Term
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Definition
Thomas Edison (1877) - Phonograph
Lee De Forest (1920s) - Phonofilm
Jazz Singer (1927) - Vitaphone |
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Term
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Definition
Serves to tell the story and expresses feelings and motivations of characters
Adds emotion and rhythm to a film
Helps the viewer understands an event
Intensifies an event |
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Term
| components of sound track |
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Definition
1. Sound effects
2. Human voice
3. Music |
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Term
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Definition
- Sound and noise are both audible vibrations
- Noise is random
- sound has purpose, it is organized
- Noise becomes sound when a purpose is fulfilled; when a message is transmitted by the use of it
- Noise is typically transformed into sound when it is linked with a visual image
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Term
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Definition
A Foley Artist is a person who creates (or re-creates) sounds for movies using different props.
The artist watches the film and creates the sound in real
time
Jack Foley is credited with inventing the "art of Foley". He was the pioneer of special effects
Foley artists do not create sounds of explosion, car crashing, etc
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Term
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Definition
On a film set, nothing is real, foley replaces or enhances that live sound
Noises on location often mask the dialogue which must be replaced in rec studio later |
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Term
| ADR: Automated Dialogue Replacement or Additional Dialogue Recording (ADR) |
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Definition
| The process of re-recording the original dialogue after filming for the purpose of obtaining a cleaner, more intelligble dialogue track (looping or looping session) |
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Term
| Special Effects Editor's Tasks |
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Definition
•Operate audio equipment to record and edit music, dialog and sound effects for films, videos, radio and television
•Build sound effects from scratch, using one's imagination to create sounds
•Mix and edit sound effects in the studio
•Work closely with a foley artist to generate the proper sounds
•Use control board to coordinate and balance pre-recorded sound effects with movies or TV shows
•Use console board to adjust volume and sound quality during recording sessions |
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Term
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Definition
The Role of the spoken word
Dialogue rests upon the conviction that the medium calls for verbal statements which grow out of the flow of pictorial communications instead of determining their cours
Key is to embed dialogue in visual contexts |
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Term
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Definition
§To communicate specific information verbally through dialogue, direct address, or narration.
§Dialogue – a conversation between two or more people or a character with themselves (internal dialogue).
§Dialogue is television’s main way of conveying information.
§Good dialogue should seem to come naturally. |
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Term
| 4 major factors of television sound |
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Definition
- Reflection of reality
- Low-definition image
- Production restrictions and technical limitations
- Audio/video balance
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Term
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Definition
| All television events happen within a specific sound environment, and it is often the sound track that lends authenticity to the pictures and not the other way around (Loudspeaker in hospital corridor) |
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Term
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Definition
| We need sound to give coherence and structure to the inductive picture series |
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Term
| Production Restrictions and Technical Limitations |
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Definition
Sound is picked up simultaneously with the recording of pictures
Hanging mics are not the best
The sound reproduction systems in most standard television receivers are severly limited in their frequency and amplitude response |
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Term
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Definition
| high quality sound portion diminishes the small-screen and its images seem to shrink from the onslaught of the high-energy sound |
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Term
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Definition
| Literal Sounds and nonliteral sounds |
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Term
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Definition
Speech and environmental sounds, even sound effects
refer to a specific event (starting a car)
aka diegetic sounds: telling a story |
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Term
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Definition
Most background music and other sounds that might influence our feelings in some way
do not refer to a particular sound source or convey literal meaning
Music is the most frequent form
"Nondiegtic sounds" |
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Term
| Literal and nonliteral sound combinations |
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Definition
§Literal and nonliteral sounds are often combined in the same scene.
§Mixing literal and nonliteral sounds communicates what an event is all about and also how it feels.
§It shows the outside and the inside of an event simultaneously.
§It can also increase the magnitude and energy of the screen event. |
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Term
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Definition
Context determins whether sound is literal or nonliteral
ex. soundrack in music hall and same soundrack in psychiatric ward |
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Term
| Information functions of sound |
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Definition
| dialogue, direct address, and narraration |
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Term
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Definition
convo between 2 or more people
chief means of conveying what video is about
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Term
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Definition
| Performer speaks directly to viewer (commercials) |
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Term
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Definition
on or off camera
narrator usually describes a screen event or bridges various gaps in the continuity of an event |
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Term
| Outer orientation functions of sound |
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Definition
| orientation in space (location, environment, off-screen space) time (cricket sounds or church bells), situation (dogs barking indicating someone is coming), external event conditions (flooding of ships engine room) |
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Term
Predictive Sound
or Leitmotiv (leading motif) |
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Definition
| portends the appearance of a person, an action, or a situation |
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Term
| Inner Orientation Functions of Sound |
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Definition
| Mood (music), Internal condition (music and sounds like the ex of psychiatric ward), energy(music and sound fx) |
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Term
| Structural Functions of Sound |
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Definition
| to help structure the screen event in various ways through rhythm, figure/ground principal, sound perspective, sound continuity |
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Term
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Definition
| a highly rhythmic sound track will help establish a precise tertiary motion beat even if the visual editing is rhythmically uneven |
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Term
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Definition
| in sound design, figure/ground means that you choose the important sounds to be the figure while relgating the other sounds to the background ex. a news report in which reporters voice must be louder |
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Term
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Definition
Match close-up pictures with close sounds; make sure that sounds coming from subjects or objects in a close up are loud and clear
Sounds coming from subjects or objects far away in a long shot should sound far away; if the subject gets closer to the camera, the sound should increase in volume and change according to the distance
The term for this is presence, the sound quality that makes you feel as if you were close to the sound source |
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Term
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Definition
§The sound maintains its intended volume and quality over a series of edits.
§Voices of people in one continuous conversation should not change either in volume or presence during the cutting sequence (as long as they stay in their positions)
§Keeping background sounds consistent is a good way to maintain continuity even if your foreground sounds do change in volume and presence.
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This principle of continuity applies to lighting and color as well: you can have a variety of foreground pieces but as long as the background is evenly lit and is painted the same color, continuity exists.
We use many of the same principles across all five aesthetic fields.
Many times, the choices you make in one field directly influence the choices you make in the others.
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The fields are interdependent |
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