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Alan Rosenthal

8,000 avid rental and space 18 2,100 37,800 meals and supplies transcripts narration, recording, and edit 600 600 3,000 800 shoot stills 1,000 dubs with time code 3,000 PR fringe: 16% of $30,300 SUBTOTAL 4,848 91,448 51 52 The documentary diaries Days $ Cost $ Total editing 3 1,750 5,250 editor 3 500 1,500 Editing online Paintbox and animation (Chyron) 1,500 sound editing effects 3,000 sound mix (15 hours) 250 D 11 stock for master 3,750 500 title sequence 2,000 music: original or cues 3,000 SUBTOTAL Office and

in The documentary diaries
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

with an account of the editing process, then in its third iteration. He also relayed discussions between Frears and Grade on the screening order of the six plays. They preferred Saturday-rather than Sunday-night transmission, expecting (backed by LWT’s scheduling experience) stronger viewing figures. Anderson provided Sutcliffe with the schedule of picture cutting and sound editing and hoped the journalist would observe the

in Lindsay Anderson
Abstract only
Don Fairservice

; post-synchronised sound; the smoothing of sound edits in re-recording; and the augmentation of natural sound with ‘sound effects’. The manifesto required that its signatories should work only in real locations with a hand-held camera shooting in available light. There were other preferred tendencies which involved the use of available props and the absence of set dressing. Films made within the terms of the manifesto would

in Film editing: history, theory and practice
Andy Birtwistle

blimp. Mechanical sounds produced by the camera are constructed as problematic in filmmaking practices, like those developed by the Hollywood studio system, which prioritise the concepts of flow and continuity. In classical cinema, sounds produced by the camera are prohibited not simply because they signal the means of production, but also because sound edits might be rendered audible by the varying levels and qualities of camera

in Cinesonica
Douglas Morrey and Alison Smith

manipulation of sound editing Rivette can even bring the tones of the Racinian verse spoken onstage directly into connection with Claire, isolated in her flat. Rivette’s 35mm camera, however, while it moves easily around the length, breadth and height of the room, keeps a distance from the performance space, rarely intruding itself into these interactions. In fact it remains self-consciously detached, in a position comparable to

in Jacques Rivette
Tom Whittaker

abruptly cut midway through as two armed policemen force themselves into the room to take Ángel away for questioning. In a final defiance of his virility, Ángel continues to have sex until he orgasms before answering back to one of the police officers, who then hits him with his gun. In coinciding with the eruption of police brutality, the suddenness to the cut of the song – a crude sound editing technique which has been used instead of fading the music out more gradually – points to the violently enforced silencing of the delinquent. In both its presence and then blunt

in The Spanish quinqui film
Abstract only
Andy Birtwistle

. Similarly, while deconstruction provides a number of ways in which we might make sense of Birdman’s audible sound editing, as a conceptual mode it has no way of engaging with the visceral, affective shocks produced by the film’s sonic construction. What we witness in the films of Smith, Kennedy and Burton are filmmaking practices that seek to address the codes and conventions of cinema itself, and which work to destabilise

in Cinesonica
Films since 2000
Joseph Mai

bodies in love pours over into a representation of the landscape as well: Berta mentions shooting one scene at five in the morning in order to get blues and the reflections of the sunrise on the rocks, which are filmed in the same colours and light as the bodies themselves. 5 We see such incursions on both sides, and it is underlined by sound editing and frame composition as well. When Daniel buys Marie-​Jo a boat for her birthday, she gets a phone call from Marco who wants to sing ‘Happy Birthday’   98 98  Robert Guédiguian The film’s narrative is most fully

in Robert Guédiguian