Today we had a look at sound. When watching our sequence we decided that we needed something before the end part to ramp up the tension, so we had a look at the sound effects and decided to find something that matched what we wanted to produce.
We found a low pitched continuous sound that we put over the top once the tv show went the colour green over the top.
We needed to turn this sound effect right down though because we couldn’t hear the audio. We made sure the sound effects stopped as the tv turned to static so we could built up that tension successfully and then add a sense of suspense with just the static.
We then finally came up with a name for our film sequence. We have called it “The unwanted”.
Today we had a look at sound. When watching our sequence we decided that we needed something before the end part to ramp up the tension, so we had a look at the sound effects and decided to find something that matched what we wanted to produce.
We found a low pitched continuous sound that we put over the top once the tv show went the colour green over the top.
We needed to turn this sound effect right down though because we couldn’t hear the audio. We made sure the sound effects stopped as the tv turned to static so we could built up that tension successfully and then add a sense of suspense with just the static.
We then finally came up with a name for our film sequence. We have called it “The unwanted”.
We started adding titles to the film sequence and we realised that the titles were too long, as we shouldn’t be able to say them and read them more than 3 times, so we cut them down. We put the titles in place during the shots of Hugo watching the tv rather than the tv show.
We then had to come up with fake names for the actors and the production team, which we used a random name generator for which actually worked quite well, and then we had to find a good font to use that would match the sequence for the genre of our film, which would be horror/thriller.
We started adding titles to the film sequence and we realised that the titles were too long, as we shouldn’t be able to say them and read them more than 3 times, so we cut them down. We put the titles in place during the shots of Hugo watching the tv rather than the tv show.
We then had to come up with fake names for the actors and the production team, which we used a random name generator for which actually worked quite well, and then we had to find a good font to use that would match the sequence for the genre of our film, which would be horror/thriller.
She was originally at the New York high school of music and art but dropped out in order to pursue a professional career in singing. from the ages of fourteen to eighteen she was releasing records as the leading singer.
She then went to work in the fashion industry, after singing with her sisters, at the age of eighteen. She found a job in the department of Capitol Records. It was there that she heard about Saul Bass hiring an assistant. She got the job and worked there from 1955 to 1959, and it was then that she co-designed the sequence to the movie Spartacus in 1960 uncredited.
Elaine and Saul then got married the following year., where they then created film title sequences together for the next forty years.
The couple were not only asked to design big film sequences, but also short films for various companies and certain events, some of which even being Oscar nominated, such as "Notes on the popular arts" and "The solar film".
Saul Bass - Biography
Born in 1920
An American graphic designer and Oscar winning film maker
He has worked with many big film directors and designers, such as Hitchcock and Stanley Kubrick, and has designed some massive film opening sequences, such as "Psycho".
He studied part time in the art students league. In the early 1940s he started designing for advertisements for films, most of which designed by Otto Preminger. He then designed the film poster for Carmen Jones, and was then asked to design the opening sequence as well.
He became widely known, however, after designing the opening sequence to Preminger's "The man with the golden arm", and all the work after that is what made Bass a graphic designer. Once him and Elaine got married and had children, they decided to focus on their family, designing title sequences and directing, this was from the 1960s to the 1980s. In the 1980s they were rediscovered however by James L. Brooks and Martin Scorsese, and they created the sequences for Goodfellas and other notable works. Bass' work has then inspired many other famous works, and is used in later films, such as "Catch me if you can" and "X-men: first class".
List of films he has designed (chronological order):
- Carmen Jones (1954)
- The Big knife (1955)
- The man with the golden arm (1955)
- The racers (1955)
- The seven year itch (1955)
- The shrike (1955)
- Around the world in eighty days (1956)
- Storm centre (1956)
- Attack (1956)
- Johnny Concho (1956)
- Edge of the city (1957)
- Saint Joan (1957)
- The pride and the passion (1957)
- The young stranger (1957)
- Bonjour Tristesse (1958)
- Cowboy (1958)
- Vertigo (1958)
- The big country (1958)
- Anatomy of a murder (1959)
- North by Northwest (1959)
- Psycho (1960)
- The facts of life (1960)
- Exodus (1960)
- Ocean's 11 (1960)
- Something wild (1961)
- Advice and Consent (1962)
- Its a mad, mad, mad, mad world (1963)
- The cardinal (1963)
- In Harm's way (1965)
- Bunny lake is missing (1965)
- Not with my wife, you don't! (1966)
- Such good friends (1971)
- That's entertainment part II (1976)
- Tonkō (1988)
- A personal journey with Martin Scorsese through American movies (1995)
List of film credits they have designed together (chronological order):
West side story. This is mainly because it is a musical and I love musical theatre, but also because it depicts the time this film was made and set in and the theme of conflict of the film extremely well. The sequence has the prologue playing through the opening credits, with an abstract image of grey lines, and the background changing colour, starting at the colours red and orange, and goes through the colour wheel until it lands on dark blue, where the title "West side story" comes up underneath the abstract picture. The image then fades into the picture of the buildings of New York City, of which we are then taken over the city with an aerial view, which apparently Saul was responsible for, and then slowly cuts into the streets of New York and the characters known as "the Jets" are sitting in a basketball court. The prologue is playing the whole time in the background while this sequence is happening.
She was originally at the New York high school of music and art but dropped out in order to pursue a professional career in singing. from the ages of fourteen to eighteen she was releasing records as the leading singer.
She then went to work in the fashion industry, after singing with her sisters, at the age of eighteen. She found a job in the department of Capitol Records. It was there that she heard about Saul Bass hiring an assistant. She got the job and worked there from 1955 to 1959, and it was then that she co-designed the sequence to the movie Spartacus in 1960 uncredited.
Elaine and Saul then got married the following year., where they then created film title sequences together for the next forty years.
The couple were not only asked to design big film sequences, but also short films for various companies and certain events, some of which even being Oscar nominated, such as "Notes on the popular arts" and "The solar film".
Saul Bass - Biography
Born in 1920
An American graphic designer and Oscar winning film maker
He has worked with many big film directors and designers, such as Hitchcock and Stanley Kubrick, and has designed some massive film opening sequences, such as "Psycho".
He studied part time in the art students league. In the early 1940s he started designing for advertisements for films, most of which designed by Otto Preminger. He then designed the film poster for Carmen Jones, and was then asked to design the opening sequence as well.
He became widely known, however, after designing the opening sequence to Preminger's "The man with the golden arm", and all the work after that is what made Bass a graphic designer. Once him and Elaine got married and had children, they decided to focus on their family, designing title sequences and directing, this was from the 1960s to the 1980s. In the 1980s they were rediscovered however by James L. Brooks and Martin Scorsese, and they created the sequences for Goodfellas and other notable works. Bass' work has then inspired many other famous works, and is used in later films, such as "Catch me if you can" and "X-men: first class".
List of films he has designed (chronological order):
- Carmen Jones (1954)
- The Big knife (1955)
- The man with the golden arm (1955)
- The racers (1955)
- The seven year itch (1955)
- The shrike (1955)
- Around the world in eighty days (1956)
- Storm centre (1956)
- Attack (1956)
- Johnny Concho (1956)
- Edge of the city (1957)
- Saint Joan (1957)
- The pride and the passion (1957)
- The young stranger (1957)
- Bonjour Tristesse (1958)
- Cowboy (1958)
- Vertigo (1958)
- The big country (1958)
- Anatomy of a murder (1959)
- North by Northwest (1959)
- Psycho (1960)
- The facts of life (1960)
- Exodus (1960)
- Ocean's 11 (1960)
- Something wild (1961)
- Advice and Consent (1962)
- Its a mad, mad, mad, mad world (1963)
- The cardinal (1963)
- In Harm's way (1965)
- Bunny lake is missing (1965)
- Not with my wife, you don't! (1966)
- Such good friends (1971)
- That's entertainment part II (1976)
- Tonkō (1988)
- A personal journey with Martin Scorsese through American movies (1995)
List of film credits they have designed together (chronological order):
West side story. This is mainly because it is a musical and I love musical theatre, but also because it depicts the time this film was made and set in and the theme of conflict of the film extremely well. The sequence has the prologue playing through the opening credits, with an abstract image of grey lines, and the background changing colour, starting at the colours red and orange, and goes through the colour wheel until it lands on dark blue, where the title "West side story" comes up underneath the abstract picture. The image then fades into the picture of the buildings of New York City, of which we are then taken over the city with an aerial view, which apparently Saul was responsible for, and then slowly cuts into the streets of New York and the characters known as "the Jets" are sitting in a basketball court. The prologue is playing the whole time in the background while this sequence is happening.
We cleaned up all the videos and added a few close ups to make the video look more tidy, but we didn’t need to do much as we were quite happy with how we left things after last editing session.
We then unlinked all the audio from most of the cuts and got rid of it so we could only hear cut one for the most part.
We then edited this one part in the static audio at the end of the sequence as there was the sound of someone’s voice, so we cut it and carried on the static sound so we only hear that
We then changed the exposure of the shots of Hugo when watching the tv so we could see the image better and so it looked more realistic as it matched the colour of the tv show. As well as this we changed the shade of green so it was brighter and looked more amateur as that was our aim for the tv show to look.
We then changed the volume of the individual clips that needed the audio so we could hear Hugo speaking over cut 1 of the TV show and over the sound of the static on the tv, and faded the sound of the static of the end.
We cleaned up all the videos and added a few close ups to make the video look more tidy, but we didn’t need to do much as we were quite happy with how we left things after last editing session.
We then unlinked all the audio from most of the cuts and got rid of it so we could only hear cut one for the most part.
We then edited this one part in the static audio at the end of the sequence as there was the sound of someone’s voice, so we cut it and carried on the static sound so we only hear that
We then changed the exposure of the shots of Hugo when watching the tv so we could see the image better and so it looked more realistic as it matched the colour of the tv show. As well as this we changed the shade of green so it was brighter and looked more amateur as that was our aim for the tv show to look.
We then changed the volume of the individual clips that needed the audio so we could hear Hugo speaking over cut 1 of the TV show and over the sound of the static on the tv, and faded the sound of the static of the end.
The first filming footage has already been edited, so now it cannot be changed, so we put that first cut in the second cut bin and put the videos of Hugo in places around the footage and keep the original sound from the TV show in.
We started by editing the footage we took on the second shoot day by putting it around the original footage. we had reaction shots, over the shoulder shots and shots from behind the TV to get a cooler reaction shot angle and so the lighting looked good on his face.
Whenever you have something in sync put it in its own channel, the idea of 1 shot 2 shot then back to the TV show.
The first filming footage has already been edited, so now it cannot be changed, so we put that first cut in the second cut bin and put the videos of Hugo in places around the footage and keep the original sound from the TV show in.
We started by editing the footage we took on the second shoot day by putting it around the original footage. we had reaction shots, over the shoulder shots and shots from behind the TV to get a cooler reaction shot angle and so the lighting looked good on his face.
Whenever you have something in sync put it in its own channel, the idea of 1 shot 2 shot then back to the TV show.
