19 Aug

Corporate Video Production: Gone Girl (2014)

Corporate Video Production: What Film Are We Watching?

This week at Crash Symphony Productions, in order to inform our approach to corporate video production, we’re watching Gone Girl. The film based on the book by Gillian Flynn.

This film is one of my favourites in recent years, and it does great justice to the book, though it’s not perfect and leaves out nuance as well as altering the ending. The film is still controversial, people squabble over whether it’s astoundingly feminist or whether it’s actually highly misogynist. Either way, it’s a fantastic book and film and it has some prescient things to say about heterosexual domestic love, the power dynamics of it, the abuses of it, and the violence of it–psychologically and emotionally, more than anything physically. And it does so in the context of a murder-mystery thriller, what better context is there for the terrors of married life?

Rosamund Pike gives an incredible performance as Amy Dunne, the brilliant and broken only-child wunderkind of hyper-critical parents. Ben Affleck plays her husband.

Corporate Video Production: Gone Girl (2014)

Corporate Video Production: Gone Girl (2014)

To stage the interpersonal violence of domestic life in a murder mystery is significant because it points to the other kinds of murders committed in the novel, the existential murders, the emotional murders. Amy Dunne narrates this killer quote: “Nick Dunne took my pride and my dignity and my hope and my money. He took and took from me until I no longer existed. That’s murder.”

The cinematography is fantastic, greys and blue predominate the colour palette and Rosamund Pike’s smooth voice perfectly suits Amy Dunne’s cool, detached and highly articulate emotionality.

“Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want. Go ahead, shit on me, I don’t mind, I’m the Cool Girl.”

 

18 Aug

Audiobook: ‘Harry Potter and the Deathly Hallows’ by J.K. Rowling

What Audiobook Are We Listening To?

This week at Crash Symphony Productions, we’re listening to Harry Potter and the Deathly Hallows, the audiobook as read by Stephen Fry. I found these audiobook adaptations to be a really easy way to get back into Harry Potter without having to pick up my old hard copies which are falling apart by now and probably couldn’t handle another read-through. There is no one better to narrate these books than Stephen Fry, whose personality, history, intelligence and sense of humour are at the level where they can do adequate credit to the intelligence, history, humour and personality possessed by the books themselves.

Audiobook: Harry Potter and the Deathly Hallows

Audiobook: Harry Potter and the Deathly Hallows

The only book in the series set outside of Hogwarts, it is also the last. As they leave Hogwarts, the guiding hand of their deceased headmaster ushers Harry, Ron, and Hermione into defeating Lord Voldemort once and for all. It speaks to the guidance the dead still give us, and all that they still have to teach us, despite their departure. It’s the most grown up and the darkest of the tales, but it ends on a positive note. The end of this momentous series is bittersweet. If you are going to re-read this book, then I thoroughly recommend listening to the audiobook with Stephen Fry. It’s an enthralling narration that does justice to the action, darkness, and gravitas it deserves.

Thank you for taking this journey with us, through the Harry Potter series. It’s been a great experience and served to inform us of the levels of production that go into a large-scale project such as this.

Audiobook Details

Voice Over Sydney: Albanian Language

Voice Over Sydney: The Albanian language (shqip) is spoken by over six million people in the southwestern Balkans, primarily in the Republic of Albania and in the neighbouring countries which once formed part of the Yugoslav federation (Kosova, Macedonia, Montenegro and Serbia). In Albania itself, the language is spoken by the entire population of 3,087,159 inhabitants (census of April 2001), including some bilingual ethnic minorities. In Kosovo, where there are as yet no reliable population statistics, Albanian is spoken by almost the entire population of about two million individuals, including some bilingual minorities: Bosniaks, Turks, Croats and Roma. Ethnic Serbs in Kosova (now about five percent of the population) have traditionally refused to learn or speak Albanian, but attitudes may change once traditional hostilities and ethnic tensions subside.

Voice Over Sydney: Albanian in Macedonia

The Republic of Macedonia is estimated to have at least half a million Albanian speakers, equaling about twenty-five percent of the total population of the republic, although there are no reliable statistics. The Albanian population is to be found in and around Skopje (Alb. Shkup), where it constitutes a substantial minority, Kumanova (Maced. Kumanovo) and, in particular, in western Macedonia from Tetova (Maced. Tetovo), Gostivar and Dibra (Maced. Debar) down to Struga, where it forms the majority.

Voice Over Sydney: Albanian in Montenegro

A minority of about 50,000 Albanian speakers is also to be found in Montenegro, mostly along the Albanian border (Ulqin-Ulcinj, Tuz and Gucia/Gusinje). There are also at least 70,000 to 100,000 Albanian speakers scattered throughout southern Serbia, primarily in the Presheva Valley near the borders of Macedonia and Kosova.To the south of Albania, in Greece, there are traditional settlements of Çamërian dialect speakers, in particular around Parga and Igoumenitsa in Epirus.

Despite border changes and deportations to Albania, the Albanian population here may be as high as 100,000, although they are highly assimilated. In central Greece, the Albanian language, known in Albanian as Arbërisht and in Greek as Arvanitika, languishes in about 320 villages, primarily those of Boeotia (especially around Levadhia), southern Euboea, Attica, Corinth and northern Andros. These speakers are the descendants of large-scale Albanian emigration to Greece during the late Middle Ages. No official statistics exist as to their numbers. This exceptionally archaic form of Albanian is dying out rapidly.

Voice over Sydney: Albanian

 

 

 

17 Aug

Recording Studio: Albanian Music

Recording Studio Albanian MusicRecording Studio: Albania is a Southeast European nation that was ruled by Enver Hoxha’s communist government for much of the later part of the 20th century; it is now a democratic country. Even before Hoxha’s reign began, Albania was long controlled by the Ottoman Empire and other conquering powers, leading to a diversity of influences that is common in the much-fragmented Balkan region and resulting in a diverse and unique musical sound. Albanians (and the ethnic-Albanian Kosovars of nearby Serbia) are commonly divided into three groupings: the northern Ghegs and southern Labs and Tosks. Turkish influence is strongest around the capital city, Tirana, while Shkodër has been long considered the centre for musical development in Albania.

Recording Studio: The importance of music in Albania

Music has always been a potent means of national expression for Albanians. Under Hoxha‘s regime, this was channeled into songs of patriotic devotion to the party; since the arrival of democracy in 1991, lyrics have come to focus on long-suppressed traditions like gurbet (seeking work outside of Albania) and support for various political parties, candidates and ideas. Pop musicians have developed too, long banned under the socialists, with Ardit Gjebrea being foremost among them. Albanian popular music (këngë popullore) is generally based on Italian models.

Recording Studio: Albanian Folk Music

Folk music was encouraged to some degree under the socialist government, which promoted a quinquennial music festival at Gjirokastër provided that the musicians expressed frequent support for the party leaders. After the fall of socialism, Albanian Radio-Television launched a 1995 festival in Berat that has helped to continue musical traditions.

Albanian recording studio folk music falls into three sylistic groups, with other important music areas around Shkoder and Tirana; the major groupings are the Ghegs of the north and southern Labs and Tosks. The northern and southern traditions are contrasted by the “rugged and heroic” tone of the north and the “relaxed, gentle and exceptionally beautiful” form of the south. These disparate styles are unified by “the intensity that both performers and listeners give to their music as a medium for patriotic expression and as a vehicle carrying the narrative of oral history”, as well as certain characteristics like the use of obscure rhythms such as 3/8, 5/8 and 10/8.

10 Aug

Recording Studio: Korean Music

Recording Studio: In general, Korean Recording Studio music falls under the two main categories of chongak (music of the upper classes) and sogak (music of the common classes). In keeping with standard practice, we translate chongak as classical music and sogak as folk music. The additional groupings of religious and contemporary music Classical, yo. Korean classical music is very broad and comes in various music styles and forms including: Chongak, Hyangak(native court music), Tangak (Chinese classical music), and Aak (“refined” music). Chongak is usually used to designate all pieces and music forms performed and supported by members of the upper classes as a form of amusement. Some of the most prominent pieces and classical music forms are as follows:

Recording Studio: Types of Korean Music

1. Yongsan-Hoisang- (Mass on Spiritual Mountain)-derived from Buddhist chants
2. Yomillak- (Enjoying with the People)-combined elements of both native Korean music and Chinese
3. Boheoja- instrumental piece which was adpted from a traditional Chinese recording studio song, brought to Korea during the Koryo Dynasty.
4. Nakyangchun- was orginially a Chinese song and when it arrived into Korea it became an instrumental piece.
5. Sujechon- This instrumental work dates back to the 7th century and later used in traditional dance. Folky-Dolky Korea’s folk music tradition, with its generous use of bright rhythms and melodies, offers a more energetic and capricious contrast to the nation’s collection of classical music works. Folk music represents the soul and sound of traditional Korean villages with an eclectic array of music forms including numerous folk songs, various forms of instrumental pieces, and shaman (a priest or priestess who uses magic for the purpose of curing the sick) ritual music.

Some of the most prominent pieces and folk music forms are as follows:
1. Sanjo- this music uses a variety of rhymes and modes. At first, court musicians did not think it was music, but sounds and modes.
2. Sinawi- instrumental music form used in shaman ceremonies to accompany dancing and to help bring the shaman to a higher state of consciousness
3. Folk Song- There are also collections of folk songs associated with various activities, such as: farm songs, fishing songs, work songs, ceremonial songs, marriage songs, and children’s songs.
4. Shaman Ritual Music- a collection of lively mystical music to be played during rituals KPop goes the weasel…. K-Pop is a musical genre consisting of dance, electronic, electropop, hip hop, rock, and R&B music originating in South Korea.
Know to us as Korean Pop Culture it is primarily sung by Korean teenage singers.
Started in 1992, dance and rap music became popular due to Seo Taiji & Boys.
K-Pop took off in the early 2000 thanks to the internet.
The Korean Wave (the increase of popularity in all things South Korean) also helped the take off of K-Pop to the Pacific Rim, the Americans, and Europe.

Recording studio Korean Music

09 Aug

Voice Over Sydney: Swedish Language

Voice Over Sydney: Just as Danish and Norwegian, Swedish also belongs to the North Germanic language group. It is not a widely spoken language: some 9 million people speak it in Sweden, although it is also used in some regions of Finland, where over 5% of the population use it. Swedish is recognized as an official language in Finland, too.

Nordic countries constitute an entity in themselves, they are close geographically, ethnically and share similar sounding languages. Even a shallow exploration into Scandinavian history reveals that all Sweden, Denmark, Norway and Iceland share common roots. If you ask people what they associate Scandinavia with, the most likely answer surely is “the Vikings”. Thus, it seems reasonable to assume that any common features still present in Scandinavian languages today (apart from Finnish) can be traced back to Viking times. Indeed Old Norse, which was the North Germanic language spoken by the inhabitants of Scandinavia and their overseas settlements during the Viking Ages is the mother of all those four languages. Old Norse was spoken until around 1300 AD. Old Norse was an evolution of the very early Proto-Norse, which was spoken in the region during the 8th century, evolving into the different modern North Germanic languages after the Viking Ages.

Voice Over Sydney: Characteristics of the Swedish Language

Along with other North Germanic languages, it derives from Old Norse and is currently the most widely spoken North Germanic language. It is composed of the Roman alphabet in addition to a handful of other letters. Sweden – Stockholm and Swedish Flag

The standard word order in Voice over Sydney Swedish follows that of most Germanic languages, that is, the finite verb always appears in second position in a declarative main clause. Morphologically Swedish is similar to English, that is, words have practically lost inflections apart from some exceptions and there are no grammatical cases, and a distinction between plural and singular. Swedish has masculine and femenine gender, though. Again, just as it happens in English, adjectives are compared in the same way, but they are inflected depending on gender, number and definiteness. Older analyses posit the cases nominative and genitive and there are some remains of the use of accusative and dative forms as well. Unlike English, though, the definiteness of nouns is marked primarily through suffixes and not articles. This is then complemented with separate definite and indefinite articles.

Voice Over Sydney: Other Countries where Swedish is spoken

Swedish is also spoken in Norway, Brazil (where between 800,000 to 1 million people claim Scandinavian ancestry – the first sea line between the two countries was initiated in 1909), Argentina, Estonia and the USA. In fact, the US alone accounts for approximately 300,000 Scandinavian speakers. Out of the 9.5 million Swedish-speaking people, there are over 7.9 million who access the Internet worldwide in Swedish.

Voice over Sydney Swedish

04 Aug

Sydney Recording Studio: Bassoon

Sydney Recording Studio: The bassoon is a musical instrument in the woodwind family. Many believe the bassoon to be derived from the dulcian – which is another double reed woodwind instrument from the 1500s, but others believe the bassoon was a completely new invention. It is commonly believed that the true inventor of the bassoon was Martin Hotteterre that created the first bassoon in the 1650s in four sections (wing joint, boot, bass joint, and bass). In the 1800s the bassoon was refined for use in concert halls and for greater playability. The bassoon is used in a variety of music styles including classical, jazz, and modern and popular music.

Sydney Recording Studio: Interesting Bassoon Facts

The bassoon is known for its wide range, distinctive tone, and warm sound that is comparable to a baritone male vocalist.

A Sydney Recording Studio musician that plays the bassoon is referred to as a bassoonist.

The word ‘bassoon’ is derived from the French word ‘basson’ and the Italian word ‘bassone’.

The bassoon is a four foot long instrument. The tube inside would stretch to eight feet if straightened out.

To play the bassoon the bassoonist must use every finger and their thumbs as well.

The parts of a bassoon include the bell joint, reed, crook, pads, bass joint, rod system, keys, wing joint, hand rest, and butt.

The bassoon’s mouthpiece is made of metal and it is curved and joined to the instrument’s main part. The mouthpiece is referred to as a bocal or a crook.

The reed of a bassoon’s mouthpiece is an inch in width and longer than 2 inches. This makes the bassoon’s reed one of the biggest instrument reeds used.

Because the bassoon is a heavy instrument the bassoonist will often use a neck strap to help support its weight while playing.

German bassoons have a white ivory ring at the bell joint’s top and these bassoons are referred to as heckles.

French bassoons are referred to as buffets and do not have the ivory ring. They also sound different than the German bassoon.

The German bassoon is the most popular version of the instrument and is most common in North America  while the French bassoon is more common in Belgium, France in South America.

In Italian the bassoon was originally referred to as a fagotto.

The contrabassoon is considered to be the lowest pitched orchestra instrument.

Sydney Recording Studio The bassoon is often confused with the oboe. They are both double reed instruments but are not the same at all.

Bassoonists make their own reeds, which is not necessary for most other instruments.

The price of a bassoon can range from $3000 to $25,000 or more depending on the quality of the instrument. Because of its price and because of its difficulty in learning to play it is not usually the first woodwind instrument children learn to play in school. They usually start with a clarinet.

Musicians considered to be notable bassoonists include Archie Camden, Hugo Fox, Simon Kovar, William Waterhouse, and Julius Weissenborn, among many others.

Many Sydney Recording Studio composers have written parts for the bassoon including Johann Sebastian Bach, and Ludwig van Beethoven.

Sydney Recording Studio Bassoon