Cas 112

Front 1

Storytelling

Back 1

"Story" is a universal mirror that shows us the truth about ourselves--who and why we are.

- Stories take all forms and lengths

Front 2

Narrative Meaning

Back 2

- Stories are so all-pervasive that we practically cease to be aware of them.
- How we explain ourselves How we justify ourselves/actions Entertainment
work
economic engine
- We create narrative descriptions for ourselves and
for others about our own past actions
- inform our decisions by constructing imaginative "what if" scenarios.

Front 3

Cinematic Storytelling

Back 3

- Manipulates emotion
- Reveals plot and character - Movies are mostly about “story”
- Source of media story conventions

Front 4

Universal Mirror

Back 4

Through "story" we can transcend the experience of daily living and know ourselves as more enduring than the little occurrences than mark our individual existences.
- Inside "story" we can accept pain,find justice, and experience exaltation, love,
humor...........life.....death.......- Meet amazing characters

Front 5

Documentary

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Fascination with reality People, places, events, issues........ Creative treatment of actuality ...........Grierson

-“In Feature films the director is God. In Documentary films God is the director” .........Hitchcock

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Narrative Meaning; Stories thrive on:

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- conflict
- struggle/danger difficulties,
- inconsistencies, the very fault lines of society.

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Narrative Meaning; We respond to:

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- people like us
- situations we might experience - - bravery excellence oddity

Front 8

Universal mirror;

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When we enter into "story" we find the story inside ourselves.
• Inside"story"we can recognize and understand our own motivations, because we are the people in the
stories

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Juxtaposition

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Literally, putting something side by side for comparison or contrast. In an image, juxtaposing elements leads the viewer to consider each in relation to the other.

- Key element in editing image’s “neighbor” changes its meaning

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Some examples of Non-Traditional Storytelling;

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Johnathan Harris - The Whale hunt, we feel fine, Bhutan Happiness, Ryan

Front 11

Sound

Back 11

- we tend to ignore it, or be marginally aware of it

Front 12

Sound; its importance;

Back 12

 iPod--ear buds
 computer speakers/sound
 advent of stereo tv and HDTV  Surround sound

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Sound; its importance;

Back 13

segment(s) w/out sound lifeless
not understandable
 Soundscape
 Usually weakest link in student film/video

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o use sound properly, and fully realize its power, we need to do the following:

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(1) listen
(2) understand basics of sound and hearing
(3) understand sound's fundamental effects on human communication
(4) understand the recording/playback process
(5) know what is good sound

Front 15

LISTENING

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For most people, sound is background only.
To the sound designer/producer, sound is everything.

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What is good listening?

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 a. paying attention to all sounds
 b. perceiving the sounds

Front 17

Pay Attention To (sound);

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Foreground
Background
characteristics; pitch, loudness, timbre, attack, decay, duration,
tempo, rhythm.
location

Front 18

WHAT IS SOUND?

Back 18

Sound Wave
vibration of air molecules compression + rarefaction = one cycle
travels 1,075 feet per second in air
cycles = frequency

Front 19

Sound and Hearing

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Human hearing is binaural Mono emanates from a single point source
Stereo emanates from two point sources
Surround emanates from multiple sources

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Stereo

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Requires 2 different channels R + L more than one mic in field (or stereo mic)
Provides
sense of space, openness
positioning
sound movement

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Frequency/Pitch--high and low

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20-20,000 hertz human range

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Octaves

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tonal ratio of 2:1 ie, 20 to 40 hz = one octave human range about ten octaves

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FREQUENCY RANGES; Low bass

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1. Low Bass 20-80 hz--1st 2 octaves lowest notes--power and fullness too much-- muddy sound

Front 24

FREQUENCY RANGES
2. Upper Bass

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Upper Bass 80-320 hz--3rd and 4th octaves
 most rhythm and support instruments (drums, piano, etc)

 too much -- boomy provide balance in music
 too little-- thin

Front 25

FREQUENCY RANGES
3. Mid range

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320--2560 hz--5, 6, 7 th octaves
 intensity--contains fundamental and rich lower harmonics of most sources
 too much mid can be annoying and fatiguing

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FREQUENCY RANGES
4. Upper Midrange

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2560-5120--8th octave--our most sensitive range
2560-3500--intelligibility of speech above 3500--definition, clarity, realism presence range--5,000 hz

Front 27

FREQUENCY RANGES
5. Treble

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Treble 5120-20,000 hz--9 and 10th octaves
 2% total output of sound, many can't hear above 16,000
 brilliance and sparkle

Front 28

Frequency

Back 28

main frequency of the note Overtones (partials, harmonics)
TC 243
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Sound is rarely single tone Fundamental

Front 29

Harmonics; 1st harmonic

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longest wavelength--fundamental

Front 30

Harmonics; 2nd harmonic

Back 30

-1/2 wavelength, 2 x frequency--1st
overtone

Front 31

Harmonics; 3rd harmonic

Back 31

1/3 wavelength, 3x frequency--2nd overtone

Front 32

Harmonics

Back 32

fundamental determines the note we hear
 upper harmonics determine the “timbre”

Front 33

Frequency and Loudness

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human ear not equally responsive to all frequencies
ear insensitive to low frequencies at low volume
loudness control on stereo

Front 34

Amplitude and Loudness 1

Back 34

intensity of vibration measured in dB-SPL (sound pressure
level)
range for humans 0 (threshold of hearing) to 120 (pain) and beyond

Front 35

nverse Square Law of Sound

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 Sound intensity varies inversely with the square of the distance between the sound source and the microphone
 I = 1/r squared (r= distance)  Double the distance
1/4 the intensity  Halve the distance
4x the intensity  Get the mic as close as possible  Moving a mic a little makes a lot of difference

Front 36

Phase

Back 36

time relationship between 2 or more sound waves at a given point in cycle
in phase, increase amplitude out of phase, decrease amplitude--
cancellation
microphone and speaker placement
polarity

Front 37

Sound Envelope

Back 37

changes in loudness over time  attack
internal dynamics
 decay

Front 38

WHAT DOES SOUND DO.?

Back 38

Sound gives us:
Music Spoken Word Sound Effects Silence

Front 39

Harmonics; 1st harmonic

Back 39

longest wavelength--fundamental

Front 40

Harmonics; 2nd harmonic

Back 40

-1/2 wavelength, 2 x frequency--1st
overtone

Front 41

Harmonics; 3rd harmonic

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1/3 wavelength, 3x frequency--2nd overtone

Front 42

Harmonics

Back 42

fundamental determines the note we hear
 upper harmonics determine the “timbre”

Front 43

Frequency and Loudness

Back 43

human ear not equally responsive to all frequencies
ear insensitive to low frequencies at low volume
loudness control on stereo

Front 44

Amplitude and Loudness 1

Back 44

intensity of vibration measured in dB-SPL (sound pressure
level)
range for humans 0 (threshold of hearing) to 120 (pain) and beyond

Front 45

nverse Square Law of Sound

Back 45

 Sound intensity varies inversely with the square of the distance between the sound source and the microphone
 I = 1/r squared (r= distance)  Double the distance
1/4 the intensity  Halve the distance
4x the intensity  Get the mic as close as possible  Moving a mic a little makes a lot of difference

Front 46

Phase

Back 46

time relationship between 2 or more sound waves at a given point in cycle
in phase, increase amplitude out of phase, decrease amplitude--
cancellation
microphone and speaker placement
polarity

Front 47

Sound Envelope

Back 47

changes in loudness over time  attack
internal dynamics
 decay

Front 48

WHAT DOES SOUND DO.?

Back 48

Sound gives us:
Music Spoken Word Sound Effects Silence

Front 49

MUSIC

Back 49

Same structural/technical elements as sound
pitch, loudness, tempo, tone color, and envelope
But also has:melody

Front 50

melody

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succession of pitched musical tones of varied durations
 rhythm--the duration of individual notes  pitch -- frequency of individual notes
What we remember most in music

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A melody has

Back 51

Key or Tonality

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keys or tonalities

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major
positive, happy, bright, vigorous

minor
darker, melancholy, wistful

based on the harmonic structure

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Melody is “characterizable”

Back 53

simple  melancholy  plaintive  sentimental  romantic

Front 54

Ex; Simple Melody

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Paraguayan Dance--Manuel Barrueco

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Ex; Melancholy

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Rachmaninoff Prelude

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Harmony

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--simultaneous sounding of 2 or more tones

Front 57

Harmony

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juxtaposition of notes simultaneous in sequence
consonant--agreeable, settled, balanced, stable
dissonant--unstable, unresolved

Front 58

Texture

Back 58

reated by the interweaving of melody, timbre and harmony

delicate, coarse dense airy brittle,

Front 59

Timbre

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 most sound is not pure  harmonic structure is combination of sounds which
produces timbre.  no objective scale--subjective  created by overtones  We describe with non-technical terms
metallic, sweet, wood-like, buzzing

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Improvisation

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Motivic relationships musical ideas
rehearsal trust not preconceived--not 5 seconds before feeling, not thinking in “the Moment”

Front 61

Dynamic range

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Crescendo--quiet to loud
diminuendo (decrescendo)--loud to soft
Interpretive tool build or release tension

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Phrasing

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Interpretation
shaping of the musical line
done with rhythm
accent tone

Front 63

Functions of music in storytelling

Back 63

symbolic (Jennifer Van Sijll, Cinematic Storytelling) Shawshank Redemption
Mozart: The Marriage of Figaro/"Duettino - Sull'Aria"*
 Andy befriends Red  Will Red follow Andy away from institutionalization to hope  Red s doubtful Andy can stay the course  Mid point of the film

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Functions of music in Storytelling

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depict identity or personality  --suggest gentle or violent person, or evil

Front 65

Functions of music in storytelling

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Lyrics as Narrator (Jennifer Van Sijll, Cinematic Storytelling) voice of a character reveal thoughts voice of narrator
thematic information presented poetically

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Functions of Music in storytelling

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emphasize or intensify action  crescendo or repetition  rising tension  This is the End--instrumental

Front 67

Functions of music

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Provide counterpoint--classical music and bombs--from Platoon

Front 68

Counterpoint

Back 68

Power of juxtaposition
combine seemingly unrelated parts
effect more powerful because of difference
Music is: Adagio: Samuel Barber originally for string quartet reworked for string orchestra

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Functions of music in storytelling

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✴7. Unifying transition-- overlap, lead in, segue

✴ 8. Evoke--atmosphere, feeling, mood

Front 70

Sound Effects

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More than just the sounds of a scene layers of meaning
can reveal can suggest can hide/disguise can establish can be tied to specific event or character

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Diegetic Sound

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organic to the scene  realistic can be altered for effect can be contextual or narrative

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non-Diegetic sound

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not logically heard in the scene added for narrative effect

Front 73

Silence

Back 73

A famous director said after using silence after a very dramatic scene: "Silence was the most awesome sound we could get".
If we expect sound, silence very powerful. Absence of sound creates expectation. Absence of sound is eerie, unnatural.

Front 74

Silence--not necessarily silent by Matthew Wright; from Aspect Ratio, a Cinema Blog

Back 74

“the silence around the solo instrument”  Gary Rydstrom
sound for Terminator 2: Judgment Day, Jurassic Park, Saving Private Ryan  believes that effective sound design begins with contrasts:
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
 But it’s also about how frequencies work together. There’s a trick to making a gunshot big using multiple layers of elements. You take the high snap of a pistol and add to it the low boom of a cannon and the midrange of a canyon echo. You orchestrate it. On an über scale then, we do that to the whole soundtrack, making sounds work together.
 Silence can be thought of as a type of sound. It’s like when somebody years ago figured out that zero was a number. And silence is just as valid as an amazing sound.

Front 75

Spoken Sound

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A. Narration B. Dialogue what is said is essential to meaning how said also shapes meaning
interpretation is function of director and performer

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Direct Narration

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describes what is being seen or heard

Storyteller Straight news reports

Front 77

Indirect Narration

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action or sound of a scene tells us what is happening
narration supplements  why
 
context significance

Front 78

Contrapuntal Narration

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juxtaposes narration and action
makes a composite statement not present or explicit in either element

Fr0m Platoon- Poetic, letter-like lines to grandmother
 Explains inner thoughts and feelings  alienation from family

Front 79

Usually, indirect and contrapuntal narration are stronger than _______

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direct. (supplement and broaden content and are less obvious)

Front 80

Direct narration most effective when;

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sounds and images not convey enough info  information is complex and educational in
nature. mixing the styles can improve communication

ex- The Nucleus Factory

Front 81

Interpretation

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Appropriate/believable Can alter meaning
1. Accent Location
 social class  origin

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Interpretation; Accent-

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Ex of Accent; from Out of Africa--Meryl Streep

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Interpretation; pace-

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general guidelines Deliberate -- inner tension
faster -- urgency or nervousness

Front 84

Pacing

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unlimited choices not just the words
that which is unsaid eyes part of conversation -- “eyes to meet” let the characters study each other
Spielberg breaths, air, pauses--phrasing
silence

Ex- Schindlers list

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Interpretation; Patterns

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Patterns
sentence structure
*vocabulary
*speech rhythms
educated, informal or contemporary
make it appropriate

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Interpretation
 4. Emphasis

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stressing a syllable or a word changes the meaning
DR JOHANSSEN APPLIED PRESSURE ON ME AT THE OFFICE

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Interpretation
5. Inflection

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- altering the pitch or tone of the voice

-raise pitch at the end of a sentence, declarative becomes question
speak in higher pitch--intensity and excitement I love YOU Like PHRASING in music

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Interpretation

Back 88

Young Filmmakers ignore
about the cool shot thinking technically ignore performance
Story is first function of image and sound
interpretation manipulates the story study the great films

Front 89

Pickup Patterns
Omni-Directional

Back 89

Accepts sound from all around mic Ideal for interview situations

Front 90

Cardioid

Back 90

Accepts sound primarily
from the front
Ideal for live sound applications

(microphone)

Front 91

Hyper-Cardioid & Super Cardiod

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Accepts sound only from the front
Ideal for isolating sound--directional “Shotgun” or “Boom” are common names

Front 92

Bi-Directional

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Accepts sound from front & back
Used in music studio recording Also called “Figure of Eight”