On the second day of the BLMC, we started with lecture by Peggy Eisenhauer, Musical Cueing: Sculpting, Time, and Rhythm. Again, playing videos of Chicago and dream girl film production.
According to Peggy Esenhauer, in dream girl there is stylistic approaches to timing using restrict color, mostly primary color creates a pattern let audience understand and follow the pattern.
Some key words that she mentioned are accelerating, decelerating, slow motion, time laps,
Her processes in musical cueing are
1) Listening to director
Get the approach of:
movement of place
transition
watch body language
listing to words (slowly, quickly, immediately, gently, instantly, magically) sooner, faster
2) Listening to music
a. Style
b. Period
Listen without doing anything
Listen to it when you are doing something hard
3) Shelf rehearsal
rehearsal without anyone
a. watch who doing
b. entrances, exists, dance section, impulses
c. listen to the musical thing
d. put check for cues, identify cue point
4) Technical rehearsal
a. Memorize magic sheet
b. Timeout the opening section -> be confident of saying “it’s having been time yet” and do time by showing it
Following the process is the difference in timing and style
In convention style cues are placed at
Transition
Different kind of space
Bound up at a number
Lighting happen on the break/ peak of pause
Some other key words that she mentioned are accelerating, decelerating, slow motion, time laps. Peggy Esenhaue emphasis the word rubato, which means expressive tempo that can be slower or faster, music is moving or slowing it down. Another vocabulary is peak moment, by placing a bob?/pop? Bue at 1st down or under beat will connect audience’s mind to the sound they hear and when the see, or holding it back being late to give movement.
She also stress that it is important to know the response time of the equipments such as shutter, start time.
In musical cuing the key is finding the point of impact.
After a short break is Insight from Lighting a Cyclorama by Don Holder. The cyc act as the background, which unify with foreground. It can reflect on the way we see sky, also direct the light to where it to be but not pulling the eye away. Also adding front light, booms and ladders can add make the color on the cyc more even or to add colors on it to create various effect and movements of the light.
Don Holder shared his techniques of lighting a cyc. When lighting flat scenery from front, use linen cloth when there is no bounce. By adding a front light at the balcony on the drop will make it look more even. Another technique is indirect lighting, when there is enough place for bounce and the recommend distance is 3 feet. A bounce is good for even and soft the light, material is bleach mezzanine that is better than natural mezzanine that is much yellower. Furthermore he compare the difference between of muslin and RP screen that the audience would see the source form first one but no the second one.
A scrim in front of the RP can smooth everything, a white screen can give a white vibrant sky and black scrim will cut down the intensity of the light.
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mmm I have a lots of note on the second day, I think I need to separate it into 2 parts, I will upload it as soon as possible ~~~^^