Musical Influences

Welcome to The Punch

Starts of with synths, atmospheric and non-diegetic sounds of police sirens and a sound bridge between two shots. Piercing crescendo in synths at around 0.17 seconds then stops at the end of act 1 to emphasise what is said. Act 2 begins with regular drum loop for around 20 seconds, then synths and electronic piano enters the piece as tension within the plot builds. Lyrics and ambient singing is introduced around the 1 minute mark and the drop in the instrumental, introducing a stronger bass line featuring bass and lead guitar, a snare and bass drum beat and an increase in the volume of the singing. The song name for the montage is Nerves Junior - Luciferin and although not similar to what we imaged our trailer to have the use of the music against speech is an important lesson in volume and sound effects.

 

Redemption

No music is introduced until the end of the introductory act where Jason Statham gets beaten up. As with Welcome to The Punch, the music changes are syncopated and aligned with changes in shot and introduction of production companies/actors names. At 0.15 seconds a bass guitar along with the bass line of a clock ticking accompanies the next 30 seconds until a more synths are introduced and emphasised during the fight scenes where an increase in volume and bass of the synths is shown. An orchestral track along with a more rock drum beat then follows during the montage, which then introduces ambient and foreign lyrics which can be associated with the narrative. Connotations of love and redemption are shown through the images on screen which compliment the music. The non-diegetic sound and soundtrack are then manipulated, showing a build to the climactical final shot.

 
Dark Knight Rises

A more instrumental, natural backing track begins the Dark Knight Rises trailer, violins and a piano accompany eerie sound bridges which is reflected within the pictures shown in the trailer. There is also a quiet feedback type noise which is played throughout the first 50 seconds, however due to the trailers movement away from the traditional conventions of form, the sync from shot to shot and act to act is not replicated as in the previous films. The 1.08 mark shows the first drop in the music, heightening the sound of the strings and increasing the volume of the baseline with 1.22 introducing the first synths within the music. Classical, orchestral singing is then introduced, highlighting the start of the montage. The final shot again cues a stop in the music, suggesting that as with these three trailers, our work should replicate this trope.

 
JL