Week 3: More Principles of Sound
Boys in the Trees:
What does sound confer?
structural cohesion (reception, confidence, rhetorical listening)
Low sounds in light shining: huge spaceship & anticipation
Score vs SD - music to serve as an emotional guide throughout the narrative journey.
Monsters Inc SD solo'd sequence feeling much longer and more brutal
SD breakdown - foley (footfalls, cloth, performed intimate sounds), FX (events), atmospheres (environments), dialogue.
Character Design decisions and storyboarding decisions which open up opportunities for sound designers to accentuate character (Randall - the bad guy’s - number of limbs leading to a skittery, anxiety inducing sound when he walks/runs) and provide opportunities for musically-induced macrostructuralconfidence (by providing opportunities for setups, builds, payoffs.
Bass as the representation of mass, large scale and/or danger
Lifted: mechanics of comedy - thwarting musical trajectories,
Dynamic range (sudden shifts in volume) and contrastive valence (sudden shift in mood)
Drops in activity in order to ‘reset’ the audience so action sequences can re-enter feeling more dramatic (cf the law of diminishing returns of constant, uninterrupted intensity). These can include cutaways to another POV, or a sudden pullback in perspective, or a piece of action which doesn’t require dense loud sound.
diegetic (sound from within the world of the film) vs non-diegetic (sound from outside the world of the film) sound.
Japser Jones Qlab session - Macrostructural definition. Tonal management. Energy flows. Earned rights.