Walter Murch explains his Sound Design – Video

check it!

http://designingsound.org/2009/12/12-videos-featuring-walter-murch-and-the-sound-design-of-thx-1138/

Task 7 – Terminator Sound Design

<p><a href=”http://vimeo.com/21062099″>Untitled</a> from <a href=”http://vimeo.com/user6174558″>Dylan Vadamootoo</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

For task 7, my objective was to create an sfx track to a scene from Terminator 2 (1991), adding atmosphere as well. The visiual elements to highlight were each time a mechanism moved, and whenever we see sparks. I used many samples for this task, all of which are listed below. Studying Walter Murch’s sound design in THX 1138 (1971), I intended to use acousmatic sounds to represent each sound. Recordings of Hand held drills, onion peeling and matches along with samples found from www.freesound.org, are all heard throughout the scene. This task is practice as research as I have identified Walter Murch’s sound design and his use of foley work. This is evident in my recording of a Car revving and speeding off for my use of a conveyor belt at 0’03”, similar to Murch’s recording the F86 Jets and screaming women for jet car sounds.

An audio sequencing technique used was my use of samples recorded myself and downloaded from a sample bank site. These sounds are layered over the top of warm pad synths from a Hybrid Morph synth from Logic Instruments.

This task is probably my favourite of the ones we’ve been given so far! Muchas Gracias Julio!

Samples used:

Blips and morphed gaming button samples

Buzz from boiler

Car door slam

Car start and drive

City Drilling

Dental Drill

Hand Drill – Black n decker (only the best)

Dropping cardboard boxes down stairs

Light Switch

Lighter

Lighting a match

Onion Peeling

Robot Cyborg sample

Fajita sizzle (oh yes!)

Wind up toy

Task 6 – American Beauty score for percussion

<p><a href=”http://vimeo.com/20981987″>Untitled</a> from <a href=”http://vimeo.com/user6174558″>Dylan Vadamootoo</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

For this task, my objective was to score a scene from American Beauty (1999) using only percussion. The visual elements to highlight were a choreographed wave from the cheerleaders, orchestrated by timpani rolls at 0’37” and the quick change into the ‘dream sequence’. I have used Thomas Newman’s technique of using ethnic inspired instrumentation in this section, using an african inspired beat with Tam-tam and triangle sounds over the top. In this section I also included a Persian Santoor to compliment the eastern sounds. An audio sequencing technique I have used for this task is tempo matching the original audio to enable my military style beat is in time with the melody. Tracing the main American Beauty theme in the previous lecture enhanced my confidence in playing fast tempoed rhythms along to existing audio on Logic. This task is practice as research as I explored Newman’s use of ethnic instrumentation and applied it to my own piece.

 

I would give this task blah blah blah…  – please help me man, I never know how to answer this question…

 

Task 5 – Up for Woodwind

<p><a href=”http://vimeo.com/20599791″>Untitled</a> from <a href=”http://vimeo.com/user6174558″>Dylan Vadamootoo</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

This is just the first draft. Let me know if i’m heading in the right direction. My practise from research is the use of imitation, especially with lengthy phrases, similar to when we were tracing My Left Foot.

Ciao!

Task 4 – North By Northwest score

<p><a href=”http://vimeo.com/20596490″>Untitled</a> from <a href=”http://vimeo.com/user6174558″>Dylan Vadamootoo</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

My objective for task 4 was to create a score using the Brass section of an orchestra, for the plane sequence from North By Northwest (1959). My visual elements to highlight were the first time we see our main character pursued by the plane and falling to the ground. I used short, sharp stabs from the trumpets and trombones to accompany long, held notes, all playing over my main melody from the french horns which slowly crescendos. This technique comes from Hans Zimmer’s battle scene score from Gladiator (2000). One audio sequencing technique I used was the use of automation to increase volume just before the plane comes in at 0’40”-0’44”.

This task is an example of practice as research as I have explored techniques from Hans Zimmer’s Gladiator (2000) and used them in my own way for this scene. His use of imitation from the Gladiator soundtrack was also a great influence, and at 0’45” you can hear the first melody being repeated.

I would award myself 55%-60% for this task.

You may notice I have only used the Brass section and no other sections of the orchestra, this is to see how well I can use one section to its great potential but also to challenge myself.

Task 3 – Psycho score

<p><a href=”http://vimeo.com/20595920″>Untitled</a> from <a href=”http://vimeo.com/user6174558″>Dylan Vadamootoo</a> on <a href=”http://vimeo.com”>Vimeo</a>.</p>

My objective for task 3 was to creatively compose a score for the police scene from Hitchcock’s Psycho (1960). My aim was to start with an atmospheric beginning which would then build up to show the panic-stricken tension of Janet Leigh’s character Marion Crane. The highlighted points in this scene are when the policeman knocks on Marion’s car window and the number of interrogating questions the policeman then asks, along with Marion’s reactions.

Having seen Psycho several times, I already had an understanding of Hermann’s orchestral techniques. He tends to often use trills with the violins and violas and staccato phrases, even layering over the top of these with long held notes. I adopted this technique into my adaptation which you can hear at 0’50”. His use of trills can be heard at 0’27” as soon as the policeman knocks on the car window.

This task is practice of research in that I have identified Hermann’s use of string dynamics, notation and layering and incorporated them into my sequence. I am pleased with my score and would award myself 55%-60%, as I have achieved all of my aims and have met the criteria of this task.

Task 3 – Sound Poem – La Scuola

 

write up to follow v.soon

Batman chase scene completed

Orchestral first draft:

for some reason embedding isn’t allowed. hmm…

For Piano:

 

 

Music for Digital Media – Chase Scenes for inspiration

For this task we are asked to create a musical score to accompany a chase scene featured in The Dark Knight (2008). To start, I needed to research some  chase sequences with a similar sense of tension as the Dark Knight extract. I found this first clip from The Matrix Reloaded which demonstrates a fairly energetic scene with a fast paced orchestral score to accompany:

at 0’11″ seconds the repetitive rhythm starts, firstly starting with a beat then going into a melody. At 0’30″ I like how held notes are used – possibly to emphasise the panning shots of in front of, and around the cars.

Another scene I took inspiration from is the chase scene in Quantum of Solace where David Arnold (Casino Royal/Tomorrow never dies) uses layering over the top of stringed ostinatos:

 

Music for Digital Media – Task 1

Main Theme

Variation 1

Variation 2

Variation 3

Variation 4

Variation 5

Finished Theme

The aim of this first task was to compose a short theme tune with 5 other variations accompanying it. After watching clips from Tim Burton’s Batman, Sweeny Todd and The Simpsons theme tune, I decided to use Danny Elfman’s approach of layering over an existing sequence. The Simpsons theme tune best describes how I wanted my piece to sound in terms of layering different rhythmic and tonal structures. The sequence starts with the main theme and evolves through the piece to include each variation.

For this task I used the notation score window in Logic 9, something I had never used before. I thought this would be challenging however using this function, I was about to accurately move the notes with precision to change the variation of each one.

I learnt many things whilst completing this task, however layering a double timed section over the top of the original section proved effective as a build up within the piece. This task is practice as research in that I have researched the works of Danny Elfman and tried to emulate them in my work. This is evident in the layering of the variations and the build up of an opening theme tune. I would give myself an average of 60% for this task, although I could have benefitted from more research into other composers.