Home Movies (1954)

the music of the second scene starts with the beginning of a musical phrase at the cut between scenes. Or, at the cut between scenes, make a fast (1/2 to 1 second) lap dissolve of the music. The starting phrase of the second musical strain should begin at the point where the lap dissolve is full in. If there is a pictorial fade out and fade in or a lap disolve between the two scenes, either of the above examples may be used, making the beginning of the second musical strain come at a point where the pictorial fade in or lap dissolve is nearly full in. Where scenes are of contrasting character with a direct cut from a scene of light character to a scene of heavy character and the second scene begins with action, cut in the contrasting music of the second scene (at the beginning of a musical phrase, as usual) at the cut between scenes without regard to a musical ending for the first scene music. If the action of the second scene is not introduced until two or three seconds after the cut, the music of the first scene can carry over into the second scene, starting to fade down at the cut. Then the contrasting music of the second scene cuts in at full (desired) volume at the appropriate action. Where there is a lap dissolve or fade out and fade in between scenes, and action occurs at the beginning of the second scene, carry the music of the first scene ilno the second scene, cutting in the music of the second scene at full (required) volume at the point where the fade in or lap dissolve is full in. If action is delayed two or three seconds, start to fade down music at about the middle of the fade or dissolve in and cut in the music of the second scene at the appropriate action. If the action of the second scene is delayed four to six seconds, fade out the music carried over from the first scene (at the end of a musical phrase) so that there will be two or three seconds of silence before the music of the second scene is cut in at required volume. Where the contrast in scenes go from heavy to a lighter character, the heavier music of the first scene should end with the ending of a musical phrase (a sustained chord is desirable), and should be faded down (not out) to make a direct connection with the lighter music of the second scene. Connections at a fade out and in or a lap dissolve should be made at about the middle of the fade in. Unless the pictorial situation definitely dictates such a treatment, never play the 'grand finale' ending found at the end of many musical works. Such endings have such a final and 'that's all' character that they have an obstrusive, incongruous, and distracting effect when they occur at in appropriate places within the body of the picture. Don't try to 'Mickey Mouse' your musical score. Such treatment is seldom required and unless it is handled expertly, the score usually turns out to be a hodgepodge of musical effects as completely disturbing as a hodgepodge of pictorial material. Don't overscore your picture. Many times silence is golden. Silence often provides the opportunity to introduce contrasts by utilizing natural sounds in place of the usual musical underscoring; such as, sounds of the surf, laughter and hilarity of children at play (not necessarily synchronized), the sounds of a brook, stream, or waterfall, or the songs of birds in a woodland scene. These sounds provide a freshness and realism to your score that cannot be done as effectively by music. In addition, a feeling of new character is provided when music is again introduced. It is not necessary (and many times undesirable) to have musical scoring under light dialogue. Where the dialogue is dramatic, harmonic types of dramatic music can be used to advantage to amplify the dramatic mood. Fast melodic music is lost when used to underscore dialogue or commentary. If the music is to be effective it must be loud enough for the melody to be heard which, in turn, kills the dialogue. If the music is played soft enough to permit the dialogue to be heard, the effectiveness of the music is lost. If pictorial situations warrant some such treatment, choose music that embodies harmonic movement that can sustain the character without the necessity of recognizable melody. Don't 'submerge' your picture in music with excessive volume. Remember, your picture is (or should be) the object of interest. True, the music is (or should be) an important and integral part of your picture, but it should not overpower the picture any more than the accompanist should overpower the soloist. In applying music of neutral character, select music that has a logical and believable fitness to the scene. Just any 'pretty' music may not be the choice for a specific scene. Think! What is the story (character or feeling) that you want this scene to impart. Then choose music that will help tell that particular story. Just as emphasis and import is achieved by cutting in music of extreme contrast at a cut between scenes, emphasis and dramatic effect is achieved when this same technique is used within a scene. Sudden 'impact' effects of short duration, such as a loud dissonant chord or a sound effect, can be superimposed over a mu • See Next Page Hot off the Press! Our new exclusive brochure "PARADE OF MODELS". Exciting, thrilling home entertainment in MOVIES, PHOTOS & COLOR SLIDES. Don't delay! 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