Academic literature on the topic 'Film scoring'

Making music for a film can be said to be quite challenging for some people with the necessity that music can evoke the atmosphere in the film. Determination and placement of audio aspects into visual form are things done in the music scoring process. Of course, it will be very inconvenient and inefficient when making music must be through recording instruments manually through the studio. As technology develops in the world of music production, making music for films can now be made using only a computer. This can happen thanks to the Digital Audio Workstation (DAW) software. Nowadays, various types of DAW are emerging, including one that is quite well known, Fruity Loops Studio or commonly called FL Studio. This study aims to find out how the music scoring process for a film using FL Studio, as a reference for making music for films.

ABSTRAKFilm scoring merupakan pembuatan musik untuk mengiringi gambar visual dalam film. Dalam pembuatan film scoring sangat dibutuhkan pengetahuan tentang musik, hal ini dikarekan film scoring memiliki tujuan untuk menciptakan emosi penonton agar dapat memahami film yang ditonton. Instrumen musik merupakan elemen musikal yang mendukung terciptanya emosi penonton. Penelitian ini memiliki tujuan meningkatkan hasil belajar mahasiswa Program Studi D-3 Animasi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta pada pembuatan Film Scoring dengan strategi pembelajaran menggunakan sampling suara isntrumen musik. Untuk mengetahui peningkatan hasil belajar mahasiswa, maka digunakan penelitian tindak kelas dengan tiga siklus. Indikator keberhasilan hasil belajar mahasiswa didapat dari nilai dalam tugas membuat film scoring. Hasil penelitian menunjukkan bahwa terjadi peningkatan hasil belajar mahasiswa pada akhir siklus ketiga dari PTK dengan menggunakan strategi pembelajaran sampling suara instrumen musik. Hasil belajar mahasiswa ini ditunjukan dengan jumlah mahasiswa yang mendapat nilai amat baik dan baik yaitu sekitar 93,75% dari 16 mahasiswa. Berdasarkan hasil tersebut, maka dapat disimpulkan bahwa penggunaan strategi sampling suara instrumen musik meningkatkan hasil belajar mahasiswa pada pembuatan film scoring. Film scoring is music written specifically to accompany a movie. The knowledge about music plays an important role in the making of film scoring. The purpose of film scoring is evoking audience’s emotion so they will understand the film message. Musical instrument is musical element that create audience’s emotion while watching film. This research aims to enhance student learning outcomes at Animation Study Program, Faculty of Media and Recorded Arts, Indonesia Institute of the Arts Yogyakarta in making film scoring with using sampling musical instrument as learning strategy. This research is classroom action research with three cycles. The indicator of student learning outcomes gathering from number of students who got an excellent and good marking in making film scoring. The results show 93,75% students or 15 out of 16 students got an excellent and good marking in making film scoring. According to the result of this study, it was concluded that the strategy of using sampling musical instrument can improve student learning outcome in making film scoring.

The spread of TV movies has brought free participation in film reviews. Movies have brought freedom of time and space for comments. You can publish your own comments at any time without time restrictions. You can publish comments on forums, blogs, vote, and various websites, film companies, and even individuals to hold special online film competitions or film review activities. With the gradual maturity of film types, a series of subtypes such as artificial intelligence, interstellar civilization, and alien species have been derived. These contents have different emphases on type characteristics and narrative characteristics, although the subtypes of films have some common characteristics in essence. Based on artificial intelligence, this paper studies the scoring analysis and communication efficiency of TV and film. By adjusting the recommendation through user feedback, the average absolute error has been improved by 18% and the accuracy has been improved by 24%. Moreover, through four rounds of feedback, the accuracy of online computing recommendation for new users is very close to that for old users. This shows the superiority of artificial intelligence algorithm in solving the problems of cold start and complex interest recommendation. It can be predicted that artificial intelligence will become a unique cultural phenomenon. Its cultural connotation is all inclusive and worthy of continuous research and exploration by future generations. Artificial intelligence appears more and more frequently in science fiction films and presents more rich and detailed diversity and complexity.

In trying to clarify the effect of molybdenum disulfide film on the scoring resistance and the wear characteristics of gears, various tests on balls and gears coated with MoS2 film have been run. From the test results obtained with a four-ball machine and a power-circulating gear machine it was found that the effect of the MoS2 film was small on the seizure load of the balls. In contrast, the effect of the MoS2 film on the scoring resistance of the gears was significant, and the development of the gears of which the load-carrying capacity against scoring is considerably large could be made.

Native Instrument Kontakt adalah software simulasi instrument atau sound effect yang biasa digunakan dalam menciptakan bunyi-bunyian , music dan scoring film . Suara pada software ini relative real seperti suara aslinya karena proses capturing-nya menggunakan instrument asli (analog) yang sudah ada . Target penggunanya adalah Composer & Sound Designer yang ingin bekerja cepat dan mendapat- kan hasil yang maksimal. Selain itu software ini sangat membantu ketika film yang akan di garap musiknya merupakan film low budget.
 Key words : simulasi , capturing instrument , software , composing , real audio , sequencer , midi.

AbstractIn many histories of American film music, Max Steiner's score forKing Kong(1933) marks a new era by establishing norms in original, symphonic underscoring that would dominate Hollywood for decades.Kong's reign, however, eclipses diverse approaches to underscoring practiced at studios before and after its release. In this study, I compare the methods of Max Steiner at RKO and Nathaniel Finston at Paramount to show how both influenced film music implementation and discourse in the years leading up toKong. Steeped in the practices of silent cinema, Finston championed collaborative scoring and the use of preexistent music in films likeFighting Caravans(1931). Steiner preferred to compose alone and placed music strategically to delineate narrative space in films, as inSymphony of Six Million(1932), a technique he adapted for mediating exotic encounters in island adventure films precedingKong. Although press accounts and production materials show that Steiner and Finston's methods proved resilient in subsequent years,Kong's canonic status has marginalized Finston's role and threatens to misdirect appraisals of Steiner's other work. Considering Finston's practices at Paramount alongside Steiner's pre-Kongscores at RKO illuminates the limitations of using onlyKongas a model, and shows that Finston's perspective on film scoring in the early 1930s provides a corrective balance for understanding film musicians’ work before and afterKong.

Anticipated by many, and equally a site of contention or reverence, Black Panther and its accompanying original musical score as composed by Ludwig Gõrranson is rife for analysis and brings to fore the question: in what ways is a Hollywood practice used in a film with seemingly other aesthetic aims? A score which features few disparate and disconnected vague references to an "African sound" for the imagined country of Wakanda is undercut even more so by the insistent use of an otherwise purely western orchestral score. Firstly, through a brief overview of Goransson's production approaches to the score for Black Panther, and his collaboration with local experts, this article argues for a more nuanced understanding of authorship arising from such collaborations between these expert improvising music and film composers who tend to be the sole credited composers. Furthermore, musical representations are complicated by the recurring theme of the "other" according to Classical Hollywood tropes through the integration of occasional African instruments. In section two, brief transcriptions of the music composed for the character Killmonger are provided, in the search for representation devices - how the music works to or fails to establish the character. Also provided are the authors' personal insights as to whether or not Gõransson's intentions with the music are in fact evident in the film.