Sound Shapes All Characters

Sound is used extensively in filmmaking to enhance presentation, and is distinguished into diegetic and non-diegetic sound: Diegetic sound is heard by both the characters and audience. Also called 'literal sound' or 'actual sound'. Examples include Voices of characters; Sounds made by objects in the story, e.g. Heart beats of a person.

Contents.Basic definitions of terms Aerial shot A shot taken from an airborne device, generally while moving. This technique has gained popularity in recent years due to the popularity and growing availability of drones. The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging shot A shot used to cover a jump in time or place or other discontinuity. Examples are a clock face showing advancing time, falling calendar pages, railroad wheels, newspaper headlines and seasonal changes. The point of view or viewing position adopted by the camera with respect to its subject.

Most common types are. (the camera is higher than its subject). (the camera is lower than its subject)A frame depicting the human head or an object of similar size. Cut An editorial transition signified by the immediate replacement of one shot with another. Cutting between different events occurring simultaneously in different locations.

Especially in narrative filmmaking, cross-cutting is traditionally used to build suspense or to suggest a thematic relationship between two sets of actions. An editorial style that preserves the illusion of undisrupted time and space across editorial transitions (especially cuts). A technique in which objects in the extreme foreground and objects in the extreme background are kept equally in focus. An editorial transition overlapping a fade in and a fade out in such a way that one image gradually disappears while another simultaneously emerges. This transition generally suggest a longer period of narrative elapses than is suggested by cuts. A wheeled cart or similar device upon which a movie camera is mounted to give it smooth, horizontal mobility.

Dollying or Dolly shot A shot in which the camera moves toward or away from its subject while filming. Traditionally dolly shots are filmed from a but the same motion may also be performed with a, etc.

A dolly shot is generally described in terms of 'dollying in' or 'dollying out'. Trucking in and out is also a common synonym. The selection and organization of shots into a series, usually in the interest of creating larger cinematic units.

Adding music is also a great way to make it more cinematic A term referring to 'chunks' of time left out of a narrative, signaled in filmmaking by editorial transitions A shot, often a long shot, usually placed at the beginning of a scene to establish the general location of the specfic action to follow. This shot is also known as an Extreme Long Shot. A type of editorial match involving two, subsequent shots in which shot 1 contains an agent (a person, animal, etc.) gazing in the direction of some unseen, off-screen vision, and shot 2 contains an image presumed by the spectator to be the object of the agent's gaze. Extreme close-up A shot framed so closely as to show only a portion of the face or of some object.

Extreme long shot A shot in which the human figure would be extremely insignificant compared to its surroundings. A panoramic view photographed from a considerable distance and made up essentially of landscape or distant background. Fade in/out An editorial transition in which the image either gradually appears out of ('fade in') or gradually fades into ('fade out') a black screen. An auxiliary light placed to the side of the subject that softens shadows and illuminates areas not lit by the key light (see 'key light'). A scene or sequence inserted into a scene set in the narrative present that images some event set in the past. A scene or sequence inserted into a scene set in the narrative present that images some event set in the future. Focus The optical clarity or precision of an image relative to normal human vision.

Focus in photographic images is usually expressed in terms of depth. Framing The organization of visible phenomena with respect to the boundaries of the image. A piece of filmed, printed text edited into the midst of (i.e. Inter-) the photographed action at various points.

Most commonly used in silent movies to convey elements of dialogue and other commentary. Iris in/out An editorial transition popular during the silent period utilizing a diaphragm placed in front of the lens and which, when opened (iris in) or closed (iris out), functions like a fade in or fade out. A partially opened iris can also be used to focus attention on a detail of the scene in the manner of. An editorial transition between two shots in which the illusion of temporal continuity is radically disrupted. Key light The main light on a subject, usually placed at a 45 degree angle to the camera-subject axis. In high-key lighting, the key light provides all or most of the light in the scene. In low-key lighting, the key light provides much less of the total illumination.

A shot in which the human figure would be relatively insignificant compared to its surroundings. A shot, often a or, which shows all the important action in a scene. In editing, the master can be used to a greater or lesser extent as the 'skeleton' of the edit, which is fleshed out by replacing parts of the master with tighter coverage such as. Match cut One of various editorial devices used to preserve a sense of spatio-temporal integrity or continuity between cuts. Medium close-up A shot depicting the human figure from approximately the chest up. Medium shot A shot depicting the human figure from approximately the waist up. Everything that has been placed in front of or is revealed by the camera while shooting.

Pan A shot in which the camera is made to pivot horizontally left or right (about its vertical axis) while filming. Pans are always described in terms of 'panning left' or 'panning right'. It is incorrect to discuss pans in terms of vertical, 'up'/'down' movement, which is properly called tilting. Point of view shot (Often abbreviated as 'POV'). A shot which shows an image from the specific point of view of a character in the film. A shot employing shallow focus in which the focal distance changes so that the background is gradually brought into focus while the foreground is gradually taken out of focus or visa versa.

Reverse angle In a dialogue scene, a shot of the second participant understood as the opposing or 'reverse' view of the shot showing the first participant. Scene A unit of narration generally composed of a series of shots that takes place in a single location and concerns a central action. Shot. 1.) The image produced by a motion picture camera from the time it begins shooting until the time is stops shooting. 2.) (in an edited film) the uninterrupted record of time and space depicted between editorial transitions.Static Frame The camera focus and angle stay completely still, usually with a locked off tripod, and the scene continues motion.

Not to be confused with a still frame where the scene is also static or frozen. A lightweight, highly-mobile camera transportation and stabilization device developed by inventor / cinematographer which permits hand-held filming with an image steadiness comparable to tracking or dolly shots. The device involves 1.) a vest redistributing the weight of the camera to the hips of the cameraman and, 2.) a spring-loaded arm working to minimize the effects of camera movement. A video tap simultaneously frees the camera operator from the eyepiece, who is then free to travel through any walkable terrain while filming. Story board A series of drawings and captions (sometimes resembling a comic strip) that shows the planned shot divisions and camera movements of the film. Tilt A shot in which the camera is made to pivot vertically up or down (about its horizontal transverse axis) while filming. /traveling shot A shot in which the camera moves alongside or parallel to its subject while filming.

Traditionally tracking shots are filmed while the camera is mounted on a track dolly and rolled on dedicated tracks comparable to railroad tracks, In recent years, however, parallel camera moves performed with a, etc. May also be called a tracking shot. Tracking shots often 'follow' a subject while it is in motion: for instance, a person walking on a sidewalk seen from the perspective of somebody walking on a parallel path several feet away. Shots taken from moving vehicles that run parallel to another moving object are also referred to as tracking or traveling shots. A tracking shot may also be curved, moving around its subject in a semi-circular rotation. A shot in which the frame encompasses two people, typically but not exclusively a medium shot. A type of pan shot in which the camera pans so quickly that the resulting image is badly blurred.

It is sometimes used as an editorial transition and is also known as a swish pan or 'flash pan.' An optical editorial transition in which an image appears to be pushed or 'wiped' to one aside of the screen to make way for the next. A shot taken from a stationary position using a special that magnifies or de-magnifies the center of the image. This creates an illusion that the camera is moving toward or away from its subject by making the subject more or less prominent in the frame.

Not to be confused with dollying in which the camera itself actually physically moves closer to or further away from its subject. Cinematography. for movie history. /. for 3D technical details.Sound Sound is used extensively in filmmaking to enhance presentation, and is distinguished into and non-diegetic sound:. Diegetic sound is heard by both the characters and audience. Also called 'literal sound' or 'actual sound'.

Examples include. Voices of characters;. Sounds made by objects in the story, e.g. Heart beats of a person., represented as coming from instruments in the story space. Basic sound effects, e.g. Dog barking, car passing; as it is in the scene. Music coming from reproduction devices such as record players, radios, tape players etc.

Non-diegetic sound is represented as coming from a source outside the story space, i.e. Its source is neither visible on the screen, nor has been implied to be present in the action. Also called 'non-literal sound' or 'commentary sound'. Examples include:. Narrator's commentary;. Sound effects added for dramatic effect;.

Mood music.Sound effects. Main article:In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point, without the use of dialogue or music. The term often refers to a process, applied to a recording, without necessarily referring to the recording itself. In professional motion picture and television production, the segregations between recordings of dialogue, music, and sound effects can be quite distinct, and it is important to understand that in such contexts, dialogue, and music recordings are never referred to as sound effects, though the processes applied to them, such as or, often are.Techniques in interactive movies. Main article:New techniques currently being developed in, introduce an extra dimension into the experience of viewing movies, by allowing the viewer to change the course of the movie.In traditional linear movies, the author can carefully construct the plot, roles, and characters to achieve a specific effect on the audience., however, introduces non-linearity into the movie, such that the author no longer has complete control over the story, but must now share control with the viewer.

There is an inevitable trade-off between the desire of the viewer for freedom to experience the movie in different ways, and the desire of the author to employ specialized techniques to control the presentation of the story. Is required to create the illusion of freedom for the viewer, while providing familiar, as well as, new cinematic techniques to the author.See also.

The Aurebesh alphabet is the primary seen throughout the franchise.The universe, created by, features dialogue that is not spoken in. The of the franchise, for which the language the words are dubbed or written stand in, is Galactic Basic. Characters often speak languages other than Basic, notably Shyriiwook spoken by, droidspeak spoken by and, and Huttese spoken by.The fictional languages were approached as and developed largely by, sound designer for both the original and prequel trilogy of films.

He created alien dialogue out of the sounds of primarily non-English languages, such as,. This methodology was also used in. Lucas also insisted that written text throughout the films look as dissimilar from the as possible, and were developed.The languages constructed for the films were criticized as not being true, instead relying on creating the simple impression of a fully developed language. The usage of heavily accented English for alien characters was also criticized as contributing to the suggestion of racial stereotypes. Contents.Development Language development was approached as and was handled by, sound designer for both the original and prequel trilogies. He created the alien dialogue out of existing non-English language phrases and their sounds, such as for in the original film and for the character in.

He also used English, as in the original Star Wars where he synthesized originally English dialogue from a film until it sounded alien. Burtt said of the process: 'It usually meant doing some research and finding an existing language or several languages which were exotic and interesting, something that our audience — 99 percent of them — would never understand.' This methodology to create the sound of was carried into production of. Director asked, who lacked a professional background in linguistics but created the series 'What Languages Sound Like to Foreigners' on, to develop alien dialogue spoken by Indonesian actor.

Forsberg was asked to listen to 'Euro-Asian languages', and she drew from, and other Asian languages as well as and, Ruhian's. She also listened to languages she did not understand to better structure the words and sentences to sound believable.During production of the prequel trilogy, Lucas insisted that written text throughout the films look as dissimilar from the as possible and strongly opposed English-looking characters in screens and signage.

In developing typefaces for use in, including Mandalorian and Geonosian scripts, graphic artist Philip Metschan created alphabets that did not have twenty-six letters like the English alphabet. Galactic Basic Galactic Basic, often simply Basic, is the of the Star Wars universe, for which the language in which the works are dubbed or written acts as a stand-in. Accents Lucas intended to balance and between the heroes and villains of the original film so that each side had each. He also strove to keep accents 'very neutral', noting 's and 's and his guidance to to speak in an American accent.

In critical commentary on, Patricia Williams of felt there was a correlation between accent and social class, noting that speak with 'crisp British accents' while the 'graceful conquered women of the ' and 'white slaves' such as and 'speak with the brusque, determined innocence of middle-class Americans'.To decide on the sound of, a character portrayed by, Lucas and listened to actors from different countries reading Carson's lines. Eventually, they chose a heavily -accented English, and Carson rerecorded the dialogue to mimic the Thai actor's accent. Gunray's accent was described by critics to be 'Hollywood ' that contributed to criticism of Gunray as an Asian stereotype. 's accent was similarly criticized as lending to and connotations. Non-standard Basic.

'When gone am I, the last of the Jedi will you be.' —an example of Yoda's 'unusual' word order fromcharacteristically speaks a non-standard of Basic, primarily constructing sentences in word order rare in natural languages. This sentence construction is cited as a 'clever device for making him seem very alien' and characterizes his dialogue as 'vaguely riddle-like, which adds to his mystique'. This tendency is noted to be written for an English-speaking audience; the word order is retained in subtitles, where it is grammatical but unusual and emphatic, and Yoda's dialogue is in word order in dubs.characters, notably, speak in a heavily accented Basic critics described as a 'Caribbean-flavored ', 'a pidgin mush of, Caribbean and African-American linguistic styles', 'very like, albeit a notably reductive, even infantilized sort', and suggestive of stereotypical.

This was cited as a trait that led to criticism of the Gungan species as a racially offensive stereotype. Aurebesh Aurebesh is a used to represent spoken Galactic Basic and is the most commonly seen form of in the Star Wars franchise.The alphabet was based on shapes designed by for the original trilogy, which are briefly featured in screen displays in Return of the Jedi. Johnston's design, called Star Wars 76, was created into a and again used in Attack of the Clones by Metschan, who incorporated the font alongside the later Aurebesh version used in the spin-off products.In the early 1990s, Stephen Crane, art director at, became intrigued with the shapes as they appeared on the. He sought to develop them into an alphabet to be used in West End Games' licensed Star Wars products, primarily to allow players to render their characters' names, and received permission from to do so as long as it was presented as one of many alphabets in the Star Wars galaxy, not the sole and exclusive alphabet. After copying the letters from screenshots by hand, he standardized the letters based on shapes similar to the font.

He named and assigned a value to each letter, and derived the name 'Aurebesh' from the names of the first two letters: aurek and besh. Once Crane completed the alphabet, Lucasfilm requested a copy to distribute to other licensees.In anticipation of the December 2015 release of The Force Awakens, added a feature to render text into Aurebesh in November 2015. Other languages Dathomiri With only some samples of archaic speech found in Season 3 of, Dathomiri is spoken primarily by the Bakura species., a Witch of Dathomir, associated with the is found speaking this while exorcising Darth Maul on Dathomir.This unidentified language first appeared in April 1994 in Dave Wolverton's, when the young Teneniel Djo unleashes a Spell of Storm on Luke Skywalker and Prince Isolder of Hapes. Through retroactive continuity, though, the first real appearance of this language might be in the 1985 made-for-TV film.

In this story, the witch Charal—who was later retconned into a Nightsister—was seen incanting over a crystal oscillator.Droidspeak Droidspeak is a language consisting of beeps and other synthesized sounds used by some characters, such as. Burtt created R2-D2's dialogue in the original Star Wars with an and by processing his own vocalizations via other effects. In The Force Awakens, BB-8's dialogue was created by manipulating the voices of and with a running through a sound effects application on an. Although droidspeak is generally unintelligible to the viewing audience, it appears to be understood by characters such as.Ewokese The of the forest moon of speak a 'primitive dialect' of one of the more than six million other forms of communication that is familiar with. Ben Burtt, ’s sound designer, created the Ewok language.On the commentary track for the DVD of Return of the Jedi, Burtt identified the language that he heard in the BBC documentary as, a tongue spoken by the isolated nomadic.

He describes how, after some research, he identified an 80-year-old Kalmyk. He recorded her telling folk stories in her native language, and then used the recordings as a basis for sounds that became the Ewok language and were performed by voice actors who imitated the old woman's voice in different styles.

For the scene in which C-3PO speaks Ewokese, actor worked with Burtt and invented words, based on the Kalmyk recordings.Marcia Calkovsky of Lethbridge University maintains that Tibetan language contributed to Ewok speech along with Kalmyk, starting the story from attempts to use language samples of Native Americans and later turning to nine Tibetan women living in San Francisco area, as well as one Kalmyk woman. The story of the choice of these languages is referenced to Burtt's 1989 telephone interview, and many of the used Tibetan phrases translated. The initial prayer Ewoks address to C-3PO is actually the beginning part of Tibetan Buddhist prayer for the benefit of all sentient beings, or so called, but also there is a second (out of four) part of the. People of the were puzzled as many of the phrases they could make out did not correlate to events on screen.Greedo's dialogue In the original Star Wars film, speaks an unspecified alien language, which is understood.

Bruce Mannheim described Greedo as speaking 'morphologically well-formed' phrases of, though the sentence is ultimately meaningless. Allen Sonnefrank, a Quechua speaker and student at, claimed contacted him to record Quecha dialogue for the film. Because he was told the dialogue was to be played backward for the film, Sonnefrank refused to record the dialogue, feeling it to be a 'potentially exploitative move best made by one whose first language was Quechua, if at all'.

'Jabba's alphabet' from a Star Wars-themed box.Another in the Star Wars Universe that is spoken by many groups and species is, spoken on, and other worlds in and around the Hutt Space (this is the name of the zone, in the galactic West, which is illegally controlled by the Hutts and, in the continuity, covers the dominions of the former Hutt Empire). It is spoken in the films by both non-humans (, and others) and humans. In fact, the whole communicates and sings in Huttese. Its phonology is said to be based on the.Many Huttese alphabets are featured through the franchise (most notably Boonta alphabet and Nal Huttese), but the one considered 'canonical' by fans is the one found on promotional boxes. Jawaese and Jawa trade language The, also found on Tatooine, speak in a high-pitched, squeaky voice. To speak to others of their species along with the voice they emit a smell showing their emotions.

When trading droids and dealing with non-Jawas they speak without the smell because many consider the smell 'foul'. A famous exclamation in Jawaese is 'Utinni!' , as screamed by a Jawa to the others in, shortly after blasting R2-D2.Mando'a. The Mandalorian script was created for displays in.A written form of the language was developed by Metschan for the display screens of 's ship in Attack of the Clones, and it was later reused in. Composer Jesse Harlin, needing lyrics for the choral work he wanted for the 2005 video game, invented a spoken form, intending it to be an ancient language. It was named ' Mando'a' and extensively expanded by, author of the.Mando'a is characterized as a primarily spoken, that lacks in its nouns and pronouns. The language is also characterized as lacking a, instead primarily speaking in.

It is also described as having three —, and —but it is said to be often vague and its speakers typically do not use tenses other than the present. The language is described as having a dialect called 'Concordian' spoken on the planet Concord Dawn, as stated in Traviss's novels Order 66 and 501st, and a dialect spoken on Mandalore's moon Concordia is heard in 'The Mandalore Plot', a season two episode of The Clone Wars. Sith The Sith language, intended to be spoken by characters, was created by Ben Grossblatt for the Book of Sith, published in February 2012. Development on the language and accompanying writing system began in November 2010.

Grossblatt sought to create a pronounceable language that was not 'cartoonish' and 'would conform to the patterns of principles of human language. Sky children of light ending. He felt that it needed to 'feel martial and mystical' and be a 'suitable, aesthetically-pleasing vehicle for communication'.

He characterized the sound of the language as 'tough—but not barbarous' and as 'conveying a kind of confident, elegant cruelty'. To achieve 'formal, quasi-military' and 'imposing, undeniable' qualities, he preferred, creating brisk and choppy words, and constructed the language as. Shyriiwook Shyriiwook, also known as Wookieespeak, is a language consisting largely of roars and growls spoken by characters, notably. Non-Wookiee characters are capable of understanding Shyriiwook, such as Chewbacca's friend.

Chewbacca's dialogue was created from recordings of, bears, and from Burtt's personal sound library. One of the most prominent elements was an living in the in.

These sounds were in different ratios to create different roars. Tusken Raiders The of, according to the video game Knights of the Old Republic, speak a language of their own; it is difficult for non-Tuskens to understand this language. In the game, a droid named assists the player in communicating with the Tusken Raiders. In the novelizations Junior Jedi Knights and New Jedi Order series, it is revealed that Jedi Knight Tahiri Veila was raised by the Tusken Raiders after they captured her in a raid. Generally, they utter roars and battle cries when seen in public.Ubese Ubese is a language heard in Return of the Jedi during a scene where a disguised bargains with Jabba the Hutt through translator C-3PO. Leia repeats the same Ubese phrase three times, translated differently in subtitles and by C-3PO each time., linguist and creator of constructed languages, cited his attempt as a young fan to reconcile this apparent impossibility as an example of how even casual fans may notice errors in fictional constructed languages. He characterized Ubese as a 'sketch' of a language rather than a fully developed language and categorized it as a 'fake language' intended to 'give the impression of a real language in some context without actually being a real language'.

Ultimately, he criticized Ubese as 'poorly constructed and not worthy of serious consideration'. Critical commentary labeled the method of language construction in Star Wars 'a far cry' from that of constructed languages like, and, and he described the use of language as 'never amounting to more than a sonic '.Jim Wilce summarized analyses of language in Star Wars conducted through the Society for Linguistic Anthropology's. David Samuels described the approach to language as instrumental and compared the films to a convention, in which 'there are no untranslatable phrases, and everyone can understand everyone else', and pointed out that the 'idea that the Force is something that would be understood differently in the context of different grammars is never broached'. Hal Schiffmann made five observations about language in Star Wars: all humans speak English and no other real-world language, there is 'mutual ' in which characters speaking different languages understand one another, non-human creatures may have their own languages but are translated by C-3PO, certain non-English vocalizations serve to confuse or amuse the audience rather than serve as language, even non-English speaking characters are expected to understand English. Zimmer supported Schiffmann's claim that untranslated alien languages are not representations of real languages by pointing to the film's script, which describes the language of the Jawas as 'a queer, unintelligible language' and that of the Tusken Raiders as 'a coarse, barbaric language'. Wilce also pointed out discussion on the usage of real non-English to create the ' of characters such as Jabba the Hutt, Greedo, and the Ewoks.

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You even have trouble using anything but the present tense. (May 19, 2009). Star Wars Republic Commando: Order 66 (Reprint ed.). It wasn’t Mando’a, but it was close enough for any Mandalorian to understand. (October 27, 2009). In Concordian, the Concord Dawn dialect of Mando’a, the phrase—brother, sister—sounded very similar.

(January 29, 2010). 'The Mandalore Plot'. Event occurs at 7:57. He was speaking in the dialect they use on Concordia, our moon. Grossblatt, Ben (June 2012). 'Speak Like a Sith'.

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