To Do list, 4-7 June, 2016

Drawing
3 drawings of architectural spaces and people on A2 for Tuesday
print photos of stairs and take paper home

Audio
finish listening to ADR recordings and clean out junk

film history
read all research and take notes for Tim Burton and German Expressionism 1000 word paper

Project
export version to vimeo
confer with Deb Wattes on next steps
take pictures of works in gallery
update blog with evaluation questions and answers

BSA225 and 226
make blend shapes and re-rig character
weight character
up ambient lighting in cantina for safety
finish Pet
begin animating scenes

BSA202, audio, Matrix ADR and foley, 1-8 June, 2016

Glenn will make a library of foley sounds while I sort through the ADR recordings we made at SIT sound Friday night.  I will assign each file to it's line name- first initial of speaker plus number of line of dialogue ex. N1, N16 etc. for Neo.

mixing levels
0 is too loud and distorted
floor noise around -36, dialogues around -24, loud noises -12
watch clip to note where noise levels are
Neo
-36 listening to music
foley peaked at -27, putting down headphones
boom jumps to -21
whispering is -42
knock knock up to -9
who's is it shoult-24
door slame-15
room tone, floor noise around-54  never silent
club noise up to -15, -12 drops down to -24 before they start talking
conversation with trinity betwen -21 and -18
Audio track, assigned line name and number, dialogue
Reuben as Neo
track 1- N1-N7
track 2 delete
3- delete
4- delete
5 delete
6 N1-23 incomplete
7-delete
2-01 exhaling
3.44_15 N18: How do you know that name?
3.44_16 N20 pt 1 Trinity.  The Trinity?
3.44_17 N20-21 That cracked the IRS d-base? Jesus.
3.44_18 N22-23 I just thought um... you were a guy.
3.01  N1 What?
3.02 delete
3.03 delete
3.04 delete
3.05 N2-3a What the hell?  Follow the White Rabbit?
3.06 N2-3b What the hell?  Follow the white Rabbit?
3.07 N4-5 exhales.  who is it?
3.08 N7-9 You're two hours late.  You got the money?  hold on.
3.09 delete
3.10 N11-12a right. my computer ("it" is inaudible)
3.11 N11-12b  right.  my computer it..
3.12 N14 You ever have that feeling where you're not sure if you're awake or still dreaming?
3.13 N15-17 No, I can't, I have uh.. work tomorrow.  exhales yeah, sure, I'll go.
3.14 N18-23 Who are you? Trinity. The trinity?  that cracked the IRS d-base? Jesus.  I just thought, um... you were a guy.

Brad as Choi
DuJou-Glenn.61_08   C9a  Something wrong, man?  You know, you look a little whiter than usual.

 DuJou_Glenn.66.09_01   C9b  Something wrong, man?  You know, you look a little whiter than usual.
DuJour_Glenn72_10 C9c you know, you look a little whiter than usual
DuJour_Glenn72_11 C10 mmm, all the time.  It's called mescaline.  It's the only way to fly.
DuJour_Glenn88_12 deleted
DuJour_Glenn88_13 C11a Hey, now this just sounds to me like, you know, you need to unplug, man.
DuJour_Glenn88_14  deleted
DuJour_Glenn88_15 C11b Hey, now this just sounds to me like, you know, you need to unplug, man.
DuJour_Glenn88_16 C12a You know, get some R and R.
DuJour_Glenn88_17 C12b You know, get some R and R.
DuJour_Glenn111_18  C12  what do you think, DuJour? Should we take him with us?
DuJou_Glenn_01  C1  It's Choi.
DuJou_Glenn_02 C2-4    I know.  It's her fault.  sigh.  Two grand.

DuJou_Glenn_03  C5 Hallelujah.  You're my savior, man.
DuJou_Glenn_04  C6-7a  exhales.  My own personal Jesus Christ
DuJou_Glenn_05  C6-7b   exhales.  My own personal Jesus Christ
DuJou_Glenn_06  C8a  Yeah, I know, this never happened.
DuJou_Glenn_07   C8b  Yeah, I know, this never happened.  You don't exist.
Lady.03_02    DJ2a  Definitely.  Come on.  It'll be fun.  I promise...
Lady.10_03  DJ2b  Definitely.  Come on.  It'll be fun.  I promise...
Lady_01    DJ1-2c  lip smacking
Traci_Trinity.29_08    T4-5a That was a long time ago.  What?
Traci_Trinity.29_09  T6a  Most guys do.
Traci_Trinity.29_10  T6b  Most guys do.
Traci_Trinity_01   T1  Hello, Neo.
Traci_Trinity_02  T1b Hello, Neo.
Traci_Trinity_03   T2a   I know a lot about you.
Traci_Trinity_04   T2b   I know a lot about you.
Traci_Trinity_05   T3a  My name is Trinity.
Traci_Trinity_06   T3b  My name is Trinity.
Traci_Trinity_07  T4-5b  That was a long time ago.  What?

How to set up a bus?  in Pro Tools for reverb in the scene
characters are all inside.  we recorded ADR in "dead space" so we need reverb to bring voices into the space.  just need a little bit so you don't notice it's there.  too much sounds like inside a tin can. The bus keeps the processing power down, so you don't put it on every track,  and you can control where the reverb goes.

new track, stereo, aux track
make sure inserts a-e and sends a-e have been selected next to track.
right click under insert multi-channel plug in reverb,  d verb
no input bust 1-2
under sends, choose voice track you want to go to the bus.  slider will come up so you can control how much reverb goes on each track



How to hand in:
create a folder with both names on it.
in Y drive, there will be clear instructions on how to label everything so it can found by Vaughn during the marking period
sound sheet:  make list of all things we did not record ourselves: foley and music sources, so there is no plagiarism.
 turn in a .mov with tracks attached to it.
all midi info should be gone from file for final hand in
solo everything for bounce out or mute all things you don't want included, like original movie and track
save as main line out/stereo, WAV and format interleaved, name it final mix
once bounced out,  bring it into mix again and solo it.  make sur eit runs full length of movie an dnot just a bit.
solo it and movie and bounce out to quick time?  save with our names on it.
listen to the whole mix to make sure something weird wasn't introduced.

BSA202, audio, recording ambient noises, 18 May, 2016

need recordings for
crowd noise    x
computer room hum
air conditioner room hum x
quiet hallway  x


make list of things to take to SIT sound

finish dialogue timings list

To do list 13-16 May, 2016

BS
Audrey Niffenegger artist model annotation and interlibrary loan order
continue to animate storyboard
meet Deb Wattes 10 am Saturday 14th
set up corrected entries for printing on test and nice paper

BSA202
dialogue and timings of Matrix clip

BSA225 3D animation
3? new alien patrons and bartender
finish populating cantina
add more Klimt texturing

BSA226 3D character
finish blend shapes: side hair, blinking, bangles, cape, alien patrons
connect/skin? skeleton to body

BSA20 film history
pick a film/research thread for German Expressionist paper

Drawing
3 A2 architectural/people drawings

BSA202, free music source for club scene, 12 May, 2016

http://freemusicarchive.org/music/PC-ONE/Division/

BSA202, audio, re-mixing the audio for Guardians of the Galaxy, 6 April, 2016

I get to be Gamora!  But then I have to listen to myself deliver the lines over and over again...

choose "playlist" instead of "waveform" to see all of the recorded audio options for that character.
hit S (solo) highlight section you want and then use arrow key to move it up so you can listen to it with another part.  fade in and fade out and then cross fade over join areas.

To Do List Easter weekend 24-30 March

BSA202 Audio
Hot Fuzz presentation due Wednesday 30 March
7 minutes long including film clips
worth 30% of the grade

BSA225 3D Animatic
due Wednesday 30 March
timing, basic environment, camera work

BSA226 3D Character
finish rounding off character basemesh and connecting fingers to the hand

BSA Professional Practices, Project
work out graphic novel story and identify key pieces to connect it all together
write first draft of animation
finish Boxed Up

BSA? drawing
3 drawings on A2 paper that use mirrors, 3 objects, tonal shifts, composition

BSA202, Audio, 23 March, 2016

1st presentation due next week 30 March!!!!

BSA202, audio, Robocop sound fx, 16 March, 2016

make master fader by going to track new and master fader.  this allows you to turn down all tracks at one time, rather than having ot do each one individually.

BSA202, audio, foley, 9 March 2016

foley doc- using props and mouth
in class assignment: add foley to a clip from Robocop

BSA202, format for presentation, 3 March 2016

Power Point presentation on Hot Fuzz music.
Introduction
influence of music on story

(everything should be backed up, like an essay would be, but powerpoint slides can have a bibliography to back it up)

show a clip to back up what has been said

changing themes? with example
show another movie that has done a similar thing with it's music and show clip

does music overwhelm the story? make argument for or against with film clip

Affect of music on characters with clip of character theme music
can use similar examples from other movies to back themes up (Hot Fuzz: look for cop, buddy or horror films and how they use music)
can talk about how music is used with each character

Can musical score stand on it's own?  look at critical reception, album sales of score and soundtrack, has composer won awards?

What the composer says about the score/soundtrack

Could another style of music be used and still work? back up with examples from another film


Use Scorcese's Mean Streets as a similar example?  Or David Arnold's other work for Casino Royale?

Conclusion- summarize what was said

APA references at the end

No sound effects

BSA202, Research for Hot Fuzz, 19/2- 20/3/16

PRESENTATION ASSESSMENT:
Presentation will be assessed on the quality and level of discourse on:
How the music influences the story
Whether or not the music overwhelms the story
How the music affects the characters.
Whether or not the underscore can stand on its own.
Whether or not a different style of music may have been used and why it would or would not work.
Please note:  The number of references you use will affect your mark.  (At least two references must come from books.) How well you cover the assessment topics will affect your mark.  Use of examples and supportive evidence from within the film and from other films will improve your mark.  Worth:  30% of total BDM202 Paper.
7 minute presentation with film clips to support argument.

Notes taken while watching Hot Fuzz

sounds: police whistles and sirens over Universal tag.  according to audio commentary, these 27 are all historical police sounds

intro'd to Angel with instrumental of Adam Ant's "Goody Two Shoes" over training montage

sound cue to emphasize moment: Angel demands to speak to inspector and music starts to crescendo then resolves in squeaky wheels and elevator bing bong noise as inspector quickly appears.

ominous, forbidding music comes up under confrontation when Angel challenges chief inspector on his reassignment.  Hits apex with pop of champagne? or party popper when he discovers that the whole squad is behind the transfer and throwing him an instant farewell party in the next room.

 electronic music playing? twinkly sound? buzz of cell phone as character of Angel's girlfriend Janine introduced.  5:45 mintes into film
 Score turns to sad acoustic guitar as she mentions their break up.

 Sad acoustic guitar. .  sad guitar now joined by twinkly music sounds again.  twinkly sounds = mystery/suspense? Sad guitar as Angel moves into room. twinkly mystery music as Angel goes out to the local pub.
9:46 minutes in.     Angel notices "The Hoodies" and music stinger underscores their presence.
10:02.  snare drum solo as Angel enters pub.
when kids are removed from pub, music stops and pub goes silent.
mystery twinkly music as Angel notices fountain dedication plate outside and graffiti
12:26
tense music as drunk Danny nearly runs Angel over.
marching "he means business music" as Angel walks Danny to jail and rounds up other misdemeaning kids that have been kicked out of pub.
13:30 booking montage: camera flashing sound effects and rock and roll song by director Edgar Wright's favourite musician

14:03 sound shows change of scene.  Next day, bright and sunshiny, Angel takes a jog around the town and townspeople greet him by name. 60s pop song "Village Green Appreciation Society" by The Kinks plays under the scene

16:51 chipper score and wah wah wah trombone music as Angel is taken around the police station and introduced to the other officers.

18:13 heavenly sting noise when they go into neighbourhood watch center control room.
18:49 swoosh emphatic noise as Frank wads up surveillance photos.
18:51 chipper score/police station theme ends as group eat dessert.
19:25 jangly guitar rock music Baby Fratelli by The Fratellis as officers go to the pub for lunch.  ambient pub noises in background.
21:08 music changes to drums as Danny begins to interrogate Angel about his exciting cop life in London.
21:46 abrupt end to music as scene changes to NWA meeting.   background orchestral music.
23:18 score takes a grim turn as NWA business turns to describing blight of Living Statue with accompanying stinger?
23:39 music gets upbeat "Slippery Rock 705" by Stavely Makepeace as angel talks to school about his job.
25:00 boom as Angel realizes he really has to go out on a swan call out.  no music
25:15 music returns as they continue boring rounds ending at 25:35
silence then ominous music as angel questions if there's something suspicious about townspeople.

27:20 ominous music creeps in to underscore menace of Timothy Dalton's exchange with Angel

28:17 exciting chase score as Angel and Danny pursue shoplifter
29:00 crescendo as Angel blocked by group of mothers and prams
29:13 exciting music as Angel vaults of garden fences
29:27 goes high guitar then stops as Danny tries to vault and fails
30:10 music stops as shoplifter knocked out by thrown spray can
30:30 booking montage music by director's favorite singer

30:50 ominous Skinner music with skeezy saxophone notes
31:24 on radio in cop car
32:13-17  world's fastest, in terms of length, car chase told entirely with sound effects: zoom, fruit machine payoff?, vroom, siren, turn signal, braking.
33:10  snare drum beat underneath ticket writing scene
Most scenes with Angel and Danny talking have no music.  so you can hear the jokes?
34:30 singing voices under death scene of Baz Luhrman's William shakespeare's Romeo and Juliet am-dram musical, then cheesy musical hall version of Cardigan's "Lovefool"
35:20 at pub

36:20 ominous music under Dalton "threat" to Eve Draper
38:15 suspense music crescendo under Angel taking phone call about murders
38:25 police procedural music as decapitated heads and car examined by police
39:00 police crime scene montage
39:30 Dire Straits Romeo and Juliet song on Skinner's car radio
41:05 military drums as cops drive to hedge clipper's house
41:50 crescendo sound fx under Angel's question "What do you mean THIS one?"
41:52 ticky tocky wood block music under reveal of mass cache of weapons
42:10 music turns to straight ticking like a bomb might explode when sea mine is banged on.
42:30 Miami Vice rock guitar music as cops and webbly flee barn then back to ticky tocky, which stops when no bomb goes off
43:00 procedural montage music as they bringing all of the seized weapons and install them in evidence lockers
43:40 sirens and fun rock music as Danny and Angel go to pub to socialize
45:00 sad accoustic guitar as Angel describes why he wanted to become a cop and Danny tells his cop story
46:00 back to pub rock when Danny does ketchup pack joke
46:10 drinking montage with hey hey hey song
46:20 ominous music under Skinner and next victim's chat with Angel
47:35 scary slasher music as dark hooded slasher figure revealed outside drunk man's house
48:15 slasher music again as hooded slasher in drunk's bathroom and knocks him out
48:30 sad guitar under Angel's soul searching over his constant on-job attitude
49:30 music points one way but action leads another: you think it's swelling to a romantic kiss between Danny and Angel "I can show you how" then heavenly music as Danny reveals his massive DVD collection of action movies
49:48 setting up the murder of the drunk man musical montage
49:58 watching Point Break with that movies dramatic music under the scene.
50:18 drunk man murder musical montage
50:40 Danny hits remote control button and explosion sound effect then leads to drunk man's home exploding
50:48 dramatic Bad Boys 2 music under scene of Danny and Angel getting news about drunk man's death
51:10 dramatic police lightly throbbing procedural music as crime scene examined with doctor and police
51:53 crescendo of sound leading to Skinner driving by crime scene, again, in car with song "Fire" by The Crazy World of Arthur Brown playing on radio
52:00 rising violin? crescendo as Angel considers his suspicions about Skinner and the explosion
52:30 boom boom boom sound effects as The Andies taunt Angel to prove his suspicions
53:05 whoosh sound effect when church big high thingie revealed, like when Angel came into town, soundtrack of peppy 60s pop song "Village Green" by The Kinks  playing over the church fete.
53:40 xylophone? music like the scene with Janine? Angel sees newspaper man talking to florist and Skinner watching them both.
53:45 slasher psycho strike of music startles Angel as detective Andy taunts him
54:02 Danny takes Angel to gun range. that kind of twangy guitar surf guitar? instrumental music from the 60s playing.  meant to be fun
54:30 boom boom and dramatic music as Angel takes up the air rifle and takes down the targets at the game
55:08 ominous music comes up as newspaperman makes appointment to talk, then priest gets Angel up to pull winners from the tombola
55:35 crash of thunder sound as 3 o'clock strikes, tombola, scary noises as hooded figure goes up tower, male voices chanting over score  as hooded figure gets into position on roof, ominous chords as newspaperman shown waiting for Angel,  scary horror music as newspaperman's body with piece of church tower instead of a head collapses on ground.
57:30 end of sequence, silence as police come together to discuss crime
57:50 fast music as Frank springs into action and gives cops jobs to do. crescendo sound makes you think important job is up next but leads to
58:14 Angel and Danny forced to stand on guard duty next to body while everybody else works.  rain storm
59:00 sad music comes up as Angel yells as Danny who runs away.  music continues as Angel goes home to discover Danny has left him the gorilla stffed toy he won him.
1:00:00 dramatic music underscores Angel remembering The Andies taunt that he could read all the newspaperman's articles himself if he wanted to investigate so badly.
1:00:15 investigation montage and hard rock music as Angel goes through paper
1:00:42 Angel tries to make up with Danny and bring him into investigation
1:01:05 sustained noise under cop telling Angel someone from London has called goes into Angel and Danny walking the beat and nutting out the case. fast drumming and clapping music under their discussion of how everyone is connected

Hot Fuzz soundtrack

The Music of Hot Fuzz 

where each song appears

AllMusic Review by Heather Phares  [-]

Like Shaun of the Dead, Edgar Wright's Hot Fuzz has a soundtrack that is witty, well-chosen, and steeped in British rock history. Kicking off with Adam Ant's "Goody Two Shoes" and including the Crazy World of Arthur Brown's "Fire" and the Kinks' "Village Green Preservation Society," the album gathers a treasure trove of classic but not over-exposed, tracks, along with some newer ones: the Fratellis' barreling blend of punk, glam and pop sounds just as good on "Solid Gold Easy Action Town" as it did on Costello Music. However, the deeper the soundtrack digs, the better it gets: "Dance with the Devil" by legendary drummer Cozy Powell and Stavely Makepeace's throbbing instrumental "Slippery Rock 70s" sound weirdly familiar but hard to place, making them perfect musical cues for a film that goes from comedy to action to horror and back again. Likewise, the soundtrack touches on the film's police theme without being heavy-handed (no songs by the Police, for example); Supergrass' "Caught by the Fuzz" and XTC's "Sgt. Rock (Is Going to Help Me)" keep things witty and light, while Jon Spencer and the Elegant Too's heavy, funky "Here Come the Fuzz" feels equally inspired by Jimi Hendrix and the themes to '70s cop shows. Indeed, the pop songs on Hot Fuzz are so bright and brash that "Hot Fuzz Suite" -- which compiles excerpts of David Arnold's score into one 22-minute track -- sounds even darker and more intense by comparison. Moving from gentle acoustic moments to electronica, jazz and horror-inspired choral chanting, Arnold's music is accomplished and versatile, but might have had more impact on the album if it was presented as separate cues. Either way, Hot Fuzz is a very enjoyable, smart soundtrack.

by Rafael Ruiz June 29, 2007

The album also shows off the movie's strong buddy cop homage.  David Arnold's score is given a well-rounded twenty plus minute suite.  His parody score sends up most specifically the Media Ventures/Jerry Bruckheimer style hard rock/ driving horns with the Harold Faltermeyer styled guitar solos.  Arnold also works in some of the lonely Eric Clapton solo guitars from the Lethal Weapon films along with subtle elements of Michael Kamen's musical stings. Arnold also layers in some cheeky Jerry Goldsmith references (specifically The Omen) and sends up his own James Bond work at the same time. Pretty nifty. John Eric Alexander's trailer music to the Lethal Weapon trailers is used in "Lethal Fuzz." This previously rare music is unfortunately overshadowed by audio pulls from the movie, which mkes me very... (see first paragraph).

There's a small bit of stuff missing from foreign releases, like Robert Rodriguez's own satirical "Avenging Angel." The music is strong enough to hold its own without it, but I recommend the album with strong technical reservations.

HOT FUZZ – David Arnold

April 20, 2007Leave a commentGo to comments

Original Review by Clark Douglas

It has been said that the best way to criticize a movie is to make a better movie. If that is true, and I have an inclination to believe that it is, then director Edgar Wright is a pretty good film critic. Much like Quentin Tarantino, Wright seems to have a gift for paying homage to a film genre while simultaneously transcending it. Unlike Tarantino, Wright also gleefully bites the hand that feeds him, and surprisingly, his movies are all the better for it. In his 2004 feature, “Shaun of the Dead”, he made a rather funny zombie movie that had a good time exploiting the conventions of zombie movies, not to mention the conventions of British behavior. His latest film, “Hot Fuzz”, centers it’s attention on action movies, particularly buddy cop action movies, and even more particularly buddy cop action movies directed by Michael Bay.

 and together Frost and Pegg make some clever little jabs at the subtle homoerotic undertones of many macho action pictures.

simultaneously spoofing and matching the cheap, hyper-edited thrills of modern action films.

David Arnold steps up to provide the score for “Hot Fuzz”, and turns in an (I hope) intentionally ridiculous action effort. Arnold divides his time between riffing on ridiculous Media Venture/Remote Control musical clichés and his own equally ridiculous brand of European techno-pop action music. Truth be told, both of these genres can be fairly entertaining, but the score for “Hot Fuzz” plays on the least appealing elements of both. The music works rather well for the film’s needs, adding an extra layer of satire to the proceedings. Unfortunately, it’s often buried by a barrage of sound effects (as is the case in so many modern action movies). I don’t know how well it works on the soundtrack album (which includes a 23-minute suite), but as this is an “As Heard in the Film” review, I suppose I approve. The eclectic batch of songs come from such artists as Adam Ant, The Kinks, The Fratellis, Eels, John Eric Alexander, and many others. Song titles include “Lethal Fuzz”, “Here Come the Fuzz”, and “Caught by the Fuzz”. Very imaginative.

While “Hot Fuzz” certainly does seem to have a special dose of skewing reserved for Michael Bay films, “Point Break”, and a host of other action movies, it is by no means a hostile affair. It certainly gets it’s pulse from some of the same cinematic tricks other modern action films use. The difference is the sheer amount of sly satire and remarkably wit on hand, which is matched by just the right dose of goofy slapstick comedy. The film deserves a spot on your shelf next to the recent “Kiss Kiss Bang Bang”, and is by all means worth your hard-earned dollars at the movie theater. I’d go so far as to say that it’s superior to the entertaining “Shaun of the Dead”. It’s a delicious piece of entertainment, bound to please both those who love today’s action movies and those who hate them. Highly recommended, though gore-sensitive viewers should be aware that the violence, though often comic, is quite extreme.

Rating: **½

The Music of Hot Fuzz

Drake Lelane April 23, 2007

You certainly wouldn’t confuse the soundtrack to Hot Fuzzwith that of a buddy cop movie (thank goodness.) Featuring classic Britpop from The Kinks, T Rex, The Troggs and recent indie rock acts like The Fratellis and Jon Spencer (Blues Explosion), the soundtrack instead pays respects to the genre by using pieces of score from these films it looks to for inspiration: Lethal Weapon III, Bad Boys II and that pantheon of buddy cop movies Point Break. Even with those diversions, this soundtrack is a rarity… one that actually follows a narrative without the need of actual dialogue.

After the opening theme (penned by 007 veteran David Arnold,) our first taste of narrative music comes as co-writer Simon Pegg’s character, supercop Nicholas Angel, introduces himself to us over the top of Adam Ant‘s ’80s camp classic “Goody Two Shoes,” and the mood is set. Then XTC’s “Sgt. Rock (Is Going to Help Me”) helps further Angel as the bobby who gets things done.

When Angel’s exploits makes the big city bobbys look bad (turning the usual buddy cop formula on it’s ear,) as punishment he’s promoted and sent off to Sandford (“the village of the year,”) the place with the lowest crime rate in England. It’s here that Angel warns a model citizen “this isn’t your village anymore,” while we hear songs from The Kink’s great albumVillage Green Preservation Society, which frontman Ray Davies wrote with the idea of feeling nostalgia for a simpler time and place. Director Edgar Wright, feeling nostalgic himself, chose to use the town he grew up in (Wells) for this idylic setting, making for the ultimate (and therapeutic) geek fantasy: turn the town you grew up in into the set of a smash-em-up action movie.

One song that didn’t make the soundtrack, to my great disappointment, was The Move’s “Night of Fear,” which hints that there’s more going on this village then meets the eye. The Move is a band still begging for discovery here in the states some 40 years after the fact, and while this release wouldn’t break them, it at least would have furthered the cause (and got at least a song from them in the Rhapsody music service.)

It’s about this time in the film when, to quote Martin Lawrence’s character in Bad Boys II: “This sh*t just got real!” Bits from the scores to both Point Blank and BBII make appearances here, but really it’s original music contributed to the film by mutual admiration director Robert Rodriguez that steals the show. Pegg’s Angel gets his Desperado on, and Rodriguez’s score is the perfect marriage for the scene.

To finish up the film, I couldn’t think of a better song then the great Supergrass classic “Caught by the Fuzz,” but that’s not the ending. Instead there’s another Fuzz song, this time written for the film by indie rock legend Jon Spencer called “Here Come The Fuzz.”

Where Elegant Too's music appears in HF
music supervisor Nick Angel

 David Arnold, music composer     Hot Fuzz main theme Youtube    Hot Fuzz theme

David Arnold news release

David Arnold imdb.com

from Celluloid Symphonies by Julie Hubbert, publisher University of California press, date March 2011
film composers in the 1980s also experimented with synthesizer sounds in the underscores of sci-fi, horror films and thrillers. (388)  It allowed composers to work directly to tape and changed where they worked. The rise of music videos to promote the film had film imagery set to  a driving beat, the tempo being dictated by the rhythm and structure of a popular song instead of by conventional cinematic tempos.  (389) Scores combining orchestras and pop/rock music started to become the norm in the 1980s to maximize studio profit. the pop compilation soundtrack of the 90s was not motivated entirely by economic concerns, though, as directors were either unable to communicate with orchestral composers or preferred to retain directorial control by selecting their own music.   "popular music is the only cultural reference we hold in common any more"  ppop music is able to generate instant filmic meaning by providing a precise referential marker which gives directors a range of extra-filmic information that newly composed orchestral music cannot generate. (397)

from Hot Fuzz dvd commentary with Edgar Wright and Simon Pegg
Hackenbeckers? who did the dubbing, their idea to do history of police sirens at the opening
S. I love this piece of music. its a bit of rarity
E. It's on that album Velvet Tin Rock a bit of glam rock from an album of no-hit wonders and when we were writing, a lot of the time the music that we were listening to we used in the film.  this came up on my ipod.  there's something about the glitter the glam rock thing that really goes with policemen plodding along.
s. do you think its the siren at the beginning of Blockbuster?
E. that kind of pace just seems intrinsically British, of lolloping along.
E. Batman Begins sound effect when Angel catches up to shoplifter in alley chase, just prior to seeing goose
E. John Spencer riffs over booking scene of shoplifter
E. first tried to get Guys 'n' Dolls for the Am Drams, but couldn't clear the rights, so chose Baz Luhrman Romeo and Juliet.  Johnathon whitehead who does music for chris Morris did cockney piano "di di di di di!" notes.
E. Romeo and Juliet song and Fire came up during editing.  no other song fit the bill than Mark Knopfler..  Good karma to pay for their tracks after slating them in Shaun of the Dead.
E. always one phone ringing in Sandford's police station with hundreds ringing in London's Metropolitan police station.
E. Lethal Weapon trailer music by John Alexander, not from film score, just the trailer,  (used dring reveal of cache of weapons seized from hedge cutter).  The same way we used Dawn of the Dead music in Shaun of the Dead, This percussive music makes me think of action films. I think of the Warner Bros. logo and start of Lethal Weapon, the trailer.
S. I think the trailer music was more memorable than the film.
E. Before I got fired from being a projectionist, I must have seen the Lethal Weapon 2 teaser trailer 400 times.

E. When Timothy Dalton raises his glass to the "memory" of Eve and Martin, Dalton very briefly looks into the camera. Director Edgar Wright liked it so much he synchronized the sound of a cash register "ching" at the same time.
E. David Arnold's score (in scene after pub before Danny and Angel watch DVDs) we basically had to- we couldn't afford a full orchestral expensive thing for the whole thing.  David's plan was we do two days at the studio and builds it into these moments it'll really soar when it needs to.  electronic for first half, then moments like this one, amazing watching him do this music.
E. (at village fete when Angel goes address crowd) feedback cliche sound effect.
S. tombola sound creates tension during the scene
E. the music that David did during this is brilliant.
S. that theramin noise there (just after newspaperman hit)
E the sound work by Hackenbecker's is incredible.
E. audio flashbacks are so cheesy (Angel remembers Andy telling him to read the articles himself if he wants to investigate so badly)
E. (Angel talking to Danny about monkey after their fight) the music in this is so sentimental.  It makes me laugh.  some people don't know how to take this scene because its so soppy.  if you look at the most testosterone driven films, they get so kind of homoerotic, the score is so sweeping and sentimental.  The score is just huge in all of those action films.
E. I love the music on this bit makes me laugh.  again, the score is so swelling and... HUGE. (Skinner alibi on video at the supermarket)
E. I love the music in this bit: angel is a broken man at this point (Angel finds TWAT written in his hat band after Skinner defends his accusation)
E. the music in this is great.
s. i remember when you were putting the film together in editing, the temporary soundtrack was so good, that David would have to pull the boat out to match it.
E. Robert Rodriguez did the music for this bit, he did it as a favour and a laugh (Angel at gas station deciding to go back)
23. Robert Rodriguez did the music for two scenes without seeing any other part of the movie because he thought it would be fun. The scenes are when Nicholas visits the convenience store and sees the action movie DVD son the rack and when he suits up for the final shoot-out.
E. From this point on, simon did ADR and re-recorded his voice to make it sound more 80s action hero. even though we had good sound, I just liked the idea that (it sounded like that)
E. crash cym(bal)s and guns get me hard (Angel gearing up for final gun fight)
idea of footsteps really thumping. Robert Rodriguez had only seen these two scenes.  
E.Listen to this music.  we heard the orchestra filming this and it was such a rush.  (Angel rides into square to confront NWA)
E. Stewart(the doctor) did his own slow motion sound (during the shoot out)
S. fruit machine sound effect used again in the pub
E. video game noise goes off to give Angel "another life"
E. Saxon stops barking to show he and Carl have changed their minds
E. pantomime roar by Jim Broadbent.  we put on a lion roar sound effect
E.  amped up John Spencer sting at Somerfield sign
E.  cut out all the music before the hit and then amp up the clonk and squeaking noise (girl on girl fight in the supermarket)
E. (guns firing running after Skinner and Frank escaping) It's so loud! I love it.
E. (during Model Village fight) the punch noises are so loud.  hand crunching.  music swells, he says a cool line, fight is over.
E. CRUNCH! (Edgar points out sound effect as Skinner is impaled through moth by church roof)
E. John Spencer's track from the blues Explosion, when we got this track it was so amazing.  he did lyrics to go with the scene "That's right!  He's going to jail!"
S. (Edgar) loved that band and here he is having a  personally scored moment to his film
S. you put the squeak on the hedgehog (so we'd notice it survived the explosion of the police station)
E. Ka-BAM! (emphasizing sound effect that goes into final credits)
E. here comes the Fratellis (song #1 of credits)
E. this is John Spencer's track "Here comes the Fuzz" especially for the film.  I have a man crush on you, John Spencer.  Look at these amazing songs on the soundtrack!
S. I must say you're a very adept music compiler   . You do it with the relish of John Cusack's character in High Fidelity.  "solid gold easy action" how great to get that into a soundtrack twice.  


Research in books: action film sound tropes, music score cliches, musical terminology etc.
David Arnold also scored Casino Royale with Daniel Craig
Film music by Paul Tonks  p. 73-74

Page 83 on details how a film score is made.  
from imdb.com  listen to dvd commentaries to confirm these stories
To indicate how behind the times Sandford police station is, the sound of a very old Apple Macintosh startup tone is heard in the background. This startup tone hasn't been played by any Mac for more than ten years.

Director as composer: Edgar Wright chose all the songs?  What did Nick Angel do?

David Arnold has scored buddy action moments in Independence Day and the BBC Sherlock Holmes series.  He scored 5 James Bond films including  Daniel Craig's Casino Royale and Quantum of Solace

BBC interview
good luck nicholas clip
sea mine
Battle for Sandford begins
fence jumping
Angel fights Narp
Messenger gets murdered at the fete
fight at the Somerfields
fight at model village
shortest car chase ever
battle for Sandford 2
opening sequence with police whistles

video editor Chris Dickens

Paying Attention To Sound

I had a chance to watch the film in the theaters to prep for this story and was impressed by the degree of cutting and sound design. This seemed like a natural start to my conversation with Chris Dickens, the film’s editor. He explained, “Hot Fuzz used sound in a very stylized way, because it is a comedy. I initially did a lot of sound editing when I started in the business, so sound has been very important to me. Of course, it is fifty percent of any feature. In Hot Fuzz, we used a lot of whooshes and other elements to help pay off the jokes. This would certainly be over the top for a drama, but Edgar [Wright, the director] and I both saw this in the same way; so, I built up the soundtracks to create a sense of heightened realism – to be like a super-hero film. Then the sound editors took that to the next level. When you work with sound, you have to think about what works for the picture and how to manipulate the audience’s emotions. I love to intertwine music and sound effects to create a ‘soup’ that is very atmospheric – so you can’t tell the difference between the music and the effects.”

BSA202, music cues, 2 March 2016

Bridge: better to come into scene from previous line of dialogue or bit later under dialogue or under action from character than starting music on scene change.
play through: music starts shouldn't be fragmented, play through.  sometimes stopping can emphasize dramatic action, then underscoring can or not continue or change
emphasis shift: less obvious, intrusive and more effect to start when emphasis shifts in scene
music v. sfx: sound should play over music or vice versa to avoid muddle and confusing emphasis and POV
music without dialogue: easy to spot when covering scenes without dialogue.  music up for kiss an down for talk
instincts: watch for emotional or cerebral response.  no response may mean no music needed.
team work: spot music with director, composer, music editor present

practicing in pairs with Pro Tools license
exercise: one that matches scene and another that doesn't quite match
clip: Cloud Atlas, escape of clone in Neo Seoul

To Do List- 26-29 February

3D
download Maya, mudbox, character generator, and sketchbook pro at home and get familiar with interface  from "autodesk education community".
Also, download storyboard pro and toonbooms for free at https://store.toonboom.com/coe
check out posemaniacs for musculature and dynamic poses

write out story ideas for spacejunk peddler at speed date night
further develop character and poses
choose art styles of background, primary character and secondary characters
catch up on missed day in Vaughn's 3D class.  Ask Doug.

Professional Practices
go through notes and develop proposal idea draft with venn diagram, timeline and other thing Juliet asked for
Check out graphic novel Persepolis for autobiography by a woman
ask Dad to send illustrated journals
Audio
get book definition of types of music/terminology in film scores

BSA202, Audio, 25 February 2016

audio cliches

animals are NEVER silent: rats squeaking, snakes hissing
full moon has hooting owl or howling wolf
dogs always know who's bad and bark
same cat scream over and over

• red-tailed hawk screech: used when in a desert high noon scenario
• all bicycles have bells
• Bombs have a blinking beeping timer display
• minute countdown
• explosions in slowmo
• blast sends people flying in slo mo to camera
• whistling bombs falling from plane
• explosions always sync up (and fireworks, too)
• care tires screech or squeal, brakes squeak
• all computer buttons beep
• text being spelled out makes typing or printer sound
• instant storms: crack of thunder/lightning, instant rain
• thunder syncs with lightning
• squeaky doors
• noise always comes through open window
• crickets chirping if you're not in the city
• castle thunder- until 1980s, same sound recorded for Frankenstein
• people talking normally around running helicopter
• airplane makes no noise until right on top of characters
• airplane tires screech on landing
• airplanes whine when going into dive
• knife or weapon pull out is always metal on metal sound
• everybody speaks English, even aliens
• baby can be heard after bad news
• whispers never heard by villain, but stepping on a branch is
• people's arms and legs make swishing noises in fight
• first words always cause microphone feedback
• people can hear each other at discos and nightclubs
• everybody sounds like they're righ in your ear, no matter how far form camera
• kisses sloppy for drama
• dreams have reverb sound
• falling people's screams always fade out (even in short distance)
• noises in space like explosions and deep humming sound
• fired guns never recoil but BOOM
• nobody runs out of ammo and bullets always ricochet
• sci-fi weapons power up with a hum
• the Wilhelm scream

BSA202, audio notes, first Pro-Tool practice, 24 February

Pro-tools will work if the iLok is used
create new track create 1 new stereo audtio track in samples and hit create
top four buttons in upper left in green leave on slip
can name track and colour code it for easy reference
tiny arrow above name of new track will let you turn things on.  inserts a-e and i/o to open up side bars
if you can't hear audio, itss because computer set up to send audio through screen and not tower
deletion of tracks can only happen through going to track pull down menu and selecting delete
select clip and hit convert clip to match it to session
make sure its going to file you setup
autio import optins- clip list-ok
slip mode always track to be moved around easily.
to fade in noise, choose volume from waveform pull down menu on each sound and select pencil tool.  To fade out noise, go back to waveform and off pencil? then hover mouse until half triangle?box appears upper right hand corner and pull til it blocks out last part of sound to fade out
"bounce out" to disck and bounce source stereo mix wave file, no mp3 box check, name it then bounce it to folder you want it to go to.

BSA202, audio techniques, 17 February

Pro Tools software is the industry standard.  We may meet in 236 or Mac Lab.  TBA.

BRING HEADPHONES BACK

Two assignments:
1.  presentation to class evaluating success of failure of contribution of music to a particular film (from provided list).  30%  Must use at least two references from books, can use dvd commentary
10 to 12 minutes long.  Leave time for questions and be prepared.
Look at Hitchcock films
2.  Create sounds to specification using all knowledge and skills acquired in this paper by creating a sound montage with sound fx and suitable music for a given film clip.  NO COMEDY MIXES.  Try to match it to the original in mood and intent.  70%

No blog required.
ebook library can be accessed through SIT library.
http://site.ebrary.com/lib/sitlibrary/home.action?force=1
http://site.ebrary.com/lib/sitlibrary/search.action?p00=music+film&fromSearch=fromSearch

music in animation 

http://site.ebrary.com/lib/sitlibrary/detail.action?docID=10090691&p00=film+music

To do list, 19-22 February

3D 225 and 226

• familiarize myself with Maya interface by watching youtube tutorials, downloading it at home and practicing making mugs and other objects.  
• write out a bunch of story ideas, not just speed date at the cantina
• character thumbnails with real paint, ink and art supplies.  Load finished product (20) to Blackboard  
• concept art research and post to Discussion Board on BlackBoard

Audio 202

• choose a film for the first assignment.   Hot Fuzz
• once a film has been chosen, begin compiling research.  Look at e-books through SIT library.

BSA202 audio, 18 February

film score is composed specifically for a film
soundtrack is a compilation of tracks by different artists used in a film

Music is used in film:
to establish location
ex: Lion King
emphasize an event- the crash of a chord can add to a collision
Man of Steel- alien ship comes on scene and then Superman arrives
intensify action: use of crescendo(gradual increase in loudness or intensity) or repetition can create a sense of climax or horror
depicting identity: identify character, as in a theme or events, or arrival of hero or villain
Star Wars- Darth Vader's entrance
setting pace: fast tempo may be used to show a god time.  slow tempo may show dignity or importance, like a regal ceremony.  an insight into a character's mind.
ex: 500 days of Summer
Counterpoint: can add a feeling that is the opposite of what you're seeing.
ex: Reservoir Dogs
Creating Mood: adds humour
ex: Wil E. Coyote v. Road Runner
Establish time period
ex. The Artist
Foretelling: tells you something's about to happen
ex: Jaws, and the swimmer at the beginning who gets eaten
Reveal:  draw attention to something significant within the scene.
ex: The Matrix, Neo sees the white rabbit tattoo on the girl's shoulder
atmosphere: a musical analogue for virtually every kind of condition and emotion.  music can evoke love, hate, sadness, anger, etc.
ex: Spider-man, Mary Jane kissing Spider-man while he's hanging upside down

Film music allows:
expression of emotions not necessarily seen on actor's faces
contradictory commentary on the actions of actors
time elements: distinguish past from present or memories
film music can add subtext
general theme that runs through movie but is altered by temp style instrumentation or key to fit the scene
music doesn't need to repeat what's on the screen but should add something  to the meaning that we are not seeing
silence is as important as the music.  too much music can be detrimental to the story
music also telling a story