of course aren’t infallible. So ask yourself what YOUR INNER GUT says. When you’re shooting a film, you’re going to have to rely on your instincts a lot, so when hiring your crew you’ll get some good practice.
-Even if their resumes, reputation and reference checks are great, if your instinct feels something is off, then trust your instinct.

2) Do they have INTELLIGENCE FOR THEIR CRAFT?

-They understand the practical means of their position, while also being creatively unique. And they understand how to be a leader, too, and bring other smart people to the project for you.

-Take a look at their reels and see if there’s something there that will make you KNOW that they can do your project.
-They understand that intelligence for their craft also means showing up on time, showing up prepared and ready for a long-but-insightful-and-meaningful day. And they treat everyone else on the crew with respect for their jobs, and offer kindness and support.

3) Are they MATURE?

-You can be mature or immature at any age.
-You can see that a person has grown up when they can withstand the heat, handle stress and setbacks, and enjoy success with humility. Bottom line: They respect the emotions of others.

WHEN HIRING YOUR CREW, THEY MUST SCORE PERFECT ON THESE QUESTIONS

Overall, to build an effective team, as a leader you know that, in order to meet and exceed your goals, you need help from the best. What I try to do is always hire people that are smarter than me.

And this is never about MONEY. Sometimes you have no money, sometimes you have some, sometimes you have a lot. Of course you can’t hire Tom Cruise to act in your film if you don’t have any money, but there is always someone out there, no matter what your budget is, who can do a great job.

The less money you have, the more you have to search, but there is always a great hire out there. NEVER SETTLE!!

Now that you’ve hired the best crew, it’s your job to lead them to victory.

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What is a Production Manager?

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PRODUCTION MANAGER
FILMMAKING NOTES

The Job of Production Management is the job of organization, budgeting, scheduling and preparing for everything.

POINTS OF A PRODUCTION MANAGER

1. Prepare breakdown and preliminary shooting schedule
2. Prepare and coordinate the budget
3. Oversee preliminary search and survey of all locations and the completion of business arrangements
4. Assist in the preparation of the production to insure continuing efficiency
5. Supervise completion of the Production Report for each days work, showing work covered and the status of the production, and arrange for the distribution of that report in line with the company’s requirements
6. Coordinate arrangements for the transportation and housing of cast, crew and staff
7. Oversee the securing of releases and negotiate for locations and personnel
8. Maintain a liaison with local authorities regarding locations and the operation of the company

THE PRODUCTION MANAGER’S RESPONSIBILITY IS TO FACILITATE THE WORK OF THE EXECUTIVE PRODUCER, PRODUCER AND DIRECTOR AND TO PROVIDE THEM WITH THE BEST POSSIBLE WORKING CONDITIONS

The Production Manager MUST protect the film and the interest of the company they are working for

They are in charge with the control of all organizational, managerial, financial and logistical aspects of the production

Production Managers will have a lot of MEETINGS, make sure you know how to run one.JOB IS TO FINISH THE PRODUCTION ‘ON TIME, ON BUDGET’

As a Production Manager you will be expected to know every detail about every unit during all phases of production
-Keep logs that contain notes on your conversations
-Keeps a paper trail of memoranda that details recommendations, suggestions, directives and opinions expressed by and to anyone involved in the production

PRODUCTION MANAGER STAGES OF PRODUCTION

PRE-PRODUCTION
-screenplay breakdown
-shooting schedule
-location scouting
-budget
-casting and unions
-permits
-hiring staff and crew
-unit supervision
-permit clearance
-equipment rental and stock
-lab supervision
-payroll service
-insurance
-post-production preparation

PRODUCTION

-Responsible for a glitch-free shoot and must handle both logistics and overall organization
-Budget must be monitored according to the cash-flow chart

-Public relations must be started
-Together the Production Manager and the Assistant director on the set are responsible for the flow of information. They must ensure that everyone involved with the production – staff, crew and cast – knows what is going on, when and where

POST-PRODUCTION

-Generally the Production Manager organizes the editing phase in advance, including sound effects, music production, opticals and mixing

PREPARING FOR THE PRODUCTION

SCRIPT BREAKDOWN

With an initial first glance reading of a screenplay, an experienced producer or Production Manager can get a good estimate of the size of the production

Considerations come into play when designing the shooting schedule

1. Availability of the actors
2. Availability of the locations
3. Putting day player actors into shooting all their scenes in one day to cut costs
4. Desirable to schedule less complicated scenes during the first few shooting days in order for the crew to find its specific rhythm and chemistry
5. Exterior scenes should be scheduled before interior ones, which are independent of whether conditions and if they can be shot safely towards the end of the shooting period
6. Trying to shoot in script order as much as possible