Sound 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