Opening Sequences

Juno - Sound

The sound in the opening sequence of Juno very effectively helps to set off the story and genre of the film.

The Film starts in almost silence with only the diegetic sound of birds. This helps to show how deep in thought the character is, which is then confirmed with the voice over of "it started with a chair" giving us insight into what she is thinking about. As this is the first thing we hear we know it is going to be very important to the story.

It then goes into a flash back showing the significance of the chair, with the main piece of sound being a very soft piece of music with the lyric of "I gave so much love to this love". Although this is supposed to be diegetic it is also parallel to the story and helps to show it is a past experience and that the relationship may not be there anymore. This soft day dreamy scene is broken by a loud barking which helps get us to connect with the character in that she has been broken out of her day dream just like we have.

Finally, there is an upbeat country styled song played during the credits which helps to link to the surrounding, in that she live in a quite suburban town. It also helps to hint at the genre, in that it is a light-hearted song with the lyrics of "All I want is you" showing that it is going to be a cheerful film about a relationship - a romcom.

Sound - Our film

The sound we are thinking of using in our film after researching into the romantic genre is mainly diegetic sound with perhaps a parallel piece of music over the credits section.
I think it would be best to make the music at the party sound like normal songs which would be played at a party, therefore making it diegetic. And then As the girl and boy are getting ready it would be best to play an upbeat, parallel piece of music as this is incredibly common to our genre of film. I don't think our film should feature any voice-overs or sound effects, although we may have to create a folley track to fill in the diegetic sounds of people at a party as it may be necassary to cut out the actual noise of the party.

Sound - Romantic Films

Sound in romantic films is predominantly diegetic sound. This is usually because the use of non-diegetic sound, like sound effects, is generally not needed as romantic films try to stick to reality and therefore sound effects, which would emphasize sound, with be inappropriate.

However, they do largely use non-diegetic parallel music, mostly during the opening to the film. This is because it firstly can enhance the meaning of what is happening on screen and also it can just make an otherwise boring title sequence much more entertaining to watch. Also it is a very key signifier to genre, in that as soon as you hear an uptempo, light-hearted, pop song, you immediately link it to the romantic genre, therefore making it effective.

They also occasionally use voice-overs to portray the characters thoughts and feelings, or just general narration to perhaps help guide the audience through confusing parts to the film. For example, in the film Angus thongs and perfect snogging throughout the film we hear the voice-over of the main character as if it is a diary entry, this helps us to identify with the character and therefore sympathise with her as if we were really close to her. It is also because the film is based on a book which is set out as if it were a diary. The film also works as an example of non-diegetic music.

Sound

Sound brings an extra dimension to a film and helps to manipulate the audiences response and emotions and enhance meaning. Sound in modern films is extremely sophisticated with a digital, synchronised soundtrack which combines the elements of dialogue, music and sound effects. Modern films are also helped by a Foley Track which is sounds are made in studios to enhance the quality of the film.

Diegetic

Diegetic sound is where the source of the sound is part of the film world, as in if  it was reality and you were there you could here it. Diegetic sound can be on or off screen, in that if for example if two characters were having a conversation with one character being on screen and the other being off screen in another room, you could here both sides of the conversation even though the other character is not shown on the screen. This helps to create the sense that we are watching a 3D world rather than just a flat screen - helps to immerse the audience in the world of the film as if it were reality.

Non-diegetic

Non-diegetic sound is sound which is not part of the film world and is added on later, this can include things like voice-overs or orchestral music. It is generally used to change rouse emotion or to connect you to the characters feelings. A good example of this is in the film Psycho, in which the use of the almost scretching sound of the violins helps to enhance the feeling of terror and even though you don't see much of the actual act you know that what is happening is incredibly alarming.


Sound Bridge

This is where sound from one scene is carried on into the next, or is begun in one before we see the relevant images. Without the use of sound bridges films would seem very disjointed as they not only give the effect of a real diegetic world, but it also gives the sense of linking or joining together, making it more coherent and therefore part of a films continuity. This example from The Matrix shows at the end of the scene how it links into the next shot by playing the alarm sound before we see it therefore creating more fluidity and meaning between the shots.


Parallel and Contrapuntal Sound

Parallel or synchronous sound is when the music tone and mood matches the action on screen, this helps to provoke the appropriate emotions for the situation.

Contrapuntal or asynchronous sound is where the feeling of the music does not fit with the action that is taking place on screen, this can be used to lighten the mood of a film and perhaps make it into a more humorous moment, it is often used to make a point and can also be used as a signal of danger. For example, in Jaws when we are watching happy holiday makers on a beach, the image of happy people and everything being okay is challenged by the contrapuntal motif of the shark which we immediately attach to the threat of the shark, therefore helping to signal danger to the audience.

Max Payne - Sound Analysis

Max Payne opening sequence - Sound Analysis

Shot	Technique	Effect
1	Motif	Brings you into the film
2	Ambiance sounds (wind) Non-diegetic Narration – voice sounds quite hard (strong)	Creates a sense of a harsh cold environment Shows you the characters thoughts and feelings also gives you a sense of what the film will be about
3	Sudden burst of sound Diegetic heavy breathing and gasping for air	Provokes emotion and helps you to feel the panic and desperation of the character Helps the audience to make a connection with the character
4	Sound muffles as character (and camera) are submerged in water	Makes you feel like you are there and experiencing the same things the character is
5	Diegetic splashing and gasping	Creates an emotional connect with the character
6	Diegetic band general under water noises	Helps to create the sense of being under water and create a sinking feeling, as if you are going down with him The contrast between the loud splashing and now the quite muffled noise of the bubbles helps to create the sense that he has given up
7	Non-diegetic  Defining noise as shot is shown Diegetic bubbles Non-diegetic  Narration	Provokes feelings of shock Create the feel of being underwater Keeps the main connection to the main character and also gives a little insight into the story
8	Sound bridge (sort of watery noise through the black leading to the shot of the door) Non-diegetic  Baby crying	Connects the two shots – shows us there is some sort of link Creates an eerie feel
9	Non-diegetic  Baby crying Non-diegetic  Eerie wind chimes Non-diegetic  Eerie music Non-diegetic  Clock ticking	Make the shoot seem unreal and somewhat spooky and sinister Makes it feel like time is moving very slowly
10	Non-diegetic  Sound bridge (baby crying) Non-diegetic  Sound bridge (clock ticking (getting progressively slower) Diegetic bubbles (letting out his last breaths) Non-diegetic  Narration	Creates a link between the baby and the main character Makes us feel like everything is slowing down and coming to an end Connects you to what is happening to the character in the present Connects you to the character and makes you think about what he might have done
11	Non-diegetic  Sound bridge (clock ticking) Diegetic creaky door Non-diegetic wind chimes Non-diegetic flashing sort of sound	Links all the shots Focuses you on that one point – makes it seem significant Brings thoughts of innocence Helps create the feel of moving through memories
12	Sound bridge (Non-diegetic flashing sort of sound) Sound bridge (Non-diegetic wind chimes) Ambient sounds (something goes past the window and makes a noise (maybe a car))	Links the shots Brings up the thoughts of innocence and links to the wind noises (wind chime) Odd as it gives a sense of normality and yet the shot we are seeing does not portray this
13	Sound bridge (non-diegetic wind chimes) Sound bridge (non-diegetic clock – becoming distorted)	Links the shots Makes us feel like something is wrong
14	Sound bridge (non-diegetic wind chimes) Sound bridge (non-diegetic clock – becoming more slow and distorted) Sound bridge Thunder (could be diegetic) into next shot under water Non-diegetic Narration Diegetic underwater noises	Links the shots Continues the eerie feeling Creates the sense that the characters past is quite dark Insight into how the character is feeling Creates the sense of a 3D world
15	Narration Sound bridge off screen diegetic police cars	Leaves us with a strong message Creates the sense of normality and gives us pre-emptive thoughts about what  might come next, also links with what he was talking about (dead criminals)
16	Sound bridge off screen diegetic police cars Ambient sounds (people talking, cars, general city sounds) wind	Links the shots and establishes the scene Sets the scene and creates the sense of normality Links slightly with the beginning

Harry Potter Sound Evaluation

1. What style or feel of music did you use for the credit sequence and why?

We tried to create a mysterious feel to the music to try and connect to the genre and general feel of the Harry Potter films. We did this through the use if one continuous mysterious synthesiser and some parallel sounds, for example as we pass through the Warner Brothers sign we tried to make it sound like you were actually going through something, to give it that sort of importance and to draw in the audience. Also when the Harry Potter words first appear we out in some diegetic thunder to give a sort of dramatic feel to it. Then as we go through the clouds the synthesiser fades out along with some thunder. This is all to give the mysterious feel to the opening which is synonymous with the Harry Potter films.

I would say our Harry Potter credit sequence and titles, on a scale of one to ten for effectiveness, are an 8.

2. What style or feel of music did you use for the playground sequence and why?

As we go into the proper scene we played some diegetic traffic and general city noise to set the scene, admittedly this transition from the titles could have been smoother. Then as we move into the actual into the actual playground part we tried to make the music more soft and day dreamy - contemplative, this was done to try to link to the  character, in that on screen we see him sitting on a swing, it would seem, deep in thought. We also added cricket sounds at the beginning in the grass to show that it's getting into the evening time. We could have added more and layered the noises, but we were trying to get a simple and soft feel to it.

I would say our Harry Potter playground sequence, on a scale of one to ten for effectiveness, is a 7.

3. What style or feel of music did you use for the sequence when the Dementors appeared and why? How do you feel the music and feel changed? To what extent do you feel you managed to convey the change in mood?

 For this part we tried to give the feel of danger. However we did not finish the piece. But what we did do at the beginning of this section was use both diegetic and non-diegetic noises to both portray danger and a bit of the characters dread and anticipation that something bad is going to happen. As the shot goes dark we used thunder noises which immediately brings up that idea that something bad will happen and heightens that sense of danger. Then as the camera showed clouds we used a more deep sudden noise which we used to show the significance of the clouds and on coming danger. Then as the camera showed the playground we used a more suspenseful sound to match the movement of the camera and to again give that sense of danger. Finally we used a more urban bass sound as the were running to pick up the tempo a bit but still keep it dark and suspenseful. This is as far as we got.

I would say our Harry Potter Dementors sequence, on a scale of one to ten for effectiveness, is a 6 as we did not complete it, but I think what we did do was quite effective.

4. How pleased are you with the final sequence overall?

Overall I think the bit that we finished was quite good in creating the feel we intended and also were reasonably smooth. However I think with more time we could have really improved the sound and made it flow a lot better and be perhaps more acoustically interesting.


I would say our whole Harry Potter sequence, on a scale of one to ten for effectiveness, is a 7.

Harry Potter Sound Exercise

Our own music dubbed over a clip from Harry Potter - unfinished.