Norman: In the last movie, we figured out where the lean forward moment is in the scene from Castles. We saw that it was the moment when Joseph felt the full weight of disappointing his father, the architecture firm and himself. It came right after Mr. Dalton's lines, this design better not resemble the last few of your strip mall inspired projects. Get out of your safety zone, Joseph. In this movie, we're going to talk about spotting the music into the scene. We're also going to talk about the style, and the tone of the music.
Those adjectives that help define the character. If you have a composer, you're going to sit down with him or her, and run the entire film through in what we call a spotting session. This is an opportunity to talk about style and tone with the composer. But, as the name implies, you're also going to be talking about the spots where the music is going to start and stop, the spotting of the music. So let's put some music in to this scene. I'd like to figure out an approximate in point for the music, before trying out any music queues, so, you might want to do it in reverse.
It's up to you. As I said in a previous movie, music is probably the most important and powerful way to change an audiences emotions. As a result, we'll usually start or change music at lean forward moments. So according to our analysis of the scene, the big lean forward moment here, is when Joseph hears his father's line. But which line is it? Does it come after he hears his father say strip mall? Does it happen after he says safety zone? Or does it happen when Joseph has his visible reaction to both of these lines, around here.
Let's pick one, and try it out. Spotting music is an art, not a science. And it's a combination of acting performance, and the tone of the queue that's going to give you what you want. So let's try a few places, and see how each one works. Well, lets try spotting it, after we hear Mr.Dolton's words Strip mall, that is where the editor to choose to cut from Dolton to Joesph, so he or she obviously felt it was an important line of dialog, it's right about here. Mr.Dolton: This design better not resemble the last few of your strip mall inspired creations.
Get out of the safety zone, Joseph. Do your job. Norman: Look at how Joseph is thinking. It's in the performance. It's what the actor put into his interpretation of the scene. It's what the director thought was important enough to keep in the edit. So this is probably a good place to start the music. Let's put a marker right here. And considering that this emotion goes from here into the next scene. Let's keep the music going past the end of this scene, and into the next one, when Patton arrives to badger Joseph. And let's put a marker there as well.
This one show's Joseph's frustration. So this is how you'll set the boundaries for every music cue that you cut into your movie. Establish an in and an out point in your spotting session, and then put markers in those places. You should also put markers for any changes that are happening inside the boundaries of the cue. In other words, lean forward moments that happen, in the middle of musical cues. For instance, we might want to accent the moment when the montage begins, and we start to see Joseph try and succeed.
And maybe we put another one, when we see him in the wide shot, having suffered another failure. These are all important emotional beats in the film, and ones that we want to accent in the score. So, now that we've determined where music will probably start and stop. And figured out what areas of the scene we'd like to accent. Now it's time to start laying down some temp music, and see what works.
Start with an overview of concepts like the rule of threes, review a sampling of footage from films past and present, and then dive into script analysis. Find out when and when not to make cuts, how to collaborate with clients and directors during recutting, and how to ground the emotional backdrop for your piece with music and sound. Norman closes with a look at adapting to different genres and filmic styles.
- Exploring the history of video editing
- Controlling what the audience sees
- Identifying the logline
- Performing script and scene analysis
- Coming up with an editing plan
- Cutting from on-camera to off-camera action
- Understanding the value of recutting
- Shaping moments with music
- Working in a specific genre
- Mixing editing styles together