Treatment 2

  • Story – The focus of my FMP is around sound. This documentary will be looking at the changes seen and progress made in the production of sound and music in the music and film industries. It will be looking at how the creation and production of sound is moving away from the classical and orchestrated approach and more into the easily accessible computer based technologically composed music. The documentary will be studying this change from the perspective of several different people and hearing their viewpoints on the creation of sound and music and whether the ever growing computer based production of music will eventually kill off the orchestral and classical methods of composing music. Their will be several interviews. I will be studying people who work with sound, hearing their thoughts on certain issues and gaining and insight into how computer based music or ‘film score’ is composed. They may also compose music from scratch and discuss their methods and thoughts behind composing.
  • Why I chose this topic – The reason why I chose to base my documentary all around sound was because for an FMP you should be working on something that you have a keen interest in, otherwise you may lose interest in your project and start to feel like it is dragging on. So I had to think hard about what exactly it is that I could base my documentary around. But in the end I decided that sound was the most realistic and best option because I don’t really have many passionate interests that aren’t towards things things like certain films, shows, games, etc. For me sound is something that I have extreme fun working on, listening to, and analysing. It is present everywhere, you cannot escape it in whatever it is that you are doing. Making a documentary around it would offer me a fun experience and also the chance to learn in depth knowledge about it that I would perhaps otherwise struggle to understand. In the end, I think that I was always going to base the documentary on sound, because I have too bigger interest in the subject area, but also going back to a conversation I had with Matthew from last year’s course, he said that ‘you should make the documentary on something you really love’ and I had definitely established that it was sound that I was going to work on, but from another point of view I knew that I didn’t want to work on something that I didn’t love. I don’t really like operating camera’s and working in teams to do so. This documentary gives me the chance to work on something independently but also if I made the documentary about sound then it would be more useful to me because If I made the documentary about most other subjects then I would be gaining experience in the filming/DP sector. Whereas I don’t really want to gain so much knowledge from something that I don’t have an interest in. And so by making the documentary about sound it means that the documentary is more relevant to me, because I am working on something that is aligned with my interests and goals. I think that by looking at the production of sound and music and how it is changing, the project seems more defined and I have a better understanding of what this FMP is, what I want it to be, the overlaying themes as well as it being more practical from a filming perspective.
  • key themes – The key themes in this FMP are change and time. How the production of sound and music has changed and how it is going to keep changing. Viewpoints will definitely be established and people will place themselves on the spectrum of wether or not computer based sound and music production should keep growing or whether classical and orchestrated sound and music production should always be the best way to create music. Another key theme that hasn’t already been mentioned is a ‘behind the scenes’ kind of feel. Everyone know their favourite songs, but do they know what went on in the production process. This documentary will be giving people an insight into how these composer and musicians create music from scratch.
  • Style – The documentary will borrow styles from several different documentary genre’s. It will borrow features from the expository genre. This is because the documentary will be posing an overall question and in doing so create an argument. Several subjects will be voicing their assertions and viewpoints on the question. The documentary will also borrow features from the participatory genre. This is because their will be a series of interviews. And although I won’t be on screen for them, the questions are quite subjective because I want to find out about the subject’s background, etc as well as hearing their opinion on whether or not sound is overlooked. However the questions will not be leading. I am not trying to force a specific answer out of the subjects. Lastly the poetic genre will also influence this documentary as I mentioned earlier it will be subjective to an extent. The spoken words will merge well with the music and imagery.
  • Target audience – I think that the demographic that this documentary is most catered towards is young people who have a keen interest in music and/or the Film/TV/Game industries. This is because this video is almost a behind the scenes look at how music is produced, exploring the reasons why people have a desire to work with sound and the future of these industries. I won’t really have many people watching it from the typical cinematography perspective as I have already spoken about how that isn’t what my aim is. However some people may find it interesting to see how a documentary about sound is filmed. I think that it will also have a lot of appeal to filmmakers in general because the rest of the documentaries on show will be more about an individual or events. I think people will be interested in it because it is the study of something that is common in everyone’s everyday lives and something that is probably understated in them as well. Overall I think that the documentary will have wide appeal, but a lot of the viewers will be filmmakers themselves. The hard part is figuring out how the documentary starts, because that is crucial to letting the viewers know what they are watching and giving them something interesting right from the off. So if I can nail down the introductory section then I will be more likely to get more viewers and keep interests high.
  • Sound design – In terms of sound design, I may feature one section of the video without any video clips or or imagery. This could potentially be the video’s introduction. This will be a really good chance to make my point and draw viewers in. Music will be key and will be important if I study someone who works with sound. This is because music will be really important in helping to make that section of the documentary feel ‘right’, this may be making it feel upbeat, emotional, or relevant. The music needs to combine with the imagery and dialogue. In terms of music, it will most likely be instrumental music and will probably have a synth kind of feel to it. Their won’t really be too much that I will be wanting to add additional sound effects for. If the person who works with sounds is pressing buttons and such then I will try and record the sound as close to whatever it is that they are doing without interfering. So instead of adding sound effects for what they were doing in the first place, I will just keep the original sound. I may be able to use a track from one of the composer and use it as a soundscape to get the viewers thinking. This could work towards the beginning or end of the video.
  • Distribution – I will definitely distribute the video on vimeo, but their may be other ways to distribute it as well, considering vimeo is all about short films, but mainly from a ‘film’ approach or at least in my opinion anyway. So if I could distribute it somewhere that is more sound based then that would be ideal.
  • Inspiration (detailed reference to two similar documentary films that you have researched and discuss them critically) – I think the first two video’s showcase what it is that I was going for originally as they are good examples of what it is like to follow a sound designer. The two final video’s are definitely along the lines of what it is that I am going for, however not individually. The Martin Garrix video is a good example of the behind the scenes kind of feel of my film, looking at the production process of a pre-existing track. However the Martin Garrix video is only relevant to that specific section of the video because the cinematography is not going to be still for the whole video. The Zack Hemsey video is another good example of someone discussing their pre-existing worka nd breaking it down to explain the song in parts. It is also a good example of someone who works with sound discussing their background with sound and their personal preferences of sound and music. Both the Martin Garrix and Zack Hemsey video’s are good example of people who work with computer based sound/music production as opposed to original recordings or classical composing.

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