Here’s the original clip with the sound:

Report:
My objective was to create a sound design for the terminator clip that would make the listener believe that these are the actual sounds of the environment he sees.
I wanted to highlight almost every movement that we see. It was important to highlight the welding procedure, also the one that we could only see as a reflection. Apart from attaching sounds to the movements of the machines and all the actions we can follow on the screen, I also included a background noise that sounds like a factory environment that deals with heavy objects. We can hear rumbling, hammering metals, items moving on the production line and factory alarm sounds.
I decided to take an approach of a Terminator 2 sound designer Gary Rydstrom. I wanted my sound design to be realistic but at the same time have something in it that you don’t hear everyday. I wanted it to sound big but believable. It had to be sounds of the machines, mechanic sounds, but not going too much into computerized effect.
One particular audio-sequencer technique that I had not applied before was a use of Michael Norris’ plug-in in Logic to manipulate the audio.
One particular music technique I learned was layering different sound to get a slightly different sound that would be more suitable for a certain section.
This task is an example of practice as research as I had to find specific sounds to match the visuals plus on top of that experiment with them to get the final result.
I would give myself a good mark for this task as I feel my sound design is very suitable for this clip.

Word count: 275

Here’s my version of the sound design:

MDM Task 7 – Sound Design from Pablo187 on Vimeo.

Bibliography:

Film:
Terminator 2: Judgment Day. (1991) [DVD], dir. Cameron, USA: Carolco Pictures, Lightstorm Entertainment, Le Studio Canal+

Online Resources:
Filmsound. (2011). Sound Design of Terminator 2. Internet web page at: http://filmsound.org/t2/. (Accessed 21.03.11)

IMDb. (1990-2011). Gary Rydstrom. Internet web page at: http://www.imdb.com/name/nm0003977/. (Accessed 21.03.11)

MDM Task 6 – Percussion Score for American Beauty (1999)

MDM Task 6 – Percussion Score from Pablo187 on Vimeo.

Report:

My objective when creating this task was to score a movie clip with percussion sounds. First I wanted to highlight cheerleaders dancing. Then the main focus went on a solo dance highlighting movements of the girl and the whole atmosphere of desire. I chose all the small movements and gestures as they are very important in this clip because they work as a substitute for words. I decided to adopt Thomas Newman’s approach from American Beauty and I created a piece with similar flavor using exotic sounds and drum kits. One audio-sequencer technique I applied in this task, which I had not applied before was syncing the tempo of my project to the movie’s audio by “adjust tempo by selection and locators” in the sample editor window. Gracias. One music technique I learned through doing this task was working on one project in a different sequencers. I did half in FL Studio and the rest in Logic with the help of Akai drum machine and MIDI keyboards. In my view this is an example of practice as research as when creating this task I went through a lot of hassle to match the tempo of my project to the clip. Plus investigating the structure of Thomas Newman’s Root Beer to perfect my composition. I would give myself an average mark for this task because even if I like it very much I think it may not be everyone’s cup of tea.

Word count: 242

Bibliography:

Film:
American Beauty. (1999) [Film] dir. S. Mendes. USA: DreamWorks Pictures

Online Resources:
IMDb. (1990-2011). Thomas Newman. Internet web page at: http://www.imdb.com/name/nm0002353/. (Accessed 27.03.11)

Books:
Karlin, F. & R. Wright, eds. (2004) On The Track: A Guide To Contemporary Film Scoring, Great Britain: Routledge

Music:
Thomas Newman (1999) Root Beer, USA: Universal I.S. B00001X4Z6. CD, 1.07min.

When creating my percussion score I was mainly influenced by Thomas Newman’s music from American Beauty movie. This time I was trying to kind of recreate his composition Root Beer but with my own flavor. The reason for being influenced just by this guy is that his score is so different that any other for this kind of movie. And I wanted something similar in my composition. For the first part, when cheerleaders are dancing, I just did a simple beat to match the background music and the rhythm. When creating this I just did my own thing and I wanted to make a beat that is kind of “jumpy”. When making the second part where there is a solo dance I did try to make a sexy feeling there, very relaxing and dreamy. I also created this exotic flavor that matches this scene perfectly because of the nature of it, and exotic is somehow erotic. And that scene is like that. I created similar percussion composition that in original sounds like tibetan singing bowls to me. In my composition it’s more like just metal bowls but the effect is not too bad. Apart from that I have got a sitar sound that with modulation creates this “sexy in a dream feeling”. I worked with it plus african, latin and oriental drum kits with effects on it. There is also a bass sound to enhance the composition and to create a wider range spectrum. Here are just few clips that had an impact on me. I am sure Thomas Newman when creating soundtrack for American Beauty was touched by something greater : )

Here’s Root Beer:

American Beauty:

Walk Home:

Bibliography:

Film:
American Beauty. (1999) [Film] dir. S. Mendes. USA: DreamWorks Pictures

Music:
Thomas Newman (1999) Root Beer, USA: Universal I.S. B00001X4Z6. CD, 1.07min.
Thomas Newman (1999) American Beauty, USA: Universal I.S. B00001X4Z6. CD, 3.06min.
Thomas Newman (1999) Walk Home, USA: Universal I.S. B00001X4Z6. CD, 1.20min.

“The Pianist” (2002) by Roman Polanski – Orchestration with Woodwinds

MDM Task 5 – Orchestration with Woodwinds from Pablo187 on Vimeo.

My objective when creating this task was to score a clip from a movie “The Pianist” and to make it sound like this music was a part of this movie originally. I wanted to highlight the whole situation in it, not too much the particular tiny moments. I wanted to make kind of a death march music for the people shown. Mainly this “death march” can be heard in the scene when people were being packed onto the train. Another scene gently but visibly highlighted is the last scene of a lonely walk of a main character. I decided to mainly adopt John Williams’ approach with his main theme for “The Schindler’s List”. I made a piece using mainly strings and woodwinds just like in his piece. His music portrait of the holocaust is just perfect for me and has that familiar “atmosphere” to me. This “atmosphere” was developed in my piece by this example yet just in one part of the clip. One audio-sequencer technique I used for this track was working in automation and smoothing in, smoothing out and moulding the sounds. I’ve learned through doing this task how to apply different layers of a violin, one accompanying another, and NOT just in a different octave with the same melody. It’s an example of practice as research as I was experimenting with melodic structures to find the ones that suited the most.
I would give myself a good mark for this task as I feel my composition is rich in emotion suitable for this clip, the use of woodwind instruments is satisfactory and well used, and the overall effect is pleasant.

Word count: 273

Bibliography

Online resources:
‘Schindler’s List’
Internet web page at: http://www.soundtrack-express.com/osts/schindlerslist.htm
(accessed 07.03.11)

Skelton, M. V. (1997-2011) ‘Paths of Fantastic Film Music: Examining Film Scoring Techniques in Films that Alter Space, Time and Death’
Internet web page at: http://www.filmscoremonthly.com/features/skelton.asp
(accessed 08.03.11)

Filmography:
The Pianist. (2002) [Film] dir. R. Polanski. USA: Universal, Focus
The Schindler’s List. (1993) [Film] dir. S. Spielberg. USA: Universal Pictures

My main influence when making my orchestration for a movie clip from “The Pianist” was music from this movie and also from “The Schindler’s List”. In both of them the main theme is WW2 and the struggles of those times. One of Poland’s finest composers Wojciech Kilar made a piece for “The Pianist” called “Moving to the Ghetto”, which is played on the clarinet. There is a moment just after my clip ends when this piece is played yet much slower and mainly because of that it seems more sad than the normal version. I tried to make my piece a bit more sad than that, to describe the hopelessness, the tragedy of the situation and the inevitable fate of the people sent to extermination. It was not hard to have the polish flavor in my composition. At least I think it has. This piece especially influenced me when creating the final bit, when the main character is walking the devastated streets of Warsaw crying after being separated with his loved ones. Here the flute is more visible as it is only accompanied by quiet notes of a piano.

Another piece that had an impact on me was Nocturne in C-sharp minor by Fryderyk Franciszek Chopin, the main theme of this movie. This piece has that nostalgia and sadness that I needed in my composition. And the piano is very present in my piece as well, partly because that was an instrument that Wladislaw Szpilman was playing. Yet my piece doesn’t change into a slightly happier one at all, when this piece has moments of hope or something similar.

I was also influenced by an American composer who made music for “The Schindler’s List”. Here’s Johnny!!! Williams of course. The main theme for this movie has such an amount of sorrow, as if Williams was one of the people who were witnessing the horror of Nazi occupation. It has a violin in it which I feel is the greatest instrument for making this “crying effect” of deep sorrow and sadness. It also have woodwind instruments accompanying the violin. I didn’t feel like using harp in my piece yet it suits perfectly John’s piece. This main theme’s influence may be spotted at the beginning of my orchestration.

Bibliography

Filmography:
The Pianist. (2002) [Film] dir. R. Polanski. USA: Universal, Focus
The Schindler’s List. (1993) [Film] dir. S. Spielberg. USA: Universal Pictures

Online resources:
‘Schindler’s List’
Internet web page at: http://www.soundtrack-express.com/osts/schindlerslist.htm
(accessed 07.03.11)

‘Wojciech Kilar’
Internet web page at: http://www.polishgreatness.com/polishculture/Music/Classical/KilarWojciech.html
(accessed 07.03.11)

Music for Digital Media Task 4 – Only Brass Score – North by Northwest (1959)

MDM Task 4 – Brass Score from Pablo187 on Vimeo.

Report:

When creating this task my objective was to score a clip from ‘North by Northwest’ movie only with a brass orchestration. First I highlighted a moment when Roger sees that the plane has evil intentions and that it’s better to run for it. When he is running to the crops I created a very dynamic orchestration to accompany this action. The plane flying over him is highlighted by kind of dramatic, heroic orchestration of something more mighty ruling above him. Gradually I create more tension and drama when the plane’s approaching to finally hit the climax when it flies over his head. When he’s trying to stop the truck, I highlighted the split danger source and approaching of it from ‘North and Northwest’. Also the fast approaching of the truck and the plane’s at that time invisible on the screen but oncoming danger, hitting the climax again when he is almost run over. To make my composition I was influenced by Hans Zimmer’s ‘The Battle’ piece from ‘The Gladiator’. I think even more by a piece from ‘Inception’ trailer titled ‘Mind Heist’ composed by Zack Hemsey.
One audio-sequencer and music technique I used was switching between different settings for brass samples in groups in EXS24. This task is an example of practice as research as I did study Hans Zimmer’s score sheet for ‘The Gladiator’ and were analyzing it in practice by recreating it in Logic 
I would give myself a good mark for this task. The report will drag me down as usual but I am really happy about my brass score that could perhaps save me from going below 60%.

Word count: 271

Bibliography:

Filmography:

Gladiator. (2000) [DVD] dir. R. Scott. USA: Scott Free Productions

Inception. (2010) [DVD] dir. C. Nolan. USA: Legendary Pictures, Syncopy Films

Mo’ Better Blues. (1990) [DVD] dir. S. Lee. USA: 40 Acres & A Mule Filmworks

North By Northwest. (1959) [Film] dir. A. Hitchcock. USA: MGM

Books:
Karlin, F. & R. Wright, eds. (2004) On The Track: A Guide To Contemporary Film Scoring, Great Britain: Routledge

Music:
Gounod, C. (1872) Funeral March of a Marionette, US: RCA Victor Red Seal, Vinyl.

Online Resources:

IMDb. (1990-2011). Biography for Hans Zimmer. Internet web page at: http://www.imdb.com/name/nm0001877/bio. (Accessed 25.02.11)

When creating my task to score for a brass I did gain a lot from paying attention to these compositions and composers. Of course my focus was on Hans Zimmer and the ‘Gladiator’ soundtrack, in particular the piece called ‘The Battle’. Especially between 1’27” to 1’52” where the brass heroic, “preparing to attack” melody starts and later becomes a huge and powerful battle music. This piece is a great example of how a brass score should sound like. Brass instruments are great for battle scenes and were good in battle scenes. Great for adrenaline and drama on the screen. I did something similar when scoring a moment when Roger was running to hide in the crops. I tried to create a fast paced section to highlight Roger’s movement, and create tension of running away from danger but in “I can make it” attitude, not a prey.

My next influence was by the guy named Zack Hemsey and his music piece ‘Mind Heist’ for the trailer of ‘Inception’. This track is not on the CD with the soundtrack but it should definitely be there. This track had such an impact on me because of its aggressive feeling. It would be suitable for the Northwest clip if it wasn’t so modern. It reminds me a bit of Zimmer’s ‘Battle’. The whole thing is awesome yet one sound blows my mind. Like I mention in my next post it is a very powerful brassy dropping sound that is just mean. I think in my own way I use similar concept when creating tension and alerting the viewer by triggering few low mean brass notes.

This influence was I think somehow the most deep one even if the music is more jazz like. The music from this movie is with me for a long time and thanks to it I started to like the sound of a trumpet. I talk about Spike Lee’s Joint ‘Mo’ Better Blues’ from 1990. I especially like the piece also titled ‘Mo’ Better Blues’, which was composed by Branford Marsalis. In the movie Denzel Washington is playing it on the trumpet together with his quintet. I believe listening to this soundtrack made me a bit more knowledgeable about implementing brass in my music ideas.

There are many influences that I am not aware of especially by the music of older American movies or tv series that I used to watch. I can hear it in my score and I feel that it has 70’s or 80’s feeling in it. But it also matches this clip which is from 1959. One of that influences will be ‘The Streets of San Francisco’ with Michael Douglas from the 70’s and the theme composed by Patrick Williams. There are really nice brass sections implemented.

The last Influence is maybe just an addition but it has a really nice trumpet melody that is with me also for a very long time. It creates a battle flavour, heroic, a feeling of an oncoming enemy’s charge. Great for getting inspiration for making this task. Now it maybe seems not so great and mighty but this tune is a classic.

Bibliography:

Filmography:

Gladiator. (2000) [DVD] dir. R. Scott. USA: Scott Free Productions

Inception. (2010) [DVD] dir. C. Nolan. USA: Legendary Pictures, Syncopy Films

Mo’ Better Blues. (1990) [DVD] dir. S. Lee. USA: 40 Acres & A Mule Filmworks

The Streets of San Francisco. (2009) [DVD] dir. D. Donnely, T. J. Flicker. USA: Paramount Home Entertainment

Report:

My objective was to score a clip from The Psycho with string instruments. I wanted to highlight the appearance of the police car and the attention he gave to the car on the side of the road. I chose it because the situation is changing to a tenser one. Then I tried to create a tension and a “danger is coming” feeling by the approaching policeman. After I highlighted when the woman finally wakes up and gets up after seeing the policeman – her astonishment had to be highlighted. I also highlighted a moment when she panics and tries to escape and the whole conversation between the woman and the cop with one tremolo string note that brought the tension feeling into the picture. Apart from that I created kind of a tense conversation with string notes, like the music was representing the dialog. I didn’t adopt an approach of any particular composer but my work is influenced by Bernard Hermann’s pieces and music from the old movies. One audio-sequencer technique I used was recording live and adjusting in piano roll. One music technique I learned through doing this task was representing a speech with musical textures. This task is an example of practice as research because while researching different string compositions I was putting this knowledge in practice making my score. I would give myself an average mark for this task because I am just warming up. I feel the score matches the visuals, the old movies style, but maybe it is a bit simple (yet that was my aim).

Word count: 261

MDM Task 3 – Psycho Strings from Pablo187 on Vimeo.

Bibliography:

Film:
– Psycho. (1960) [Film] dir. A. Hitchcock. USA: Shamley Productions

Web:
– Humphreys, N. (1994) ‘A Discussion of the Musical Language of Bernard Herrmann as Evidenced by a Selection of his Film Scores for Alfred Hitchcock’,
Internet web page at: http://xanadu.bournemouth.ac.uk/dms/articlef/stud3.html
(accessed 18.02.11)

– Wrobel, B. (2008) ‘The Nature of Bernard Herrmann’s Music’, June 2008,
Internet web page at: http://www.bernardherrmann.org/articles/misc/nature001/
(accessed 19.02.11)

Report:

When creating my piano chase sequence my objective was to make a dynamic composition that would reflect the visuals in the clip. I wanted to highlight visuals with the music but also highlight parts with silence where I felt was necessary. At 10″, with a higher pitched melody, I highlighted a moment when batman almost crashed into people in the mall. I chose this one and some others because there was a significant change in the environment on the screen. I also highlighted when a different shots in a scene appeared or when batman was going through some obstacles. I did it to add even more dynamic to the picture and to highlight the movement and the action. Also by notes getting higher and higher I very clearly highlighted the climax in the clip when batman is flipping over the truck.
I decided to adopt an approach of Brad Fiedel’s Tanker Chase from Terminator 2. I tried to do something that would be similar – aggressive use of notes. 
One audio-sequencer technique I applied was the use of the step sequencer keyboard in Logic. One music technique I learned was using one instrument to score a piece with a feeling there’s more involved. This task is an example of practice as research because I studied Brad Fiedel’s piece to get a better structure for my piano score. I would give myself an average mark for my task because even if I feel that I have embedded the feeling of the chase scene in my score I don’t think it is the best one.

Word count: 261

MDM Task 2 – Piano Chase from Pablo187 on Vimeo.

Bibliography:
Filmography:
Terminator 2: Judgment Day. (1991) [DVD], dir. Cameron, USA: Carolco Pictures, Lightstorm Entertainment, Le Studio Canal+

The Dark Knight. (2008) [DVD], dir. C. Nolan. USA: Legendary Pictures, Syncopy Films

Music:
Fiedel, B. (2010) Tanker Chase, United Kingdom: Silva Screen, CD.

Here is a video I’ve seen a long time ago when I was looking into “The Dark Knight” movie subject. I was really amazed how nicely this movie was done. The music makes it but also of course the role of Heath Ledger as a Joker. I have seen this movie many times but mostly I watch the scenes with Joker. Genius! Don’t have enough of it.
When it comes to Hans Zimmer scoring this movie I remembered that he was talking about trying to describe Joker in one sound, define his character in “two notes that clash beautifully with each other”. He created that sound with a cello. And a mixture of guitars played with a piece of metal as I understood. It’s the sound of anarchy. I really like it. It starts slowly and quietly, gradually getting louder and higher in pitch, creating more and more tension. He made something with such an enormous effect from something so “simple”. He matched the persona of Heath Ledger’s Joker perfectly. Another genius!