Making Better Movies with Moviestorm Vol 3: Sound and Light

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AMBIENT NOISE Film and edit the scene, and strip out all the sound except the dialog. Now build up the sound, including ambience, foley, and other effects, then finally add music. If you find it useful, start taking sounds out again until you get back to a more minimalist version of the scene. Review At what point did the scene feel as if it sounded right? At what point did the ambient sound become “too much” and start distracting from the scene? Which sounds were significant, which were interesting, and which were merely filler? What was different between the portions of the scene with dialog and the portions without? Followup exercises Pick three of your sound mixes from earlier: a minimal one, a medium one, and a full one. Go back and reshoot and re-edit the scene with those sound mixes in mind. How do they come out differently? 12
REALISTIC AMBIENCE Technique Create a scene with the sound as much like real life as possible. For some types of movie, particularly 70s-style movies such as The French Connection, the sound design calls for the scene to be depicted as realistically as possible, as if the film-maker simply captured all the on-set ambient noise. For an outdoor scene, this means including all the traffic noises, airplanes, dogs, passers-by, and everything else. You then mix the dialog down so that it appears to be at the right level compared to the background sound. This is very different to a normal sound mix where the dialog is artificially made louder to make it easier to hear. As a result, you may need to film the scene differently to make it comprehensible to viewers. This scene is set in a busy street, with traffic noise and other urban sounds. In real life, it could be hard to hear what the characters are saying, particularly when cars or trucks pass close by. In a longer shot, you might expect to hear the background sounds, although it's not necessary. When you cut to the closer shot, you can lower the volume of the background, as if you were standing closer to the characters, or you can keep it noisy as if it were recorded in the street and add atmosphere. Choose a scene in a busy location – either interior or exterior. Ideally, it should be 1-2 minutes long, including 2 or more main characters and extras, and include dialog. 13
Page 2 and 3: CONTENTS FOREWORD .................
Page 4 and 5: This excellent series of books will
Page 6 and 7: EXERCISES How to use this book The
Page 8 and 9: Once you start thinking about the s
Page 10 and 11: FOLEY OR NOT? Film the scene, and r
Page 14 and 15: REALISTIC AMBIENCE Go to a busy loc
Page 16 and 17: EMPHATIC SOUND Shoot the scene base
Page 18 and 19: USING MUSIC AS LEITMOTIF Shoot the
Page 20 and 21: USING SOUND TO BRIDGE A SCENE Shoot
Page 22 and 23: CUTTING & DIRECTING TO MUSIC Film a
Page 24 and 25: MUSIC VIDEO Film the piece in five
Page 26 and 27: Lighting a virtual movie scene is a
Page 28 and 29: REALISTIC VS UNREALISTIC LIGHTING F
Page 30 and 31: FAKING LIGHTING CONTINUITY Shoot th
Page 32 and 33: MOSTLY DARK SHOTS Shoot the scene a
Page 34 and 35: DAY VS NIGHT Film the scene in dayt
Page 36 and 37: MOVING LIGHTS Shoot the scene with
Page 38 and 39: HANDHELD LIGHTS Start in a dark set
Page 40 and 41: SILHOUETTES Shoot the scene convent
Page 42 and 43: FILMING SHADOWS Shoot the scene con
Page 44: Matt Kelland is one of the founders

Making Better Movies with Moviestorm Vol 3: Sound and Light

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