Soundtrack Analysis (JOE CLANCY)

Terminator Salvation - Harvester Scene


I have chosen this particular scene from Terminator Salvation, primarily due to the various aspects of intertwining CGI editing (Computer-Generated Imagery) and sound incorporated using a Synthesizer Korg to form the sounds the Harvester makes to establish an environment of realism.

Music, Dialogue & SFX:
The music illustrated in this particular scene adds dramatic substance but also accentuates subtle suspense to keep the dialogue and music levels compatible and comfortable. The music in this scene from 0:50 - 1:20 conveys the tenuous input of the role the music plays, because it seems the Director had intended on using the music in this manner so that the soundtrack doesn't dominate the sound of the scene, so that the dialogue can be recognised without being overshadowed. After the big explosion, from 0:40 - 0:46, there is a brief aura of relief and safety because the sound levels have dropped due to the lack of action occurring in the scene, until the Harvester emerges from the flames with the soundtrack cueing in at 0-57 which could be seen as the climax of the scene, inevitably due to the dip and sudden rise of sound levels. The SFX such as the truck's engine, the Harvester's dialogue, heavy machinery and explosions also evoke an industrial type environment. Other SFX such as The Doppler Effect are incorporated when the truck is escaping and the bikes are chasing them, to add further realism to the chase scene and to coincide with the added dramatic music. The dialogue from 0:20 onwards aren't necessarily integral, primarily due to the visual intake we perceive as the action ensues. Initially, I thought that the timing of the music cueing in when the Harvester emerges from the flames was the perfect impression of the escalated action and suspense.

Listed Foley & SFX:

• Gunshot From a Mossberg Pump-Action Shotgun - 0:00
• Bullet-On-Metal Contact - 0:00
• Synthesizer Korg (Used To Create Harvester Sound) - 0:01
• Reloading of Mossberg Pump-Action Shotgun - 0:01
• Oil Leakage Splashing On The Ground - 0:04
• Truck's Engine and Gearbox Shifting - 0:07
• Tire Skid - 0:08
• Harvester Footsteps - 0:13
• Lighting of Flare - 0:18
• Igniting of Gas/Petrol Trail - 0:20
• Lorry Tipped Over - 0:23
• Harvester's Lock-On (Laser Sound) - 0:28
• Big Explosion (Echoed) - 0:29
• The Doppler Effect - 0:34
• Beam Fired by Harvester to Blow Up Car Ahead - 0:46
• Motorbike Revving and Gear-Shifting - 0:58
• Bullet Ricochet - 1:14
• Truck Crashing Car Out of the Way - 1:17
• Motorbike's Analysing System - 1:19

I, Robot - U.S.R Car Chase Scene


I have chosen this scene from the film 'I, Robot' predominantly due to the vast array of various different sounds that are present in this scene which collaborate to form an impression of a quiet mysterious scenario escalating into a full-throttle high-way car chase, which the soundtrack is accountable for.

Music, Dialogue & SFX:
In this particularly interesting scene from the film 'I, Robot', our first impressions coincide with the mysterious music being played from the beginning of scene. From my perspective, I think that the music being played in the background replicates the sound of a human heartbeat, which then gathers pace when the CEO of U.S.R (U.S. Robotics Corporation) begins to learn that Detective Spooner is accessing confidential files regarding the death of Dr. Alfred Lanning. Although prior to that, the Siri-like voice system in the Audi RSQ asks: "Would you like to listen to some music while you wait?", then immediately, the heartbeat-like background music recommences which would illustrate the use of non-diegetic sound. Another aspect of this scene I found intriguing were the SFX used to create the formidable sounds the U.S.R carrier vehicles exhibit when approaching Detective Spooner's car. When the first large futuristic vehicle approaches, it conveys an impression that something enormous is coming especially when watched with your eyes closed. When the second vehicle approaches, it seems as though the aerodynamically streamlined chassis of the vehicle is allowing it to pierce through the air, combined with the sounds of the motion of the wheels and the thrust of the engine. The dialogue from the robot which is first to attack and jumps on the bonnet seems as though it has had it's voice modified to sound futuristically advanced and robotic yet fit with human characteristics.

Listed Foley & SFX:

•  Audi RSQ (Concept) Engine Revving - 0:02
• Closing of Document - 0:02
• Wind at High Altitude - 0:23
• Voice Programming System Echoing - 0:28
• U.S.R Carrier Vehicles Approaching - 0:53
• U.S.R Carrier Vehicle's Engine - 0:57
• U.S.R Carrier Vehicle Cutting Through The Air Due To Aerodynamically Streamlined Chassis - 1:07
• The Doppler Effect - 1:08
• U.S.R Carrier Vehicle's Wheel Motion - 1:09
• Computerised Mechanical Motion Whilst Carrier Vehicles Turn 90 Degrees - 1:17
• Steering Wheel Initialising 'Manuel Override' - 1:28
• Mechanical Opening of Carrier Door - 1:35
• Metal-On-Metal Contact - 1:48
• Robot Landing on the Audi RSQ Bonnet - 1:48
• Shattering of Glass - 1:49
• Audi RSQ Wheel Skidding - 1:51
• Bullet From Gunshot Penetrating Robotic Skeleton - 1:53
• Ricochet From Gunshot - 1:54
• Screeches From Metal Experiencing High Speed Friction (Sparks Flying) - 1:56
• Mechanical Robotic Jump - 1:57
• Jolt of Electricity - 2:17
• Audi RSQ Boosted Acceleration - 2:36
• Exploded Tire Caused By Robot Trapped Onto Carrier's Wheels - 2:44
• Knocking Over Several Traffic Cones - 3:24
• U.S.R Carrier Vehicle Crashing Into Tunnel Wall - 3:25
• Huge Explosion Resulting in Destruction of U.S.R Carrier Vehicle - 3:26
• Roar From Engulfing Flames - 3:27
• Small Shards of Glass Falling - 3:34
• Whip-Like Sounds as Audi Tangles With Wires - 3:44
• Inflating of Airbags - 3:46
• Wrecked Audi RSQ Crashed Into Concrete Wall - 3:48
• Small Pieces of Concrete Falling onto the Ground - 3:49

Freelance Poster (LUCY REESE)

Working Patterns (LUCY REESE)

Working Pattern	What Does This Mean?	Who Works Like This?	Pros	Cons
Shifts	Assigned work hours.	Actors, Camera Operator.	Specific times are set therefore you have a lot of free time.	Shift work involves working when most needed such as working for 2-4 hours, therefore there isn't time for any mistakes which is why experience is vital.
Fixed Term	Employees are under a contract of employment that will terminate when expired or a set task is completed.	Sound and Video Editor, Researcher.	You've got no specific time requirements when the work needs to be finished. You just need to finish the work. You can also work on other projects during that time.	Being under contract to finish a set task leavs no room for error, and leaving the task to the last minute can reek havoc and create unnecessary stress.
Office Hours	Popular 9am-5pm work hour shifts.	Secretary, Marketing Manager, Administrator.	All the work is done in offices and where socialising is a possibility with fellow employees.	Can be a stressful without having good management skills in order to get the work done in limited time.
Freelance	Freelance workers are independent workers; they work for themselves.	Scriptwriter, Assistants.	Freelance workers can work on multiple projects, with more time to complete them. They are not strained to a particular time	No health coverage unless you are assigned to a specific company. Freelance workers do not get a frequent income like full time workers do.
Hourly Rates	An hourly employee is paid an hourly wage for each hour they have worked.	Technician, Catering, Crew On Set.	The payment is based around the quantity of hours put in rather than the quality of the work, but that doesn't mean the standards should drop.	Lower pay, strict lunch/break times, no bonuses, attendance and punctuality are VITAL - being one minute late can cost you 15 minutes of payment.
Piece Work	Paid for each piece of work that is created.	Costume Designer, Prop Maker.	Pay is determined on the type of piece you are making and the effort which may be required to make it work. Their hours are functioned in any way they desire to achieve maximum satisfaction for the worker - meaning no deadlines (which limits stress levels) and freedom of choice.

Audience Consumption

Within the Film Industry, the primary objective is to amass vast profits, which is why directors try to attract the interest of people from across the planet who are fond of a specific genre. The objective is to amass more money than money spent on pre-production, production and post-production, which exemplifies the saying: "you've got to spend money to make money."

Why Do People Watch Films?
The majority of film-lovers tend to use films from genre's such as sci-fi and action, to escape the harsh reality in which they live in; a new experience. Some people like to think of them as 'real dreams'. 5 minutes after waking up from a dream that you were fond of, 80% of it was already forgotten. From my perspective, I think that directors like to envisage their target audience walking out of the cinema and realising how dull their life was in contrasting comparison to the film they've watched; an experience they won't forget, unlike the dream.

The vast majority of films which are released are initially subject to a 'test screening' in which they preview the film before the views and opinions of the audience are taken on-board, and to improve the quality of the film they are intending on publishing to millions around the world. This is an indication of the director connecting with the audience in order to give the target audience what they want and what they want to see for their money. They're usually given questionnaire's in order to provide feedback and to improve the content of the film in every way possible. In brief, the audience are paying for what they want to see to make themselves happy and all the people associated with the film, who reek the financial rewards.

Where Do People Watch Film?
The majority of film-lovers tend to go to the local cinemas and movie theatres which are mainly situated in local shopping centres to attract mass crowds, but now in the 21st Century, technological advances have seduced the audience to utilise and take advantage of the technological age, with smart phones and androids on the market. Film-lovers have a variety of different methods and applications of which to enjoy movies on. A prime example of this would be to utilise the video-sharing website 'YouTube' who charge to view films whilst simultaneously being able to view it on an iPhone, iPad, Samsung Galaxy's or any other smart phone or Android. Another media platform which can be engaged with are gaming consoles such as the PlayStation 3 and the Xbox 360 which implement applications such as the renowned Netflix and Love Film services. The audience can also view films on television with channels such as Film4 - Channels such as Sky Movies, ITV1, ITV2, BBC Three, VIVA, and E4 also display films. There is also the option to purchase cheaper, bad quality versions of DVD's from people on the street who sell films which are subjected to the violation of piracy laws.

Individual Presentation - Single Camera Production

Vox Pops - Football (Joe Clancy)

Treatment - Short Film 'Money'

The main message is that regardless of what religious background, money and influence can affect you in many ways. The main character used to be religious until she became influenced by money and the people she revolved around. The plot involves her relationship with a recent boyfriend she has been dating but her main objective in the relationship is to get drugs from him. During one of her meet-ups with her boyfriend she gets an anonymous phone call from someone, who offers her money in return if she sets her boyfriend up. She sets him up for the money which was offered, and the twist takes place making her realise the dangers of her actions.
Themes:
- Inner conflict 
- Religion 
- Betrayal 
- Social Influence
- Rebellion
- Regret 
Samia:
Age: 18
Ethnicity: Lebanon  Samia is an average teenage girl residing in London, growing up in a strict and religious household (Muslim Sunni.) She doesn't have the best of friends, which probably explains why she spends her time around the wrong type of people. She is good at lying and sneaking around on a low profile, to disguise her secret acts against what her religion believes. Her weaknesses are that she is gullible, and she is easily brainwashed into doing things which she shouldn't-as well as the fact that she is an attitude problem. She has black hair, dark brown eyes and she is about 5ft5. She is quite a heavy smoker, which she keeps quiet to her family about but not to her friends.
Scene 1:
Location -  Religious household {College Studio}
Opening Sequence: Rummaging through her mother’s handbag, takes the money and puts a pack of cigarettes into her bag. --cuts to her walking out-- She walks out of the building to a corner and starts to take off her head-scarf first to change into her casual secret cloths she usually wears outside to see her friends. 
Scene 2:
Location - On a bench in the park {W2 St Mary's Pathway}
She talks to her boyfriend on the phone, arrogantly and angry about him being late, her responds to her argent talking and complaining then she cuts off. Facial expression and tone changes [Phone call from an anonymous person] talking low, whispering to the anonymous caller. --fade out--
Scene 3:
Location - Across the road from a car-park{Paddington Green Car Park}
She sees her boyfriend, and starts talking while approaching  A gloomy guy shouts "Yo, fam!" which is slang used in London. The boyfriend walks across the road, and the two walk together into a car park. Samia hears shouting, and realises what has happened in shock {slow motion close -up+breathing heavily+building pitch sfx} --quick black out--  
Scene 4:
Location: Underpass {Paddington Green Underpass}
Samia is mentally secluded in her thoughts, creating an emotional cocoon, even though she was not emotionally involved with her boyfriend, she still gained a feeling of pain and loss. She walks rushes into the underpass and slides to a crouched position against the wall from all the mental devastation of what she done. She receives a phone call from the anonymous caller and responds, "where should I collect my money?"

The audience is aimed at young teenagers and adults, and people of urban background in London. This short film shows that money is something which everybody wants, even if it comes at a dark cost. It engages audiences that have experienced the use or selling of drugs, and can also open the viewpoints of people who have not. The target audience furthermore stretches more widely towards Muslims  due to the main character Samia. Some Muslim youngsters may relate to her as she distances herself from her family's religious roots, and some may feel that her actions are against what a humane person should be. Since it a social drama it might be taken about more heavily upon younger audiences but this is not to say that it could not effect adults in the same way. As social drama is a genre which contains the less considered aspects of society, it is a genre which has a more shocking value towards its audiences. The shocking value which the genre has makes the short film more interesting, and therefore expands the age group of the target audience.

Script - Short Film 'Money'

  TITLE OF FILM - 'MONEY'

          SCENE 1: Going Out

          LOCATION - {PREPARES HERSELF - IN A RELIGIOUS HOUSE}

          Girl: *Rummaging through her mothers handbag and takes the money and checks her cigarettes*

          --Wide Shot of Girl--

          --Shot close up of what she’s putting in--

          --Medium shot of the door--

        Girl: *Tries to rush out of the door*

                    

Dad/Mum/Brother: Do you want me to

                    drop you off to college?

                    

Girl: *comes back and leans over

                    the door frame* Nononono I’m fine!

                    (in frustration)

                    

Dad/Mum/Bother: Oh, okay, good luck...

          Girl: *Leaves without replying or before she’s finished*

(Cut away shot)

Girl: *Walks out of the estate, moves to a corner 

and starts to change by taking off her headscarf*

*Leaves to go college she changes into her real casual outfit - taking off her headscarf first*
 

(Pan right from girl to corner to stalker cam then pan from corner to completely out of site)

          {TRANSITION: MASKED PAN TRANSITION TO GIRL IN THE PARK}

                   

          SCENE 2: The Girl on her phone calls her Boyfriend

          LOCATION - ON A PARK ON BENCH, W2 ST MARY'S PATHWAY

          --Establishing shot from the rails--

  

          --Shot: over the shoulder pan left to right--

                    

Girl: where are you? (arrogantly)

                    

Boy: I'm on my way don't worry

                    babe. (acting calm)

          --Medium close up from the front--

  

Girl: this is taking the piss!

                   

 Boy: Don't worry don't worry

                    (sharply) I'll be there in 5

                    minutes.

          --Right Side close up--

Girl:  Why is it taking so much

                    time, I swear you live down the

                    road?

                    

Boy: Yeah , but I had to deal

                    something, innit (trying to smooth

                    it out)

                    

Girl: [Talks into the phone] You

                    always do this!

                    

Boy: okay, chill I’ll be there in

                    a bit.

                    Girl: just hurry up and get the

                    stuff.

          --Close Up Shot--

Girl: [Cuts off the phone with the Boyfriend]

          --Medium Shot Right Side--

Girl: [Facial expression changes and tone]

 [Gets called from an anonymous person]

          --Close up of phone--

          --Medium right side--

          Girl: *Answers the Phone*

          Anonymous Person: [talking low, almost whispering to the anonymous caller]

                                         --TRANSITION: FADE OUT--

          SCENE 3 - The Meet Up
          LOCATION: {STREET ACROSS FROM THE PADDINGTION

          GREEN CAR PARK}

          Girl and Boy: [walking towards each other]

          --Following over the shoulder--

                    Girl: Well you finally made it, to

                    see your Girlfriend

                    (Sarcastically).. So you got the

                    stuff yet? [both stop facing each

                    other]

          --Medium Shot --

                    Boy: Nah, not yet [Looks around]

          --Close up--

                    Girl: One of these days I swear!

                    You told me you already got some!

          --Medium Shot--

                    Boy: yeah yeah, the man should be

                    here soon innit. I told you don't

                    worry about it(continues to look

                    around

          --(Boy Over the shoulder) to (slow right rotation ) --

                   

 Girl: Better be here soon (Arrogantly)

 Hooded figure: [Walks into frame] Yo fam!

          --Pan comes to a halt  to hooded figure calls his name to and start

          to talk then go to the corner--

          Hooded figure: [Walks into frame] Yo fam!

          Boy and Girl: [They both look at him]

                    Boy: See I told you he would be

                    here soon.(Enthusiastically)

          --Medium wide of the two from the front--

                    

Girl: Oh Finally!

          --Close up fast panning on each line--

                    Boy: Mind lending me £5 (casually)

                    

                    Girl: Are you being

                    serious....*stands with a posture*

                    

                    Boy: [the boy remains Silence and

                    just looks at her in an uncaring

                    way]

                    

                    Girl: One of these days! *Hands

                    him the money*

          --Wide Shot from across the street--

                    Boy: *Walks across the Road*

          --Follow wide shot of the boy and hooded figure walking into

          the car park, Shot of girl following them from across the

          street--

          [she sees him run up to the hooded figure, talks then walk

          behind the bend of the car park]

          -

                              GIRL: [SHE COMES TO A STOPS ]

          --Medium close up--

          --Shot of Car Park panel--

          [the hearing of some commotion and loud voices]

     
         {SFX/Recorded yells and commotion rising - Till one big

          yelp}

          -- Medium Shot of girl standing with confused face --

          [now dead silence, she realised that he

          had been killed and all that is left is a horrifying pitch]

      
          {Audio Edit of pich repeating}

       
           --Wide shot of car park opening--

          Girl: [Sees the figure walk out of the car park shoving something

          within his pocket and walking away]

          --Extreme Close up with slight tilted--

          Girl: [She Realised what’s just happened, and in the shock she

          remind frozen]

          {Effects: slow motion extreme close up + pitch

          sound comes to a peak and cuts}

                               --TRANSITION: QUICK CUT TO BLACK--

 

          SCENE 4 -

          Location - The Paddington Green underpass

          --Wide shot of her running towards inside the tunnel--

                              Girl:[She is now mentally alone, brain struck

                              because of the realisation of what she had done, killing her boyfriend]

          Girl: [She bursts out of the corner and slides to the ground in

          shock to curl up emotionally]

          --Medium close up of her crouched--

          Girl: [Running into the underpass out of breath, slightly

          emotional still in shock and rests on a wall. she gets a

          phone call.]

          Girl: [She calms down and answers the phone]

          --Extreme close up of face--

                      Girl: "where do I collect my

                    money?"

                                     TRANSITION: INSTANT TO BLACK

          --CREDITS ROLE THE TITLE OF 'MONEY'--