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SyncMan

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  1. I think that this is a case of comparing apples to oranges. In that video, the person used a digital audio workstation with a 'stretch/shrink' function that changes the duration of an audio file without changing the pitch in order to sync the intended 'main-title' cue with this main title sequence. Heck, the free software, Audacity, has that function (go to Effect-->Change Tempo). In the sound-mix for the film, the music editor used analogue technically to make the music fit the said sequence. Those techniques included trimming-off bits of music and changing the speed of a portion of music that resulted in that high-pitch sound. Also, during the post-production process, Warner Bros was paying for the completion of the film. My conjecture is that since so much money was spent on this film already, their thinking is that spending even more money on having JW and his crew come in and fix one sequence would not be necessary. Also, not many average mover-goers would notice a pitch-change. I do agree that this version sounds good over the main titles. That video was made 12 years ago, so I hope that Mike M. and 'Film Concert Live' use that version for the L2P concert version for the flying-credits, instead of duplicating the edit in the film-version.
  2. I just thought of a few more questions for you @ricsim88: Were all the rehearsals done at that hockey stadium or was one of them done elsewhere--a rehearsal or somewhere? In the very first rehearsal, did you and the orchestra had to work with the film's audio track--the dialogue and sound effects? From what the musicians also say, playing a John Williams film score to picture in real-time before a live audience is 'tricky'. I figured that you and the orchestra would need the first rehearsal to get used to the practice of working with a 'click-track' without the sounds of monster roars and broomsticks whooshing to distract you.
  3. Hey, @BrotherSound, I appreciate the information on the duration time of each rehearsal. I’m now reading what I wrote over a year ago and I realize now, as I’ve spoken with more musicians in the months that followed, that the standard time of a rehearsal session is 2.5 hours. The area where I spoke with that musician was at the lobby during the intermission of the SW:ANH concert in New Jersey and it was very crowded and noisy—loud talking, kids frolicking, and a working R2-D2 robot roaming around that made beeps and whistles. No wonder I got the times mixed up. Thanks for your recollection on that event, @ricsim88.
  4. Hi, @ricsim88, I just wanted to pick your brain on the Harry Potter L2P concert that you've performed. From what musicians have told me when they do these concerts, the rehearsals (no more than 2) focus on some of the score’s challenging parts, so the orchestra doesn't perform the entire score during these sessions. From the rehearsals that your orchestra puts-in, what aspects of the score would be considered ‘challenging’? Maybe @moi can answer this, too.
  5. On the back disc jacket of the 1983 Varese Sarabande Vinyl-LP release for Williams' Violin Concerto, JW said this in the jacket’s liner notes.
  6. An ‘intentionally’ missed opportunity. I think Disney did this on-purpose because they have to be aware that this last trilogy is tired. They need to recoup their investment in this trilogy by having us buy HD-video discs all-over again to get the iso-score feature.
  7. I feel that the size of the instrumental orchestra between Raiders and Superman in the film’s orchestrations are the same. It’s the size of the concert orchestra performing on the L2P versions that is smaller than the orchestra’s size called for in the final-film’s orchestrations.
  8. I’m asking this because at this time, in the USA and Canada, no orchestra has booked the L2P concert of ‘Superman.’ I realize that the pandemic lockdown has caused many orchestras to end their seasons earlier than planned and as a result, there’s less money coming in and in the end there’s a shrinking budget for these orchestras to book these L2P concerts. What really set me off is a schedule change from the San Francisco Symphony. They do more of these concerts than any USA orchestra. They cancelled the world premiere L2P concert of “Crouching Tiger Hidden Dragon”, and replaced it with the L2P concert of “Raiders of the Lost Ark,” a program they did back in April 2017. https://www.sfsymphony.org/Buy-Tickets/2020-21/Film-Indiana-Jones I realize that they need a popular title to attract customers and I’m glad that they thought of John Williams, but why not ‘Superman?’ Wouldn’t Christopher Reeve’s on-screen charm when combined with Williams’s music please the audience?
  9. I found this one, also from the BSO, where the L2P technical process is discussed with more detail Here, it's about 'Home Alone.'
  10. This aired on the Baltimore Symphony Orchestra's Facebook page yesterday. Associate Conductor Nicholas Hersh, Principal Librarian Michael Ferraguto, and moderator Allison Burr-Livingstone talk about the preparation of the BSO's 'Movie with Live Orchestra' concerts. The L2P concert program of SW:TESB is discussed in great detail as the orchestra was scheduled to do this concert this weekend, but was cancelled because of the COVID-19 lockdown. They also talk about Williams' 2018 appearance with the BSO and his 'first pitch' at Camden Yards the week before the concert. The rest is just fanboy talk. Enjoy P.S. 'hope you're reading this @MrScratch
  11. The album version It has an extended middle part for woodwinds and the ending from the winds is very somber. The Film Version This one has a truncated middle part and the cue ends abruptly. L2P concert version The same as the film version, but the ending is very triumphant by the entire orchestra. This cues ends Act One of the L2P concert.
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