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Soundtrack and Lighting

Soundtrack and Lighting. Media Language. Lesson Outcomes. Understand what work is being done by the soundtrack Be aware of the way that images and sound are combined to convey meaning Understand how the use of light can create meaning. SOUND BRIDGE. Can lead in or out of a scene.

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Soundtrack and Lighting

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  1. Soundtrack and Lighting Media Language

  2. Lesson Outcomes • Understand what work is being done by the soundtrack • Be aware of the way that images and sound are combined to convey meaning • Understand how the use of light can create meaning

  3. SOUND BRIDGE • Can lead in or out of a scene. • Can occur at the beginning of one scene when the sound from the previous scene carries over briefly before the sound from the new scene begins. • Alternatively, can occur at the end of a scene, when the sound from the next scene is heard before the image appears on the screen. • Sound bridges are one of the most common transitions in the continuity editing style

  4. DIEGETIC/NON-DIEGETIC SOUND • Any voice, musical passage, or sound effect presented as originating from a source within the film's world is diegetic. • If it originates outside the film (as most background music) then it is non-diegetic.

  5. DIRECT SOUND • The music, noise, and speech of the event at the moment of filming is recorded in the film. • Opposite of post-synchronization in which the sound is dubbed on top of an existing, silent image. • Maintains the immediacy of direct sound at the expense of clarity

  6. NON-SIMULTANEOUS SOUND • Diegetic sound that comes from a source in time either earlier or later than the images it accompanies. • Is often used to suggest recurrent obsessions and other hallucinatory states.

  7. OFF-SCREEN SOUND • Simultaneous sound from a source assumed to be in the space of the scene but outside what is visible onscreen.

  8. POST-SYNCHRONISATION DUBBING • The process of adding sound to images after they have been shot and assembled. • This can include dubbing of voices, as well as inserting diegetic music or sound effects. • It is the opposite of direct sound.

  9. VOICE OVER • When a voice, often that of a character in the film, is heard while we see an image of a space and time in which that character is not actually speaking. • Voice over is often used to give a sense of a character's subjectivity or to narrate an event told in flashback. • Associated with film noir genre

  10. LIGHTING • The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. • Light affects the way colours are rendered, and can focus attention on particular elements of the composition. • Most mainstream films rely on the three-point lighting style, and its genre variations. • Other films, for example documentaries and realist cinema, rely on natural light to create a sense of authenticity.

  11. THREE-POINT LIGHTING • Standard lighting classical narrative cinema. In order to model an actor's face (or object) with a sense of depth, light from three directions is used, as in the diagram opposite • A backlight picks out the subject from its background, a bright key light highlights the object and a fill light from the opposite side ensures that the key light casts only faint shadows.

  12. HIGH-KEY LIGHTING • A lighting scheme in which the fill light is raised to almost the same level as the key light. • Produces images that are usually very bright and that feature few shadows on the principal subjects. • Characteristic of musicals and comedies

  13. LOW-KEY LIGHTING • Employs very little fill light, creating strong contrasts between the brightest and darkest parts of an image and often creating strong shadows that obscure parts of the principal subjects. • This lighting scheme is often associated with film noir

  14. POINT-OF-VIEW SHOT • Taken with the camera placed approximately where the character's eyes would be, showing what the character would see; usually cut in before or after a shot of the character looking. • Horror films and thrillers often use POV shots to suggest a menacing and unseen presence in the scene.

  15. SHALLOW FOCUS • A restricted depth of field, which keeps only one plane in sharp focus; the opposite of deep focus. • Used to direct the viewer's attention to one element of a scene. Shallow focus is very common in close-up

  16. REAR PROJECTION • Usually used to combine foreground action, often actors in conversation, with a background often shot earlier, on location. • An economical way to set films in exotic or dangerous locations without having to transport expensive stars or endure demanding conditions

  17. SHOT/REVERSE SHOT • Two or more shots edited together that alternate characters, typically in a conversation situation. • In continuity editing, characters in one framing usually look left, in the other framing, right. • Over-the-shoulder framings are common in shot/reverse-shot editing.

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