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Music 2F03 > Lecture 3: Production Processes > Flashcards

Lecture 3: Production Processes Flashcards

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1
Q

Basic timetable of film production

A
  • pre-production
  • production
  • post-production
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2
Q

Pre-production

A
  • planning stage
  • script, financing, casting, costume and set design, location scouting
  • can last several months to years or even decades
  • earlier, one studio would produce a movie, but then multiple studios collaborated
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3
Q

Production

A
  • finalization of script and production design
  • principle photography
  • 12-16 weeks
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4
Q

Post-production

A
  • assembling and editing the takes
  • completion and addition of visual and audio effects
  • composition and addition of music
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5
Q

Adding the film score

A
  • normally, an original film score is one of the final elements to be created and added
  • composition and recording of a score = 5 to 8 weeks
  • since release dates cannot be changed, often a composer gets a lot less time than intended
  • effects-driven films often have longer post-production period
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6
Q

Wide release

A
  • since the 70s, there is no more staggered release, but wide release
  • if the film does not make its money back in three days, it is considered a flop
  • before, it used to take months for this process to occur
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7
Q

Studio contracts

A
  • 1930s-50s
  • actors and composers work through contracts with specific studios
  • composers will be assigned to particular movies that their studio produced
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8
Q

Freelance

A
  • self-employed
  • travels job to job
  • can have multiple projects running simultaneously for different studios
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9
Q

Collaborative partnerships

A
  • composer and directors form a partnership

- eg. Spielberg/Williams, Nolan/Zimmer

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10
Q

Hiring

A
  • studio contract
  • freelance
  • collaborative partnerships
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11
Q

Scripts

A
  • can give composers a head start
  • research for ethnic or historical influences (eg. Hans Zimmer, The Last Samurai (2003) )
  • production of important source music is done at this point
  • script is a starting point but is not a guarantee
  • only words, no clear timing or pace for the composer to work with
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12
Q

Screenings

A
  • rushes
  • assembly cut
  • rough cut
  • fine/locked cut
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13
Q

Rushes

A
  • film shot that day
  • director will look over every single shot that was taken throughout the day
  • at least one or two versions of the scenes that will work
  • no idea which version, what will be used, if it will be used at all, what the context is
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14
Q

Assembly cut

A
  • significantly longer than finished film
  • includes everything the director thinks they want
  • includes multiple versions of the same scene
  • might not even be in the final sequence
  • James Cameron’s Titanic = rumoured to be 12 hours
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15
Q

Rough cut

A
  • closer to finished film
  • still undergoing significant editing
  • single versions of scenes, most of what is in will be in the finished film
  • still might need to tweak timings
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16
Q

Fine/locked cut

A
  • most, if not all editing completed
  • what you see is what is going into the film
  • the entire film might not be locked all at once, certain scenes may be locked before others
17
Q

Composers and screenings

A
  • most composers begin work at the fine cut stage
  • timing of scenes is crucial
  • composers don’t want to start overthinking the film = will watch 2-3 times
18
Q

Temp tracks

A
  • temporary music added to film while still in production or early editing
  • music editors = work for the director, but coordinates with the composer
  • gives more finished feeling to work in progress = helps to show scenes to producers
  • often taken from other film scores, or classical music
19
Q

Advantages/disadvantages of temp music

A
  • offer insight into director’s thinking process
  • can influence the composer’s initial response
  • director’s familiarity with temp track can be an obstacle
20
Q

Spotting session

A
  • spotting session can take place over 2-3 days
  • director, composer, music editor/music supervisor
  • discussion of placement and approximate sound of cues
21
Q

Cue sheets

A
  • notes from the spotting sessions prepared by the music editor
  • master outline of what the music is going to do
  • traditionally, cues were done on the basis of the number of reels
  • eg. 1M1 (1 = first reel, M = music, 1 = cue number)
22
Q

Composing

A
  • most composers are capable of writing notes on paper
  • technology from the 70s and 80s opened the door to composers who are not formally trained
  • because composers only have a few weeks, they have to employ a lot of people to get things done
23
Q

Additional people involved in the composing process

A
  • orchestrators
  • copyists
  • music librarians
  • conductors
  • studio musicians
24
Q

Orchestrators

A
  • skilled in composition, music theory, and knowledge of the orchestra, understand technical restrictions
  • take what the composers give them, and fill in the details
  • a good composer will put in most of the details
25
Q

Synth demonstrations

A
  • occurs once the orchestration is worked out

- mock-up of the music using synthesizers so that the director knows what it will sound like

26
Q

Copyists

A
  • produce final parts for musicians

- create individual sheet music for the musicians

27
Q

Music librarians

A
  • organize parts for recording sessions

- place sheet music on music stands

28
Q

Conductors

A
  • some composers will conduct (eg. John Williams), while others may listen in the sound studio
29
Q

Studio musicians

A
  • musicians must be excellent at sight reading

- can record after 3 or 4 times playing the music

30
Q

Synchronization

A
  • have the conductor conduct the music while watching the film
  • click tracks = conductor wears headphones, and have a metronome playing in the headphones
  • punch and streamers = series of marks that are put on the film that the conductor watchers
  • streamer = vertical line that travels across the screene
  • punch = bright flash of light
  • key moments, but still allows for ebb and flow
31
Q

Mixing

A
  • when recorded music is taken into a studio along with the recorded dialogue and sound effects
  • team of mixing engineers will balance and tweak to emphasize either dialogue, music, or any other sound element

Music 2F03 (13 decks)

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