Lecture 3: Production Processes Flashcards
1
Q
Basic timetable of film production
A
- pre-production
- production
- post-production
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
3
Q
Production
A
- finalization of script and production design
- principle photography
- 12-16 weeks
4
Q
Post-production
A
- assembling and editing the takes
- completion and addition of visual and audio effects
- composition and addition of music
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
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
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
8
Q
Freelance
A
- self-employed
- travels job to job
- can have multiple projects running simultaneously for different studios
9
Q
Collaborative partnerships
A
- composer and directors form a partnership
- eg. Spielberg/Williams, Nolan/Zimmer
10
Q
Hiring
A
- studio contract
- freelance
- collaborative partnerships
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
12
Q
Screenings
A
- rushes
- assembly cut
- rough cut
- fine/locked cut
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
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
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
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
