Table of Contents
This issue covers original music and sound design; innovations for lighting kits; and new media. Also, Spotlight zooms in on production in the Great Lakes states.
Watching films, television shows and commercials is as much an aural experience as it is a visual one. Original music and sound design work hand in hand with picture to define characters, propel the plot and make advertising memorable. Four of the best in this field talk about the essential role their work plays on screens big and small
New lighting fixtures continually come on the market offering shooters and lighting designers new creative options and greater efficiencies. But adding these revolutionary or evolutionary new products to their lighting kits doesn't mean discounting the instruments they've come to depend on job after job. A noted tabletop director, a leading advocate of HDSLR video, a distinguished underwater cinematographer and an in-demand lighting designer share the contents of their lighting kits today.
Have you noticed that content doesn't change when a new medium comes on the scene? Books, magazines, newspapers, radio and television all present fundamental forms of content: fiction, non-fiction, music, art, games, entertainment, advertising and public relations.
Traditional manufacturing and industry have been in decline in the states bordering the Great Lakes, but motion picture and television production are doing their best to help pick up the slack with the assistance of savvy film commissions and tax incentive programs.
Anyone who's been in the film and video business longer than five minutes knows the rapid pace at which things change. Some changes — black-and-white to color TV, analog to digital, Standard Definition to HD — are truly revolutionary. Others, such as moving from early cumbersome, tethered HD cameras to today's compact solid-state models and HD-enabled DSLRs, are more evolutionary in nature.
Last May, a veteran team comprised of a DP and 11 camera operators, many with pedigrees from NFL Films, descended on Vail, Colorado to make final preparations for an intense, four-day shoot of the 2010 Teva Mountain Games, an annual adventure-sports competition. Like the athletes, they had to loosen up.
If you've ever gotten to the end of a :30 commercial and asked yourself, 'Who was that for?' there's a fundamental problem. You should remember what the brand was, and music can assist in branding the spot. In its purest form it can be the N-B-C tones or the Budweiser frogs or a song that represents the advertiser. But sonic branding is not just a jingle — it can be the Aflac duck quacking the company name or the Vonage mnemonic.