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bondo

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  1. Haha
    bondo reacted to crumbs in Alan Silvestri's THE WITCHES (2020)   
    RLM predicted the future, again.
     
     
  2. Like
    bondo reacted to gkgyver in Junkie XL's JUSTICE LEAGUE (2021)   
    Film music went from "Why can't scores always get complete releases, this is awesome" to "Dear Lord Jesus, a 4 hour complete score, make it STOP!" 
     
    Fucking pathetic. 
  3. Thanks
    bondo reacted to TSMefford in Justice League movie thread   
    Here I am @rough cut. You probably expected I'd come. Let's just hope I'm not too late. XD
     
    This is an interesting discussion in how shot composition effects different people psychologically for sure.
     
    While you see these shots as narrow-looking and cramped, I actually feel like they feel further away and have more room to breath. I made sure to say further away and not wider, because they are the same width technically speaking.
     
    It sounds like what you would've wanted is for Snyder to take the new 4:3 framing, which is all the picture that physically exists, and have shot that same vertical space but in 16:9 so the shots are all even wider. The main issue here, like I mentioned in our previous interactions on this topic is: Justice League was shot with both ratios in mind for Snyder. Whedon only shot 16:9. In Snyder's case, some shots look a bit better in 16:9 but there's just as many shots that look better in 4:3 to me.
     
    Brief information tangent that is not based on opinion at all and not necessarily directed at you rough cut. I just find this interesting: I am coming to find out that double composition is actually quite common these days considering all the difference in formats and releases. Alita: Battle Angel is another example of double shot composition. Take a look at the camera monitor:

     
    There's a more 16:9 frame and inside of that is the 2.39:1 framing. Outside of all of that is the rest of the film negative. Snyder opened up the picture to his entire film negative. As far as if he planned this from the beginning. It does appear that, yes, this version of the movie was always part of the plan in some way. Check out this VFX shot in progress. This is sourced from a featurette on the 2017 Blu-Ray. Years ago:

     
    Here's a less good Snyder example. If you look closely, you can see the camera monitor has two sets of guides on it. One that is a square 4:3 guide (which also borders the whole frame) and the other is a 16:9 guide:

     
    Whedon, on the other hand, shot the reshoots digitally to save money, and only in 16:9. See here, again from the 2017 Blu-Ray. Note that the guidelines and shot fill the entire frame and is everything the monitor is seeing. I assume this is how rough cut wishes most films were shot (please correct me if I am incorrect):

     
     
    Here's my experience:
    As I expected, when watching the film I honestly forgot it was in 4:3 within 15 minutes. It felt perfectly natural and looked fine to me and even great during many moments. The comparison you linked is a bit old since it only had trailers to work with, but all of those shots look fine to me in 4:3. They all look more open to me because they are. But there are some of those shots I have the opposite effect with, where the 16:9 looks closer and squished. This shot for example:
     

     
    Superman is not even properly framed in the 16:9. They could not fit the top of head in properly without cutting off his S logo. He looks cramped in 16:9 in this comparison, but that's because he is. 
     
     
    Your argument that opening up the top and bottom, versus leaving it as cropped 16:9, does not reveal any essential information and therefore is pointless can be flipped to the other direction. If what I'm understanding that you wish Snyder had done: leave the 4:3 frame as vertical as it is, but have shot only in 16:9 and therefore have opened up the sides is correct, then what would you have gained from having the sides opened up? Any essential visual information? I'd guess probably not. I suppose you also could be saying you would've preferred it if every shot was composed specifically for 16:9 and therefore everything on the sides would be "essential" as well, but that is a moot point, because again, the 4:3 is the full picture. The 16:9 is cropped. So, we only have the full size image or a cropped image to compare, and since you're cropping it in, the 16:9 will by default look more cramped in many cases.
     
    What I'm hearing, again, seems to be a difference of opinions here. You don't seem to like square or vertical framing at all, is that right? For me, it all depends on the subject. If we have a shot of Superman flying straight up into the sky, then that would look the most pleasing as a vertical frame, perhaps even the ratio of a film poster. But if you're shooting a skyline as the main subject, yeah that would look better "widescreen", but I can't pick both when I shoot a movie and constantly change ratios. I have to pick one and can't just shift my aspect ratio around for every shot.
     
    My point is: 4:3 by default is not a bad ratio. It still seems that your driving motivation for wanting 16:9 is that that is the size of your TV. If your set was still 4:3 though, I don't think you'd feel as passionately about it. It's all just an arbitrary thing that was selected and decided upon as a compromise for presenting most aspect ratios. 
     
    I will concede that some shots above do look more properly suited to the 16:9 framing without also looking cramped. I don't want to bog down with more images, but typically they're shots where the team is lined up or a close-up where in 4:3 a character seems to have too have much headroom. However, give me some time and I can come back with just as many shots from the final film that are perfectly framed in 4:3 and would not be as good in 16:9.
     
    In the meantime, I'll leave everyone with another little nugget. Turns out. This film now has 4 approved ratios: Snyder's 4:3, Snyder's 16:9, Whedon's 16:9 (he does change the framing from Snyder's several times), AND a 2.39:1. Behold, the same identical frame, all shown in 4:3 to show the full frame vs the cropping done:

     
    In order: Snyder's 4:3 ratio (Official HBO Trailer), Snyder's 16:9 ratio (Official 2017 Trailer), Whedon's 16:9 ratio (2017 Release), and...WB's? 2.39:1 (Official Virtual Reality Experience trailer)
     
    Good grief!
     
     
    Got quite a chuckle out of this. XD
  4. Thanks
    bondo reacted to Edmilson in Justice League movie thread   
  5. Confused
    bondo got a reaction from crumbs in Junkie XL's JUSTICE LEAGUE (2021)   
    It's literally not. Snyder was unceremoniously fired and then Joss came in and shot a bunch of close-ups with blurry footage and matched it with Snyder's action scenes and scored it hastily with Elfman using wildly terrible themes. This is Snyder's film, and Joss's is about to be destroyed forever. 1 weeks and counting...
  6. Surprised
    bondo got a reaction from bruce marshall in Junkie XL's JUSTICE LEAGUE (2021)   
    It's literally not. Snyder was unceremoniously fired and then Joss came in and shot a bunch of close-ups with blurry footage and matched it with Snyder's action scenes and scored it hastily with Elfman using wildly terrible themes. This is Snyder's film, and Joss's is about to be destroyed forever. 1 weeks and counting...
  7. Angry
    bondo got a reaction from bruce marshall in Junkie XL's JUSTICE LEAGUE (2021)   
    JXL confirmed vinyl.... not sure about CD
  8. Like
    bondo reacted to Edmilson in Justice League movie thread   
  9. Like
    bondo reacted to TSMefford in Junkie XL's JUSTICE LEAGUE (2021)   
    In a new interview with I Minutmen it's revealed that if Snyder's Justice League ever hits theaters, it will include a 10-minute musical intermission featuring a suite of Junkie XL's score. It's unclear if this would be different than the music that would appear in the credits. https://www.cbr.com/zack-snyder-justice-league-intermission/
     
     
    Here's the clip of Snyder talking about this and playing a couple excerpts from the suite on his phone:
     
    He also reiterates the he thinks the score will be "available on iTunes" with "like 4 hours of music"
     
    Also appears that there may be more cues released beforehand, but he may have also just been referring to the single "The Crew at Warpower" release.
  10. Like
    bondo reacted to TheUlyssesian in Junkie XL's JUSTICE LEAGUE (2021)   
    Junkie XL's Score for Snyder Cut - Score Preview - 
     
     
    The OST is apparently 4 hours long.
     
    He had written a lot of the score before he was fired along with Snyder. Snyder said in a recent interview, some of the music originally written for JL got used in other movies, so Junkie XL had to start from scratch in some cases and in others he could re-use what he had written in 2016-2017.
     
    Starting from 3:51 is the main theme - 
     
     
    For what its worth, its a reasonably decent theme - memorable to me at least. Snyder used it in one of the teasers and I was able to immediately recognize it.
  11. Like
    bondo reacted to Gruesome Son of a Bitch in Joe Kraemer: “I haven’t scored a single mainstream Hollywood movie since ‘Rogue Nation’”   
    Who the hell is Nadia? Christ, you people need to get jobs and get off Tweeter.
  12. Like
    bondo got a reaction from Yavar Moradi in THE ORVILLE - Music Discussion (Kevin Kaska joins season 3)   
    Why is a minute and a half of "Prisoners of the Kaylon" from IDENTITY edited out?? It's one of the biggest cues in the series and it was highlighted by Debney himself on his Facebook last year. Upon rewatch, at least a minute and a half was removed from this version. I understand that CD space is a commodity, but that's the absolute last cue I'd chop up. The cue as heard in it's entirety in the show is a 5+ min rollercoaster
  13. Like
    bondo reacted to Edmilson in The mystery of the Quidditch scene on Chamber of Secrets - Here's my theory!   
    Chamber of Secrets is probably the most controversial Williams score of this century. For years, the mystery remains: did Ross scored anything? Did he write just 40 minutes of music? And also: why does the quidditch music sounds so much like Attack of the Clones?
     
    I'd like to focus my theory precisely on the quidditch music. Short version: it wasn't Williams or Ross wanting to cut corners and just put Clones music on the sequence. There was an original score written for that sequence, and Williams wrote it.
     
    Anyway, as you can conclude from Holko's brilliant analysys on this thread, the music as recorded and heard on CoS is divided into four categories:
     
    Philosopher's Stone music rerecorded to fit the new movie. Eg: The Transformation Class, which underscores McGonagall telling the kids about the Chamber with variations on the 3NL. Music adapted from Williams' concert suites written for CoS. Eg: Introducing Dobby. Philosopher's Stone music just plain tracked for the new movie. And some setpieces that, given their importance on the movie, Williams actually scored normally. Eg: the flying car, escaping the spiders, battle with the basilisk.  
    For the quidditch scene, I believe that music heard on that sequence belongs to the 1 and 4 categories. Let's take a look at it!
     
    That setpiece is scored with four cues:
     
    4M1 Pt. 1 Quidditch Stadium
    4M1 Pt. 2 Bludger Attack
    4M1 Pt. 3 Chasing the Snitch
    4M1 Pt. 4 Harry Chases the Snitch
     
    Parts 1, 2 and 4 are composed mostly of music from the Quidditch scene on the first movie, that Ross adapted to fit the sequence on Chamber. So far so good, the problem is on the part 3, as you all know, with its blatant lift from the Zam Chase. 
     
    But I do believe that this cue isn't exactly an intentional adaptation of the Clones material. Anyone with the sessions leak on hands can listen that the Zam music on CoS is just that infamous motif on the flutes followed by some brass and cymbals, and that is played on Chasing the Snitch only from 0:15 to 0:26 and from 0:59 to 1:32. So, 44 seconds of Zam on Chasing the Snitch, which is considerable, but that is not even half of the cue, which is 123 minutes long. So, if this was Williams or Ross just adapting Attack of the Clones to fit the new movie, where did they took those others 79 seconds of music from?
     
    Yeah, sure, someone will argue that the beginning of the cue is also adapted from 3m11 The Race Begins from The Phantom Menace, but while I still admit that there are similarities between the two, I don't think that's an exact copy.
     
    For me, the explanation is very simple: Williams just pulled a James Horner. We all know Horner was infamous for reusing his own compositions from previous movies (I still didn't forgive him putting Braveheart on stuff like Bicentennial Mind or Bobby Jones - Stroke of a Genius, although I read somewhere that the last one was by request of the director), and although Williams doesn't even approach the Horner extremes, he also had his moments of repeating his previous material - like Talk of Podracing and Finn's Confession, The Intersection Scene and The City of Gold, The Immolation Scene and The Coming of War...
     
    And you know what? I'm fine with it. I don't blame Williams for repeating himself. The man must have written hours and hours of material since the beginning of his career, it was inevitable that some of which would sound similar.
     
    Back to the quidditch scene, here's how I imagine that came to be: on the spotting sessions, he, Columbus, Ross and the rest of the music team decided that, given Williams commitments with Spielberg's movies, he wouldn't write an entirely new score for the whole quidditch sequence, like he would do with Azkaban almost two years later. Instead, three quarters of the scene would be scored with adapted Philosopher's Stone music for the same scene.
     
    However, to prevent the audience to find the two quidditch scenes very similar, Williams decided (or someone asked him) to score the most exciting and action packed scene of the setpiece: when Harry and Malfoy  go below the stadium, chasing the snitch while our hero is also being chased by the bludger. It's when the stakes are higher: he is on a fierce dispute with his rival to get the snitch and win the match while also having to survive the bludger and dodging the wood structures of the stadium. 
     
    I like the effect of that on the audience's minds: so far, the sequence has been scored with quidditch music from the first movie, that we all know its outcome was very favorable to Harry, so we think: "Yeah, he'll win the match, just like on the last film". But then, we hear music that it's unfamiliar to us (or, at least, unfamiliar within the Potter franchise), a music that it is more energic and violent than the previous one, and then we all realize that he's in grave danger - of loosing the match and being knocked out by the bludger.
     
    Anyway, this is a defense of Chasing the Snitch, one of my favorite action cues by Williams on the 21st century, highly energetic and beautifully performed by the LSO. In my opinion, it's even better than Zam. I recommend you all giving it another chance.
  14. Like
    bondo reacted to Falstaft in Accidental Anthem of Evil theme in TFA   
    Hehe, it's many a JWfan's favorite topic!
     
    Since the late 1990s, Williams has used a certain musical gesture in practically all of his scores, often in action scenes. The clearest first usage was from The Lost World, the track "Ludlow's Demise" in particular (though its elsewhere in the score too). Hence the nickname which I think originated here on JWfan.
     
    In technical terms, it's usually a repeated note followed by some kind of staggered ascent to either the fourth or fifth of the scale, and back down to the tonic. So, in C-minor, for example, it'd be something like C-C-C-C-C-C-C-Eb-D-G-C-C-... etc. The Anthem of Evil doesn't have that opening repeated note of course, but it's general contour follows the ascent and drop, C-Eb-D-F#-C-G, which it shares in common with a bunch of other ideas, some more Ludlow-like, from TFA and TLJ. 
     
    Here are a few examples, some closer than others. https://youtu.be/OYn-Ls7-in4
     
  15. Like
    bondo got a reaction from Amer in Mulan (2020) by Harry Gregson-Williams   
    Loving this score so far!! It’s very much akin to HGW’s Narnia and Prince of Persia. Decided to make an alternate cover for it...
     

  16. Thanks
    bondo got a reaction from Pieter Boelen in Mulan (2020) by Harry Gregson-Williams   
    Loving this score so far!! It’s very much akin to HGW’s Narnia and Prince of Persia. Decided to make an alternate cover for it...
     

  17. Haha
    bondo got a reaction from crumbs in Gordy Haab's Star Wars: Battlefront 2 (2017)   
    Gordy posted this on Facebook:
     
    #StarWarsBattlefront2 Pro Tip: 
    -Go to options, and navigate to music. 
    - Select “continuous”. 
    - Directly below this, select music volume and turn up an additional 4db. 
    You’re welcome! 
    Sincerely,
    Composer of aforementioned music.
  18. Like
    bondo got a reaction from Arpy in The Rise of Skywalker - COMPLETE SCORE Discussion - SPOILERS ALLOWED!   
    Apologies in advance if this has been mentioned earlier, but has anyone been able to do an isolated score match-up of the OST version of “The Speeder Chase” with the film? I got so attached to that cue and was absolutely gutted when it was butchered in the film 😩
  19. Thanks
    bondo got a reaction from Bobbo in Hilarious John Williams Sketch on Funny or Die   
    Just found it and enjoyed it! Good work Bobbo lol
  20. Like
    bondo reacted to Bobbo in Hilarious John Williams Sketch on Funny or Die   
    I was trying to find the video to share with a friend and found your forum. 
     
    this was supposed to be the first of a few “great moments in music” series they were going to do. I had two other scripts written. I’m still friends with the folks that made it and yes, my bitterness at the time has definitely faded. Now I’m just happy it got made at all. Still wish the last lines were different. 
     
     
  21. Like
    bondo reacted to Arpy in The Rise of Skywalker OST Album Discussion   
    #ReleaseTheSynderCut
  22. Like
    bondo reacted to Romão in New Star Wars: TROS TV Spot - Likely Williams   
    Reminds of Trevor Jones' Dark City score
     
     
  23. Like
    bondo reacted to Jay in THE ORVILLE - Music Discussion (Kevin Kaska joins season 3)   
    Wow!  I hadnt realized I never posted that here.  Looking at it again, it's because I never figured out the "Firestorm" episode sequence of cues.  If anyone wants to help out with that, pelase share your findings here
     
    https://docs.google.com/spreadsheets/d/11G_A8bMDZ9Y4U2jvI5gNexh4kBIco_rfPvOGuG80srA/edit?usp=sharing
  24. Like
    bondo got a reaction from Yavar Moradi in THE ORVILLE - Music Discussion (Kevin Kaska joins season 3)   
    https://www.facebook.com/john.debney.75/posts/10218295857890507
     
    From last night's episode, "Identity Pt 1"
     
    ***possible SPOILERS***
  25. Like
    bondo got a reaction from Smeltington in HARRY POTTER 1-3 Complete Score Releases Confirmed   
    Great news!!! I recently saw Chamber of Secrets performed by the Atlanta Symphony Orchestra, and it reminded me why CoS is my favorite Potter score. I think each of these scores will benefit from the expanded/complete treatment and deepen our appreciation for them  Great way to end the week!
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