Foley

Use this blog in combination with the lesson materials I will give you.  There are a range of links, video clips and writing frames for you to use on this blogpost - use them sparingly, but do use them!

A definition and history of Foley can be found on this link http://www.marblehead.net/foley/

In your blog post, contextualize who this man is and how he contributed to the art.

Below is an example of a foley artist at work, the same man from the clip we watched in class.



Resources you can use for your task:

Depending on the software and equipment available to the teacher and students, this assignment can be done many ways.

• One way is to have the students go out and physically record real sounds with audio recording equipment or video cameras, and then edit those sounds into the video clip. 
• Another possibility, is to use a software like GarageBand, or Soundbooth, or Soundtrack Pro to search, and save Foley sounds, and other various sound effects.
• There are several Internet sites with free audio files as well:

                        http://incompetech.com/m/c/royalty-free/          
                        http://soundbible.com/royalty-free-sounds-1.html
                        http://www.jamendo.com/en/creativecommons
                        http://www.sounddogs.com/catsearch.asp?Type=1

The students are to edit the audio files created for the Foley Assignment into the silent video and create their own story and soundtrack as a result.

 

Taken from http://www.cteonline.org/portal/default/Curriculum/Viewer/Curriculum?action=2&cmobjid=270499&view=viewer&refcmobjid=260683

 WRITING YOUR BLOG POST - WRITING FRAME AND GUIDANCE:

"In today's lesson, we looked at the role of the Foley artist and were able to understand their process in the filmmaking process.  Our key question from the lesson was 'How important is Foley to filmmakers?'

From my research, I have discovered the following..."  You can paste this as the start.

• You can either write a summative paragraph based on the sheet you completed in class, or...
• You can condense this paragraph into six lines using key information, I have highlighted the first line for you:

"As you go through an average day, how many sounds around you do you actually hear? Every time you close a door, do you listen for the click of the lock? Do you hear the clink of a glass as you set it down? Although you may not actively hear these sounds, if they weren't there you'd wonder what was missing. Foley, the process of creating incidental sounds, is the art that completes a film--all by adding sounds for which you never really listen. Whether they're tearing heads of cabbage for a paper shredder in The Temp or The Temp "smooshing" gelatin in T-shirts for E.T.'s wobble, Foley artists add sounds that make the experience more real for the audience. The process is named for radio and movie sound pioneer Jack Foley, a technician at Universal Studios in the 1950s who became famous for synchronized sound effects. Foley artists begin their work by watching the film to determine which sounds need to be replaced, which need to be enhanced, and which just simply need to be added. At this time, the sound on the film includes all of the dialogue and sound effects created during the actual production of the film. These sounds are recorded on a production track or guide track. Later, technicians may add crowd noises (also called walla ), the musical score, rerecorded dialogue or ADR (automated dialogue replacement), sound effects, and sound-designed effects. It's not unusual to have 80% of a movie's sound track added and altered in some way after the movie is shot. Some sound effects are common and can be pulled from prerecorded audio libraries. But many are unique to each movie--footsteps, for instance. As they watch the film, the artists identify which sounds they need to create and start thinking of ways to make them. In addition to the noises themselves, the foley artists must consider other factors, such as who makes the sound and in what environment. Some sounds are too complex for one take, so the foley artists carefully combine different noises to fully represent a single sound. In some cases, foley editors can digitally alter recorded sounds to fit a scene exactly. In a foley studio, you'll find different surfaces for walking on, a splash tank , echo chambers, and a mixing booth where the sound engineers record and mix everything. Foley artists spend hours huddled around a microphone, readingcue sheets and watching a huge screen as they meticulously synchronize their noises to the action. So the next time you see a movie, listen very carefully. If you don't notice a thing, you've got a foley artist to thank"

Taken from http://www.newtonsapple.tv/TeacherGuide.php?id=1300

• Write about the experience of creating your own sound effects for the clips you were given and discuss how you found the process. 
• Remember, the blog is about process and journey, not just presenting your findings. 
• Take pictures of you making Foley sounds and perhaps even publish your outcomes.

most importantly - you must ask yourself (and tell us) WHY HAVE I DONE THIS? (How is it going to help you think about your project?).

There will be instances in your film where you need to enhance it with good sound effects.

Blog on Kitty!

Resources from the lesson:

http://www.pbs.org/newshour/art/blog/2011/02/the-sound-of-cinema.html video interview with Foley artists

 

Film Title Font Analysis

This video explains very clearly why you need to give thought to Title design in your opening scenes



So, choosing the right font for your credits and titles will determine whether the audience accept your production values and your film lives up to their expectations. (codes and conventions - genre - Neale).

Below are some screen shots from different genres.

Horror
I would expect you to examine a few examples like I have done above. Remember, the title is often different to the credits.

Thriller

Action

Storyboards, Animatics and the End Product

Before Scorcese became a Hollywood A-lister, he used to do his own storyboards and pencil down his ideas to show his film crew.  Watch the video below - you are all capable of doing similar, if not better.



Not bad, there is hope for us all...

Film Openings and their respective Scripts

1 - The Usual Suspects (Singer, 1994)

One of the most intriguing openings you can see.  Use of enigma code is heavy throughout and gets the audience asking questions.  Lets look at the sequence and then how you script something like this.

1 -BLACK
     The lonely sound of a buoy bell in the distance. Water
     slapping against a smooth, flat surface in rhythm. The
     creaking of wood.

     Off in the very far distance, one can make out the sound of
     sirens.

     SUDDENLY, a single match ignites and invades the darkness. It
     quivers for a moment. A dimly lit hand brings the rest of the
     pack to the match. A plume of yellow-white flame flares and
     illuminates the battered face of DEAN KEATON, age forty. His
     salty-gray hair is wet and matted. His face drips with water
     or sweat. A large cut runs the length of his face from the
     corner of his eye to his chin. It bleeds freely. An un-lit
     cigarette hangs in the corner of his mouth.

     In the half-light we can make out that he is on the deck of a
     large boat. A yacht, perhaps, or a small freighter. He sits
     with his back against the front bulkhead of the wheel house.
     His legs are twisted at odd, almost impossible angles. He
     looks down.

     A thin trail of liquid runs past his feet and off into the
     darkness. Keaton lights the cigarette on the burning pack of
     matches before throwing them into the liquid.

     The liquid IGNITES with a poof.

     The flame runs up the stream, gaining in speed and intensity.
     It begins to ripple and rumble as it runs down the deck
     towards the stern.                                                      

2 EXT. BOAT - NIGHT - STERN 2'

     A stack of oil drums rests on the stern. They are stacked on
     a palette with ropes at each corner that attach it to a huge
     crane on the dock. One of the barrels has been punctured at
     it's base. Gasoline trickles freely from the hole.

     The flame is racing now towards the barrels. Keaton smiles
     weakly to himself.

     The flame is within a few yards of the barrels when another
     stream of liquid splashes onto the gas. The flame fizzles out
     pitifully with a hiss.

     Two feet straddle the flame. A stream of urine flows onto the
     deck from between them.  The sound of a fly zipping. Follow the feet as they move over
to where Keaton rests at the wheel house.

CRANE UP to the waist of the unknown man. He pulls a pack of
cigarettes out of one pocket and a strange antique lighter
from the other. It is gold, with a clasp that folds down over
the flint. The man flicks up the clasp with his thumb and
strikes it with his index finger. It is a fluid motion,

somewhat showy.
Keaton looks up at the man. A look of realization crosses his
face. It is followed by frustration, anger, and finally
resignation.

VOICE (O.S.)            How are you, Keaton?

KEATON            I'd have to say my spine was broken,
           Keyser.

He spits the name out like it was poison.

The man puts the lighter back in his pocket and reaches under
his jacket. He produces a stainless .38 revolver.

VOICE (O.S.)            Ready?

KEATON            What time is it?

The hand with the gun turns over, turning the gold watch on
its wrist upward.
The sound of sirens is closer now. Headed this way.

VOICE (O.S.)            Twelve thirty.

Keaton grimaces bitterly and nods. He turns his head away and
takes another drag.
The hand with the gun waits long enough for Keaton to enjoy 
his last drag before pulling the trigger.

GUNSHOT
The sound of Keaton's body slumping onto the deck.

 MOVE OUT ACROSS THE DECK. Below is the stream of gasoline
still flowing freely.

The sound of the gasoline igniting. The flame runs in front
of us towards the barrels, finally leaping up in a circle
around the drums, burning the wood of the pallet and licking
the spouting stream as it pours from the hole.

MOVE OUT ACROSS THE DOCK, away from the boat.

The pier to which the boat is moored is littered with DEAD
BODIES. Twenty or more men have been shot to pieces and lie
scattered everywhere in what can only be the aftermath of a
fierce fire-fight.

A BARGE COMES INTO VIEW.
On the deck of the barge is a tangle of cables and girders.         
The mesh of steel and rubber leaves a dark and open cocoon          
beneath its base.                                                   

MOVE INTO THE DARKNESS.
Sirens are close now. Almost here. The sound of fire raging
out of control.

SIRENS BLARING. TIRES SQUEALING. CAR DOORS OPENING. FEET POUNDING THE PAVEMENT.
MOVE FURTHER, SLOWER, INTO THE DARKNESS
Voices yelling. New light flickering in the surrounding
darkness.

SUDDENLY, AN EXPLOSION.
Then silence. TOTAL BLACKNESS.


Locations used are shown in the script.  There would have been a lot of health and safety concerns.  Interestingly, we didn't need to see the boat getting blown up, just a ball of flames.  That saved some money.