The sound of Love : Titanic

The sound effect for Titanic were the major contributors to the success of the film. Not just that they led the movie for two nominations at the Oscar and wins as well : Sound and Sound effect editing. It also won the awards for Original song of the year.

The Titanic soundtrack was a gigantic success, the best selling US album of 1998. The soundtrack, composed by James Horner, is mainly orchestral with some singing done by Celine Dion and Norwegian singer Sissel Kyrkjebø.

Gary Rydstrom wasn’t the main sound designer of Titanic, he worked as a re-recording mixer, making a wonderful work with the Sound Crew, and won an Academy Award for Best Sound. 
Here's what he had to say about how they worked for this film

“What the extra time gave us,” says supervising sound editor Tom Bellfort, “was the ability to come to terms with all the material and try to articulate all the possible sounds that would create the sheer size and elegance of the ship before it hits the iceberg. It also gave us the time to approach the job [in the post-iceberg section] in less of a mechanical way. It’s easy to do a mechanical job as compared to more of an emotional and psychological rendering of what’s going on aboard the ship while it’s sinking.” 

The Titanic signature melody, called "My Heart Will Go On" is composed in mystery on the grounds that James Cameron didn't need vocals in the music. James Horner convinced Celine Dion to sing and exhibited the melody to James Cameron when he was in a decent temperament. In the wake of listening to it a few times, James gave his regard. The tune won the Academy Award for Best Original Song.

The sound added to the whole mind-set of the motion picture. The film is separated into two sections. in which the first part of the story the music is delicate except for the quick music while they are running. on the other hand when it comes to the second half of this movie the music gets extraordinary. The boat is sinking and the music gives the end of the film a sensational impact.  The sound impacts at last gave the film anticipation as the boat is sinking. This was a sentiment film and huge numbers of the ambient melodies fit for a sentimental scene, delicate music. Additionally the chessy dialogues like "I need you to draw me like one of your French young ladies, wearing this, wearing just this." (Titanic, 1997). I would say that this film had exceptionally sounds which semmed realistic at the same time. The film was made in light of a true event, so they needed to utilize extremely reasonable sounds.

Sounds as a part of movies play imperative importance.

In the event that one sound were to be evacuated the whole film would be influenced. In the event that the music were taken out, the show, anticipation, and sentiment of the film would be influenced. The sound impacts help you notice what's going on, for example when you see Titanic sinking you hear dishes slamming. Without these sounds one may not recognize that these things were happening.

With the film being about the titanic a number of the sounds would be realistic, for example, the smoothing qualities of the waves and resonances of ocean fledglings, this makes the movie appear to be all the more genuine and makes the crowd feel more like they are in the film. There are additionally some sprinkling commotions when the dolphins are demonstrated likewise adding to the thought of living those moments as piece of the film. There is additionally splashing sounds, for example, the wind making the film appear to be all the more genuine and appear to be less played out by giving the thought that it was recorded outside.

 All the sounds are used to make the crowd feel that they are really in there and feeling it rather than something that is being acted. And i think according to me that's what makes a good movie like i wrote about inn case of the Black Swan, similarly the feel of actually experiencing the movie is what differentiates a movie from others.

Editing to Perfection

I remember being in 9 th grade when I saw American beauty for the first time , back then i thought it was a pointless and depressing movie . Forward it to 2014 where I see a channel playing this film and watch it again and being awe struck by it.

Lester and Carolyn Burnham a standard middle class American couple , Lester has a good job, their own home and a pretty daughter. From the top they seem like a normal family but the wife (Carolyn) is frustrated from her life and so is her husband who despises his job and is sexually frustrated too. Comes in Angela Hayes who gives off an impression of being the model high schooler which others envy, yet truly has low respect toward oneself.. She is flimsy, blonde, stunning, famous and sure to the seeing eye. Inside she is terrified and torn. She continually censures others as being plain, when that is the thing that she genuinely feels is her abandon.

The reason why i mention the basic story line is that to understand the camera angels and cuts it’s important to know what the actor is feeling in that moment.

At the point when Lester is gone up against by his administrator, he is shot from above, demonstrating that he is in a powerless position. it is said that High angle shots diminish the centrality of the subject ie its reduces the significance and shows powerlessness.

 Additionally, when Lester goes to her daughter's high school's game and sees Angela on the center floor in her team  outfit, he has been shot from a comparatively low point and she is shot at first from a high angel. This presents Angela's sexual helplessness and Lester's potential predominance over a a young teen.

 When it comes to editing techniques various of ‘em have seen seen in the film for example there are a few “Fast cuts” that are been introduced to build the audiences tension as to what’s going to happen like in the scene where he is finally going to sleep with Angela. “Flashbacks” have bee use to properly explain the story and introduce the important characters. Also there is a reference of fade in some scenes which basically focuses on the fact that he film is taking us in the past without being to direct or telling it via subtitles. This ads a more subtle clarity to any film and keeps the audience hitched and interested.

When I was researching the net about this movie the one thing that came up again and again was that this is basically mise-en-scene film,  which i figured out later to be one of the most identifiable attributes of any movie. This further includes makeup probs and costumes as well as all the fake and natural details of the subject as it were in real life. The term has been borrowed from a French theatrical expression, which roughly means“put into the scene”. In the all “film” language this film is a great work of mise-en-scene and showcases the talent of it’s director Sam Mendes and specially the editor Tariq Anwar who spend more time creating the first 10 mins of the film then the whole film together ! Together they created a compelling drama about a man’s journey to death after years of pointlessness. The fantasy sorta illusion they created of time moving fastly then slowly and finally stoping forever for the film’s main lead Burnham is truly extraordinary and deserves the awards it won.

 Here is the film's most "talked about" opening scene.

Dancing with the camera Black Swan

Black swan won the academy award for best film cinematography in the year 2010 and the BAFTA award as well. It was nominated for the Oscar as Best Achievement in Cinematography. Matthew Libatique was the guy behind this amazing cinematography.

The Black Swan is a psychosexual thriller that portrays the unglamorous piece of the Balletworld. Darren Aronofsky, who is known for his wild inventive creative energy, coordinates it. Themovie is motivated by Swan Lake a well known toe dance by PyotrIlyich Tchaikovsky.

The film opens with the first soundtrack of Swan Lake, with the sound of a dull laugh fading in with spouts of wind as the words "Black Swan" show up on the screen. This soundtrack style is utilized all through the film.The Classical Tchaikovsky structures are given a cutting edge, creepy contort by embeddings sound impacts that are normally utilized as a part of anticipation/psycho thriller movies. The primary shot is of Nina (with her back confronting the group of onlookers) wearing white, with the focus on her. (Later on, we discover that this is a fantasy.) Other than this spotlight, she is encompassed by murkiness.

This is from the last part of Nina's fantasy, after she turns into the White Swan. (This scene breaks down into black, overwhelming the White Swan. After this, it blurs into Nina, waking upfrom her fantasy.)

This first shot is imperative on the grounds that it epitomizes the "Black and White" imagery that Aronofsky utilizes as a part of the film. He has additionally utilized the same method as a part of some of his different movies.

(Instrell, 2011)

The following couple of seconds include the cam taking after the developments of her feet. The development is streaming and peaceful, you can envision stunning lines being drawn by the feet. The music is emotional yet tranquil, adjusted and controlled. The cam takes after the developments of the feet, attaining to something like a medium close up shot. Nina's feet are additionally demonstrated in close up shots in numerous parts of the film, including amid the begin when she awakens. This brings us into her close/individual space, and since Nina is a dance lover, her feet are an extremely individual and essential piece of her.

It appears like a predator, prepared to assault Nina. Taking into account the narrative of

Swan Lake , this is most likely the magician who chooses to condemnation her and turn her (the princess) into a swan. This is likely one of the not very many scenes in the film where a POV other than that of Nina's is indicated.

Nina's back is turned from us, focusing on that this can't be her POV on the grounds that she can't see what's advancing behind her. This is the first of numerous examples that delineates Nina's inclination of "being taken after". To stress this, Aronofsky utilizes a Follow up kind of shot- a system he utilizes a considerable measure as a part of this film.

The cam, additionally seeming to exhibit a "handheld" impact or Handheld shot ( or so google says) takes after the dull figure while it strolls towards Nina.

In the initial couple of minutes of the film, there are as of now numerous shots where the cam appears to "seek after" or take after Nina. These shots include the cam taking after the development of distinctive things- like the feet, the dull figure, and so on. Then again, the impact is distinctive when Nina is being taken after from behind. The same system is additionally utilized as a part of the majority of Nina's moving scenes  (see picture).

In one of Natalie Portman's meetings, she depicts how she needs to "hit the dance floor with the camera".

The cam turns and smudges in one scene where she is doing numerous pirouettes or fouettes (which are similar to pirouettes aside from your foot reaches out in and out) for her trials. This procedure gives the crowd more association actually amid the moving scenes. For the vast majority of the film, we feel what Nina feels. The thrill she feels when moving can't be caught by simply setting the cam in a stationary edge before her and that being the reason I was so intrigued with this movie , coz being a classical dancer I could understand and feel the dance.

Marie Antoinette and it's gorgeous set design

   The Production design of Marie Antoinette

I have seen posts on the web about the 2006 film Marie Antoinette by Sofia Coppola yet just had the opportunity to see it in my design film's class this semester. I had additionally caught wind of two of Coppola's past movies, The Virgin Suicides and Lost in Translation which was probably all splendid film.
Marie Antoinette is a film intensely in view of the life of the questionable Queen of France, Marie Antoinette. In the wake of viewing the film, I did some examination on Marie Antoinette, the curious thing about her was that regardless of the way that she was delegated Queen of France, she was declared guilty injustice and sentenced to be guillotined.

Her first shot wherin she is sleeping at the day she is about to leave her palace.

In my opinion (rather my notes ) the meaning of production design is mainly concerned wit the “appearance” or “physical “of the set of that particular film. It should reflect the fact that the set is composed artistically and with regards to its surroundings like the actors and props. It’s important to keep the principles of space and design in mind while designing a set (like we did in our class activity) but at the same time it should be appealing to the eye and the audience should get the conceptualization of the film or the scene.

It is said that Coppola's (the director) significantly adjusted interpretation was considered in order to refine the character of Marie Antoinette. So the film isn't nearly an account and showed a comprehension like in literal terms of Marie Antoinette's story. 


It was helpful that the film was arranged in the eighteenth century and generally shot in the Palace of Versailles. 
The multifaceted print upholstery set against gold-plated doors, bloom divider covers and paneled dividers spilling with wonderful Rococo period's luxuriousness give a staggering setting to showing the over-indulgent life of the teenage queen.
As a group with cinematographer Lance Acord, era inventor KK Barrett and outfit organizer Milena Canonero, Coppola added to a palette that contradicts the ordinary despairing, foggy look of the past which is seen mostly in all period films and rather impacts with splendid, light, sherbet-like tints.
Regardless of the fact that the film was to a degree slow moving, the visuals were absolutely flawless. You will love the truly pastel palette of sensitive pinks, light yellows, delicate peaches and postnatal uneasiness. It was tastefully fulfilling with all the bewitching outfits, delightful treats and elucidated inner parts. The Palace of Versailles is a shocking and phenomenal spot. I was really enchanted by the trendy looks of its inner parts especially the complex cases on the dividers. The film wouldn't produce even a large portion of the impact it managed without its brilliantly designed sets and a clear eye for all the details.



 As Marie Antoinette grows up, transforms into a mother and heads to her imaginative retreat at Le Petit Trianon, the style shifts into more naturalistic shades and lighting, simply building up a touch darker and more dismal in the last area of Marie Antoinette's life at Versailles, as the change looms and Marie Antoinette finds the boldness of finally turning into a lady.

One of the poster