The length of the film prescribed a robust slate system in order to mark the hundreds of different camera shots for audio syncing purposes. Therefore we had a meeting with the team to ensure that this system was put into place. Once this system is in place, any issues regarding using the correct performances with the right shots are resolved and can be rest assured that all dialogue will be synchronised efficiently. After marking all camera scenes with a logical incremental numbering system, all shots and audio will be provided a unique ID. Media professional website Pro Video Coalition informs of standard industry practice:
Editors sync sound by finding the first visible frame where the clapper stops moving and lining that up with the first audio frame that contains the sound of the clapper hitting the slate (PVC, 2011).
Following this procedure, we organised that after every location sound session, the audio files were to be named in accordance to the slate ID and then sent the editor of the team for syncing.
Through preliminary meetings with the film team, we were requested to write a lullaby theme tune of which will play a pivotal role in the film. The tune will be sung by the witch to her daughter, Susie and then later by Susie in a mental asylum as she attempts to seek comfort through her predicament.
Danielle and I decided that with the melody being both non-diegetic and diegetic Ie. performed by actors and incorporated through orchestral score; that we would make it the main theme tune for the film. Therefore it was essential that it was right. I drew inspiration through analysis of similar fantasy-style movie soundtracks such as the stylings of Danny Elfman in Tim Burton classics such as Edward Scissorhands, The Nightmare Before Christmas and similar story themes such as Pans Labyrinth, scored by Spanish composer, Javier Navarrette.
Click Hereto listen to Edward Scissorhands theme by Danny Elfman
Notable similarities across the genre seem to resonate an adherence to 3/4 time signatures and melodic minor scales. Therefore to signify the fantasy element, I composed the following melody towards those specifications.
Lullaby (basic melody)
You’ll also notice the choice of utilising the glockenspiel to simulate the sound of a musicbox of which can be associated with notions of childhood as the melody is a lullaby sung to the lead girl, Susie.
Lullaby (Orchestral Version)
After the piece was confirmed by the filmmakers, I began work on a full orchestral version in MIDI. Typical orchestral instruments were utilised to mimic the stylings of Danny Elfman, John Williams etc. For the following piece, I extended the main melody by adding a second phrase (programmed for clarinet) to add length to the theme. The second phrase can then be revisited occasionally in the film to give it a sense of sonic continuity. At this early stage in the process, I can envisage it being used either as music for the title sequence or a scene in the film where the lead girl is dancing under a colourfully lit ballroom of her own imagination. Enjoy.
Unmixed. Instrumentation to be replaced by real instruments.
