Transcript What is sound? - CVH TV, Film and Digital Media Ms. Copeland

Chapter 3:
Sound and Image
Courtesy Kendelyn Ouellette
© 2011 Delmar, Cengage Learning
Key Terms
• Moving Pictures and
Sound
– Dialogue
• Recording Sound
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• Getting In Sync
– SMPTE Time Code
– Slate
• Sound Engineers
Phonograph
Synchronous sound
Amplifiers
Optical sound
Vitaphone
– Microphones
– Recording Devices
• Analog
• Digital
• Lowering The Boom
– Boom pole
– Windscreen
© 2011 Delmar, Cengage Learning
Key Terms
• Mixing On The Set
– Production sound mixer
• Cardioid microphone
• Shotgun microphone
• Digital recording
• Production sound
• In Production
• Post-Production Sound
– Foley effects
– Voice-Over
– Automated Dialogue
Replacement (ADR)
– Ambient sound
– Wild sound
– Sound effects
© 2011 Delmar, Cengage Learning
AAGENDA
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Matching Image and Sound
Synchronization
Sound Crew
Equipment
Components of The Mix
Music
Sound Design
Dialogue and Screenwriting
© 2011 Delmar, Cengage Learning
Matching Image and Sound
• Synchronous sound
– Sound that is matched to certain movements
occurring in the scene (i.e. footsteps)
• Reproducing sound
– Phonograph
• Invented in 1877 for the mechanical recording and
reproduction of sound
– Amplifier
• An electronic device that is used to increase the
power of a signal
© 2011 Delmar, Cengage Learning
Matching Image and Sound
• Sound-on-disc systems
– Vitaphone
• Optical sound
– Optical sound is a means of storing sound
recordings on transparent film. The technology
was first developed in the 1920s as a sound-onfilm format for motion pictures, eventually
superseding all of other sound film technologies
until the advent of digital sound would become
the standard in cinema projection booths
© 2011 Delmar, Cengage Learning
OPTICAL SOUND
© 2011 Delmar, Cengage Learning
Synchronization
• Cameras and sound recorders must run at
an absolute constant rate.
– U.S.: 24 frames per second for 35 mm film
• Time codes keep picture & sound
consistent
– Digital media uses SMPTE Time Code
• Slates (clapperboards) are used to align
video and audio in editing.
– Digital slates indicate time code
© 2011 Delmar, Cengage Learning
What is sound?
• Sound waves are created by air pressure
changes that can be identified through the ear.
• Sound waves travel as vibrations through gas,
liquid or solids.
• Because these vibrations are constantly reacting
to air pressure differences, sound waves spread
and bounce in all directions for their source,
which makes them difficult to control and
capture.
• Audio techs have to know how to eliminate stray
noises (costumes, objects, actors off mic).
© 2011 Delmar, Cengage Learning
Sound Crew
• Production Sound Mixer
– Microphone selection and
placement
– Proper recording levels
• Boom Operator
– Responsible for capturing
the best possible sound
– Care operation of boom pole is key. Poles,
microphones and shadows need to be kept out of
frame.
– Proper windscreen use
Courtesy Mike Chase
© 2011 Delmar, Cengage Learning
Equipment
• Microphones
– Radio microphone – sometimes hidden on set
– Cardioid microphone – heart-shaped pick-up
pattern
– Shotgun microphone – smaller heart-shaped
pick-up pattern
• Recording devices
– Analog
• Nagra (constant speed reel-to-reel)
– Digital
• Hard disk recording
© 2011 Delmar, Cengage Learning
Components of the Mix
• Ambient sound
– Location noise
• Wild sound
– Off-screen voices
– Non-sync sound effects
recorded during production
• Foley effects
Courtesy Kendelyn Ouellette
– Noises created to sync with images during postproduction
• Automated Dialogue Replacement (ADR)
– Looping of dialogue
– Dubbing
© 2011 Delmar, Cengage Learning
Music
• Score
– Collaboration between composer and
production team, particularly director
– Typically recorded in sync with final cut of
movie
• Musical motion picture
– Music or songs previously recorded and used
during production or recorded while shooting
• Prerecorded music
– Edit completed to match the selected music
– Songs commonly used when prerecorded
music is employed
© 2011 Delmar, Cengage Learning
Sound Design
• Sound designers supervise and guide the many
choices of all the contributors who create the
tracks of sound effects that are mixed together
for the composite track.
• They are responsible for the coordination of
picture and sound during editing
Courtesy of http://www.georgegroves.org.uk
© 2011 Delmar, Cengage Learning
Summary
In Chapter 3, you explore the integral place of sound in
motion picture communication.
Tools such as microphones, mixers, slates, and boom
poles are commonly used in the process of audio
recording for motion pictures, while elements of the
sound mix such as production recording, foley effects,
wild sound, music, ADR, and other types can combine to
create the sound design of a movie.
© 2011 Delmar, Cengage Learning