Category: Reading

Reading: Room tone

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Following on from issues with atmos sounds in my Assignment 3 moving image, I found an article on room tone by sound designer Woody Woodhall.

‘Room tone, sometimes called room noise or fill, is simply the recorded sound of a particular room that a scene is being shot in. That sound is caused by many factors – lights, refrigerators, air conditioning, people, furniture, as well as the “sound” of the microphone, the “sound” imparted by the recording device and the specifications of the recording’ (Woodhall, 2018).

No two rooms have the same room tone.

The main function of room tone is to cover unwanted noise and fill gaps in the sound.

A dialogue editor can fix problems with sound by adding a bit of room tone over the offending noises and adding a precise edit and some cross-fades.

If room tone has not been recorded, you have to create it from the audio clips you have:

  • take parts of the scene that are quiet
  • you can also find it in the handles of the audio clips – the longer the handles the better
  • put it all together and apply some noise reduction software to get rid of some of the issues
  • then double the length of your tone by copying it and reversing the second half

When editing location audio, besides creating a seamless dialogue track, the dialogue editor also creates a track that is called production effects (PFX) – any useful location recording that does not have dialogue in it (e.g. breaking a glass, knocking on a door, working in the kitchen, running water, chopping vegetables, etc.).

Editing the location PFX onto non-dialogue tracks helps create the final sound effects stems and sub-mixes.

Room tone is needed when PFX are removed or when bad lines are muted and replaced by ADR.

Room tone is also needed when you get busy noise in the middle of what should be silence. You can cut out the noise and replace it with room tone, if it matches.

Room tone can be used to keep the dialogue track filled with audio from start to finish, while other sounds might be happening in the sound track.

Room tone can be useful in allowing sound effects editors to enhance the PFX in the sound design and help blend foley recordings with the PFX and with the dialogue tracks for the final mixing.

‘Room tone is the glue in the sound editing that creates the continuity from edit to edit.’

Every room sounds differently according to its shape and contents, what machines are running, what traffic is passing outside, even what natural sounds can be heard such as birds. These things change throughout the day, so getting room tone at different times of the day can be useful.

Even one shot can have completely different tone than another shot in the same room, depending on what direction the mic is facing.

On-set room tone recordings are important because creating usable room tone from scraps of location recordings is difficult.

The most essential room tone to record is that in odd places.

Movies that are quiet or that have sparse music score and minimal sound effects leaves the dialogue track bare and audiences will be aware of this.

Room tone is an inevitable part of the filmmaking process.

30 seconds spent recording room tone on location can save dialogue editors hours in post production trying to create it.

 

Woodhall, W. (2018) ‘Room Tone – 28 Weeks of Post Audio Redux: #2 Do we really need it?’ On provideocoalition.com, July 02, 2018. At https://www.provideocoalition.com/room-tone-28-weeks-post-audio-week-2/ [Accessed on 10 November 2018]

Reading: Composing and framing

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The use of the frame is pivotal to a good film.

‘A frame cannot be just a representation of just what’s in front of you. It’s got to have three-dimensionality. It’s got to mean much more than what is shown.’

Ask yourself:

  • How can I make this image more poetic?
  • How can I say more about the emotional state of that character in this film?

For example, in the film ‘An Education’ there’s a scene in which a girl is being driven by an older man. She finds him very exciting. He stops the car, gets out and goes across the road and sees a black family. She’s observing all of this.

      

This could have been shot very conventionally. But instead, it is shot in a more poetic and simple way. The scene is really about her and what she’s reflecting on who this man is and what he is doing. The scene cuts from outside the car and a view of the street to her in the car looking at the scene. The car window is closed. So it’s just a reflection of the black family with the man reflecting in the glass. She is just behind it, thinking about it, creating a superimposition.

It’s just a question of using the focus puller to create the poetry of the shot – looking one way, looking the other way, and back again. It’s all done in one image – simple, concise, effective.

It can happen through the choice of locations.

‘It is absolutely important to find ways of actually creating scenes that imply more than the scene itself.’

You can over edit a scene – where you are telling the audience what you are thinking about, as opposed to leaving it and letting the viewer decide which part of the shot they want to look at – are they looking at the background, the foreground, what exactly their emotion is and who they are with.

 

List of references

John de Borman (2015) ‘Composing and Framing – Cinematography Masterclass’ CookeOpticsTV https://youtu.be/W8V6GJdT_Bg (Accessed on 20 November 2018)

Reading: The quadrant system of composing a frame

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What makes a film visually interesting? It’s not just the story or the actors, it’s in the frames themselves.

In his article ‘The quadrant system: a simple composition technique explained’, Justin Hayes (2015) refers to the film Drive (2011) and the way in which almost every shot has a compositional balance – between left and right, top and bottom – a quadrant.

 

At first this might seem restrictive. But it allows a director to take a conventional shot and do unconventional things.

 

   

In this scene, the driver enters in the top left quadrant. We assume the next shot will have another person in the top right quadrant. But instead, she is in the bottom right quadrant.

When the camera moves closer, we get two shots in which the characters are short sided with tons of space behind them.

   

By emphasising different quadrants, you can create shots that are both tightly composed and weirdly unpredictable.

Play around with quadrants – they are an old, simple tool.

All you need are top, bottom, left and right – and the good sense in how to put them all together.

 

List of references

Heyes, Justin (2015) SLR Lounge https://www.slrlounge.com/the-quadrant-system-a-simple-composition-technique-explained/ (Accessed on 16 November 2018)

Reading: Subjective and objective character perspective

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Techniques can be executed to give the audience something more than information.

We react viscerally to the screen.

The camera functions like the human eye – it sees, and it presents what is put in front of it to the spectator on the other side of the lens.

Why is it that the lens the filmmaker uses, the angle we see the shot from, the rapidity of the edits, affect us in emotionally captivating ways some of the time, but other times leave us disengaged or unactivated?

  • A lot of credit has to be given to what the camera sees – the performances of the actors, the power of the story and script all have an enormous impact on how we are affected.
  • But, nonetheless, how the camera sees plays a decisive role to those materials.
  • A big part of the effectiveness of the way these tools are deployed is the strategic use of objective and subjective perspectives.

This can be a confusing concept to filmmakers when first introduced to it.

  • An objective perspective is the use of cinema’s visual language just to convey information, as if from an outside point-of-view, with very little emotional emphasis of any character’s perspective.
  • A subjective perspective uses the visual language of the scene to convey an emotional impact that grounds the scene in the mental or emotional ‘perspective’ of a particular character.

What does this mean in practice?

All the creative decisions the filmmaker has at their disposal:

  • Angles – the angles you’ve written the scene from
  • Lensing – the millimetre of lenses you use
  • Camera movement – the use or absence of camera movement
  • Editing – how the scene is cut together

Every decision could be screened through the question of whether or not you are injecting a subjective perspective or grounding the scene in an objective point of view.

Whose perspective is it?

    

The camera begins with a Close Up (CU) on a young woman asleep in bed. It then pans left across the room, revealing another woman sitting smoking a cigarette in a Wide Shot (WS). The camera follows the second character as she stands, walks to the window and opens the curtains. The camera cuts back to the first character in bed as she sits up (CU). Then cuts to the same character looking through a window in the follow scene (CU).

    

Fig.1 ‘Carol’

The use of the camera, the position, the lenses, the framing all contribute in subtle and not so subtle ways to the emotional vantage point within the scene.

Fig.2 ‘There Will Be Blood’

From an objective perspective, we observe the action from a distance. The camera may remain separate from the headspace of any of the participants in the scene. This tool can be used creatively to create dynamic, impactful storytelling.

    

Fig.3 ‘A Nos Amours’

Scenes can begin in an objective perspective. A Medium Shot (MS) of two characters, Suzanne and her father. The camera expresses an emotional distance and puts us as the audience in an observational place. Then a beat happens. The camera frames Suzanne in an over-the-shoulder Close Up (CU). Followed by a reverse angle on her father. The scene has radically changed. We experience the emotions of the scene much more vividly and through the perspective of Suzanne.

The subjective perspective is not a POV shot. These are two completely different things.

  • A POV shot shows explicitly what the character sees.
  • What is unique about the POV shot is that while it manages to convey information that is useful and impactful, it is actually quite alienating on its own.
  • Not quite subjective or objective.
  • When we are in a POV shot for a long period time, we find that we have no real insight into the mental or emotional perspective of the character whose eyes we are supposed to be seeing through.
  • The loss of seeing the emotions of the character on screen through the visual language of the camera and the editing somehow distances us from the experience.
  • Seeing through the eyes of a character in a POV shot is alienating. Films that use the POV throughout never manage to provide the audience with the same level of engagement with the characters that traditional cinema has sustained.

The POV shot is useful for conveying emotions. But primarily where it is used in short intervals and juxtaposed with a good objective perspective shot.

For example, in Vertigo, the POV shots function to give you information about what the character would be seeing.

No matter what the scene is, there is a dimension of objective and subjective perspective always at play.

While character perspective is a valid tool and is one way of analysing how the visual choices are working in any given scene, there are always other ways of looking at the same tools and choices that are available to the filmmaker.

Many filmmakers choose to think purely in terms of visually exciting imagery and design their story to facilitate a kind of visual spectacle.

Some filmmakers focus totally on the performances of the actors. The camera work and visual language is there only to facilitate the performance and does little to create perspective on the part of the characters in the scene.

These choices are just as valid as a tool to create emotional perspective.

Each filmmaker in each film establish their own rules for how visual language should work on the audience.

Think of a film as an interior dialect within the larger language of film grammar.

The role of the filmmaker is to determine how those rules will work and how they will interact with the story they are trying to tell.

In an Ozu movie, the visual language will always obey strict rules – the camera will refuse to move, it will remain close to the ground, frames will always seek balance and harmony, a 50mm lens will often be employed. We might call these frames objective and observational. The impact of the moments when Ozu breaks his own rules and moves his camera are all the more intensely felt because of the austerity upon which he has built his cinema on.

If your goal is to reach your audience on an emotional level, you have to think carefully about the tools you have at your disposal and what those tools do beyond creating a frame.

These choices have a psychology to them. And when combined together in unique ways, they have an impact that rises above individual merit.

 

List of references

Ratcliff, T. 2017 ‘What is character perspective?’ On: Vimeo At: https://vimeo.com/219223876 (Accessed on 29 October 2018).

Reading: Widescreen framing

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I’ve been experimenting with widescreen format in my project and assignment films.

‘Widescreen cinema creates a different visual impact than 1.37 ratio. The screen becomes a band or strip, emphasizing horizontal compositions’ (Bordwell 2017 p.183).

‘By offering more image area, a widescreen format offers bigger challenges about guiding attention than does  the 1.37 ratio.’ (Bordwell 2017, p.183).

But how do you compose for wide screen?

Bordwell suggests that while it is an obvious format for sweeping spectacles such as westerns, travelogues, musicals and historical epics, it raises questions about its use for ordinary dramatic conversations and more intimate encounters between characters.

One common solution has been to fill the frame with a face. The wide screen format challenges directors to design more screen-filling compositions. ‘They can’t be as compact as the deep-focus compositions of the 1940s, but they can achieve pictorial force’ (Bordwell 2017, p.183).

But wide screen compositions can build up significant depth, even in a confined space.

Director’s multiply points of interest within the frame – requires care with staging and timing actors’   performances.

 

Gradation of emphasis

In his essay ‘CinemaScope: Before and After’ (1963), Charles Barr offers some interesting ideas about widescreen film. One of which he calls the gradation of emphasis:

‘The advantage of Scope [the 2.35:1 ratio] over even the wide screen of Hatari![shot in 1.85:1] is that it enables complex scenes to be covered even more naturally: detail can be integrated, and therefore perceived, in a still more realistic way. If I had to sum up its implications I would say that it gives a greater range for gradation of emphasis. . . The 1:1.33 screen is too much of an abstraction, compared with the way we normally see things, to admit easily the detail which can only be really effective if it is perceived qua casual detail’ (Quoted in Bordwell 2008).

Bordwell(1985) argues, when using widescreen format ‘the good director will not flaunt the ratio itself…the composition should enhance the narrative situation. As for participatory freedom, the widescreen allows the viewer to notice nuances of character interaction by virtue of the director’s gradation of emphasis’ (p.18).

 

Key points for me

  • Wide screen format creates a different visual impact than 1.37 ratio.
  • It emphasizes horizontal composition.
  • Can achieve pictorial force.
  • Can contain multiple points of interest within the frame.
  • Enables complex scenes to be covered more naturally – integrating detail in a more realistic way.
  • Contains a greater range of gradation of emphasis – while the 1.37 screen is too abstract compared to the way we normally see things.
  • The widescreen frame offers the viewer an experience in which they can see nuances of character interaction.

 

List of references

Barr, C. (1963) ‘Cinemascope: Before and After’ Film Quarterly, 16, 4, pp.4-24.

Bordwell, D. (1985) ‘Widescreen Aesthetics and Mise en Scene Criticism’ The Velvet Light Trap Review of Cinema No 21 At: http://www.davidbordwell.net/articles/Bordwell_Velvet%20Light%20Trap_no21_summer1985_118.pdf (Accessed on 19 October 2018).

Bordwell, D. (2008) ‘Gradation of emphasis, starring Glenn Ford’ At: http://www.davidbordwell.net/2008/11/13/gradation_of_emphasis_starring_glenn_ford (Accessed on 19 October 2018).

Bordwell, D. (2017) Film Art New York: McGraw Hill