The Editing of Inside is integral to the film and setting the mood for the film. Burnham is editor, director and star of this comedy sketch film. The abrupt scene endings add a comedic effect but also add to the overall message in the film of time slipping away. Some scenes are purposefully lingered on despite it being ready to go to the next scene, by doing this, Burnham confronts the audience and creates an awkward tension. The use of aspect ratio is used during a sketch called 'facetiming with my mom', where the screen imitates a phone screen further delivering the idea that he's on a facetime call. The songs in the film are typically much faster paced editing compared to the scenes in between, giving the audience time to contemplate when it's really needed. His purposeful editing style perfectly captures his all over the place mental state and its decline throughout the film.

Editor, Andy Canny uses a number of different innovative techniques to make an invisible character terrifying to watch, including some clever cinematography and visual effects. 
Whannell, uses traditional aspect of suspense at such a clever angle, the antagonist  is only see in less than 10% of the film, his presence is strongly felt but hardly ever seen. 

Eg.  

using wide shot camera angles full of empty spaces

The non diegetic sound of folklore music with lyrics that provide meaning to the subtext of their relationship. 

Harmonising vocals and acoustic guitar evokes the theme of family providing comfort and warmth. It supports the visual aspect of the scene. It then transitions to a non diegetic sound In her personal space in the film. That juxtaposition through that subtle transition. She is truly alone, listening to the song on the radio. The absence of her husband has truly influenced her emotional and psychological wellbeing. She is alone .

https://www.youtube.com/watch?v=uBsJgceM0KI
ISOLATION THROUGH PSYCHOLOGICAL DETACHMENT: 
This occurs during the climax of the film, after spending days in the “shimmer’ (a cosmic entity of the unknown that deteriorates our own DNA). She helplessly watches her team mate die. The use of synth and electronic music immerses us in a void of existential dread. The heavy and monotone sounds overwhelms us while we perceive what is visually presented to us, an extra terrestrial force. The protagonist is alone once again. However, alone in the context of detachment from her society. Synths are merged with orchestral violins to present to us a sound mosaic of ambiance. Combining two completely juxtaposed forms of music embodies a cluster of danger and suspense within the protagonist. She has become isolated psychologically because of the events she has witnessed in the shimmer, as this becomes evident through the multi dimensional layers of the sound design.

One of the best relationships between the song and the music video. Even though the style of the song leaves us with a broad imagination on how we think the song should look visually, I don’t think that Stromae’s music video “quand C’est” limits my imagination of the song at all. The lyrics are all in French but the music video allows to carry the song and produce an oeuvre that emotionally connects with the audience. The symbiosis between surrealism and the interaction with the artist extends beyond the experience of music videos. I found it to be provoking but powerful in its message.

Black Eyed Peas - "Don't Funk With My Heart"
https://www.youtube.com/watch?v=P4Bda6_usuc

Late 90s and early 00s was the peak of music videos for me, especially watching them on television on Saturday mornings! The whole style and creativity driven in the Black Eyed Peas music videos just felt like they all had so much fun on set rather than perceiving it like a project. Music videos can introduce us with a first impression of the artist, but “Don’t Funk with my Heart” allows to give an insight of every band members personality/nature in a few minutes. It becomes experimental on music videos, perceiving it as a form of entertainment through its lighthearted purpose to make their audiences laugh and have an enjoyable memory every time they listen to this song. Early 00s music videos walked so that music videos nowadays could run hehe

DREAM MUSIC VIDEO :
I would love to direct narrative based music videos that is creative in the set design. Also, I dream of experimenting with music videos through editing similar to Travis Scott's or A$AP Rocky's music videos! I definitely see myself pursing filmmaking/editing in the music video industry, especially collaborating with hip hop artists .

This video is practically its own movie. Known for her symbolism and beautiful imagery within her music videos, this one particularly captures the destruction and rebirth of someone learning to find themselves and the hardship of it all. She uses the elements as imagery for these hardships, creating stunning images that I could watch over and over again. The cliffside dive into the water is one of my favourite clips of film ever, this video makes me want to pursue music video making as a career option.
https://www.youtube.com/watch?v=JLf9q36UsBk

Artic Monkeys - Why'd You Only Call Me When You're High

This music video tells a highly engaging story with great special effects. The use of surreal and mind-bending effects and cuts in this video really engage the audience with the POV of the main character who is high. The use of selective blurring and shaking/tilting of the camera furthers this engagement to the video and the subject matter of the song. 
https://www.youtube.com/watch?v=6366dxFf-Os

With 1.7 billion views (youtube), this mesmerising video (based on a work created in the 1980s by Gotye's artist father) Gotye starts off as his current self, reminiscing. As he mentally enters his memories of the old relationship, the paint and lines slowly cover his entire body. This  minimalist styled video took the industry by storm and opening the doors for Australian artists to reach mainstream media. 

Rob Cantor - "Shia Labeouf" Live (2012)  Not sure if this is technically a music video, but I love it ....its a video with music. 
The unique take on a classical onstage performance within the video  is always so enjoyable for me. The layered show plus the comedic lyrics make a  perfect balance. 

Grammy award winner 2015

Love the cinematography composition, fantastic example of symmetry, leading lines and balance in every shot which helps carry the narrative of the music video visually. Great editing rhythm, subtly splicing shots together while your focusing on the moving hands gestures. The film shows people of diversity all with the same common human element of happiness. With  celebrity cameos then a common person, young and old, black and white, the film makes you feel like you’re part of the group and want to dance.

BEYONCE – SINGLE LADIES

2009 MTV Video Music Awards

https://www.youtube.com/watch?v=4m1EFMoRFvY

Beyonce’s single ladies is a great music video example of less is more. Three dancers in a black and white frame. The Narrative of the song is about the relationship divide between male and female and their balancing of power. It is visually shown through a constant contrasting between black and white lighting, flipping of hand gestures and the movement of camera zooming in and out and rotating around the dancers breaking the 180 degrees rule. Rhythmically edited to balance the dance moves, black and white lighting and the cameras zooming.

DREAM MUSIC VIDEO

I love learning about the subtle art of visually showing the narrative to the audience’s subconscious and for them to think on a deeper level. For me it would be a music video that would cinematically look beautiful, using rules of photography but also have an editing rhythmic relationship between sound and video, composing all these creative elements together. So I suppose working with a song that stirs strong emotions, that could be visually enhanced through good film making.

Gary Rydstrom's sound design for the infamous 1993 film 'Jurassic Park' swept him two Academy Awards for the sound design and mixing.
Rydstrom had to create dozens of distinct dinosaur noises essentially from scratch, the team did go through scientific research to see the accurate dinosaur noises, but Rydstrom was disappointed with the lack of cinematic atmosphere. His solution was to spend months collecting animal recording  then to tweak them, creating something otherworldly but still organic. Nobody knows for sure  what dinosaurs sound like, but if you can imagine the roar of a T. Rex or the bellow of a brachiosaurus, it's probably thanks to the Rydstrom creation. 

Although there was a new sound designer for the reboots, Rydstrom did consult Al Nelson into his previous techniques he use during the original films.  Nelson did collected new raw sounds for the additional dinosaurs within the new franchise. Along with an update to the animals, a new score was also created to differentiate itself from the original.  But saying that Michael Giacchino, incorporates elements from the John Williams score to pay homage, even record in the same room. 

The process of finding the right sound design of the dinosaurs is a process similar to twisting a broken pair of headphones until it hits the right spot for them to work. An adventure in itself travelling around collecting samples of animal sounds that are out of the ordinary, mixing these ingredients together in a concoction of screeches, the struggle was picking them apart so it wasn’t just a blend of everything thrown together (which would create a mess). There was an argument made that the sound dinosaurs would’ve made back in their hay day would be similar to a gurgle, but the directors response was “It’s a movie!” who wants to listen to a dinosaur with indigestion. So although it may not be historically accurate they produced a unique sound from scratch, which resulted in a terrifying roar perfectly fitting for these beasts. 

From Jurassic Park to Jurassic World, paying homage to the originators was important, they chose to place the original score by John Williams in the perfect scene they thought fit (The entrance of Jurassic World) but with their own flare. They got the sound crew to sing as they were going for a “choir” vibe. 

Tarantino is known for working with female editors, "a female editor would be more nurturing towards the film" which in my opinion adds great contrast in his projects. When you have such violence on screen, to pair it with  a calmer editing style doesn't undermine but rather balances it. 

 

To introduce the scary t-rex monster the sound designers used low frequency sounds like sonic booms and falling trees for the footsteps, enhancing the feeling of something massive. 

The sound of a whale’s blow hole and alligator for the t-rex’s breathing combined with a lion’s roar and high pitched baby elephant squeal for when the t-rex attacks, created the unearthly and desired scary effect.  They were deliberate composites of using low and high frequencies in order to make it sound like the one vocal range for the creatures. 

The creating of the dinosaur vocals came down to collecting lots of interesting animal sounds, sorting them and layering them on top of each other. 

Using composite sounds of a walrus to give it size along with a pilot and beluga whale as part of the vocalisation the designers used sound to audibly paint the picture of the Mosasaurus letting the audience know it was a marine animal. 

To sound like a normal theme park, they combined the natural sounds you would expect of people in a theme park, mixed with the dinosaur sounds. It was Important to continue the legacy to the original Jurassic park by making sure the movie also had a soul to it, not just a movie about dinosaurs eating each other, the audience has to walk away feeling something.

Dumb & Dumber captures that moment where you see something and just roll your eyes thinking 'how did they not notice that?' and then puts that moment on repeat and makes you watch it for 107 minutes. I particularly love the choices in character design/writing and I think Llyod (Jim) as that imbecilic limo driver is fantastic and puts you up for a million different potential scenes to carry out as the introduction for that character. 

Foo Fighters - Pretender

Bo Burnham - Welcome To The Internet

These two tracks both had a narrative of some kind throughout even tho the subject matter, genre and stylistic choices are vastly different to each other. In the Pretender by The Foo Fighters, we see some sort of stand off and rebellion against 'the man' which lends itself to the genre of Rock n Roll first and foremost. The use of the colour red in the most climatic part of the performance could be used as a representation of blood, angst, rage & even lust for wanting a change to take place. The singer is wearing a single item of white clothing as well as having the scratch pad on his guitar being white, amongst the band he is alone as the rest of them are wearing black. This piece of white could represent the glimmer of hope or the spark there is shown from the rebels. 

In Bo Burnham's 'Welcome to the Internet' we see a very different approach to both screen design and stylistic camera/editing work. The narrative we are now witnessing shifts to the side of the 'big bad' for lack of a better term. In this video the character singing to us is the a representation and personification of the not so pure intentions of the Internet and it has been planning and waiting for us to absorb and indulge as much of our time and ourselves as possible. The music is reminiscent of a circus as if to say 'welcome to the show' and with some fast paced edits and intense subject matter it definitely makes you watch and want to keep.... ironically. 

I think the approach of composing both the music and sound design in the image of and not a direct copy the original movie was a perfect practice and exactly how I would have approached this task. I imagine it was no easy feat to be confronted with having to bring in the new era of Jurassic Park memorable sound and score, but having seen all the movies in the franchise it is safe to say they completely nailed that. The importance of paying respect to those who have come before you is paramount when trying to take a franchise this big seriously while also showing the world that you are not afraid to place your own mark onto the next generation of entertainment.