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    The other scene that struck me was when Weisz walks through the passageway and comes upon Emma Stone in bed. You can feel her stalking through the darkness and it works so well visually and sonically. Johnnie Burn: I’m glad you liked it because we did some work there. Before that, the Queen’s having her legs massaged, and we almost comedically use the winds to accent the music. When you cut to Rachel, she’s geographically and philosophically distanced, and we cut in a very cold wind. It sets up a different atmosphere for her scenes, and that really helped. She then floats down the corridor and the wind becomes a pure note.When you see Abigail in bed with the Queen, the outgoing music is in a minor chord. However, the next piece comes in on a major chord. There’s only a four second gap between the music. When the gap is that small but musical change is that big, you register it as a major piece of discordance. So we used modulated the wind from the corridor through changing the frequency, and it actually completes the key change. All the supporting atmospheres are working musically to support what you’re watching on the screen. It was a really fun bit to do. It is fun to alter the sound effects and design to help alter the interpretation of the image.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    What were some of the strategies you used in scaring the audience versus shocking them using sound in the film? Gary Rydstrom :There are two ways of going at it; it's the old Alfred Hitchcock story about the bomb under the table. You can shoot the scene two ways, either show the bomb and get the audience to worry about it for a long time before it explodes or don't show the audience the bomb and when it explodes, it's a real shock. It's the same thing with the sound. You either have the simple shock moments like a loud pop in a fireplace. It is the simplest trick in the book. It is simply a real fireplace pop played very loud. With a change in levels, you sneak into it. Everything is meant to get almost whispery and then the POP! has a real shock. On the other hand, there are moments when you just get a sense of something being off, and it evolves into that scary and suspenseful moment. When Nell saw something in the fireplace, it ultimately turned into a big shock with the lion flue coming out and banging into the screen. But during the time leading up to that moment, there were tiny little wind wisps in the fireplace ... but those could also be someone breathing and moving the chains back and forth in the fireplace. The sound builds with suspense to the shock of the lion head coming out. Those moments extend the creepiness a lot longer. The movie is full of examples of both. To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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