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| The info that will tell me where the tracks will show up on the console in pro sound design session |
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| the perspective in ambience design is “in the room” with the character, and is less specific than the closest perspective, but still very detailed |
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Who’s responsibility is it to phase up the production dialogue and prepare the dialogue for the DX Editor?
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| How many times is VITC written per frame of video? |
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| OMFI Media files are made up of media data and _____ data |
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House Sync
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Video Reference
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| A common “clock” between all of the devices. |
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| Used in ambience sound design to break up the monotony and provide details in the ambience being designed |
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| info we find about what sorts of sounds are on the tracks in pro tools during a professional sound design session |
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| The digital archive system used for CDs, DATs, and a modified version of which is used for computer audio archiving |
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| The audio segments cut out of the production recordings that will NOT be used |
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| The AFF format is made up of essence data and _____ data |
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| The frame rate of American Television |
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| The perspective in ambience design is very close to the character and is very detailed and specific |
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| Typically not very useful in sound design as it doesn’t usually sound “big” enough |
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| Character talking, sharing the same space should be placed on the ______ dialogue split |
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| Typically record down the sounds with the plugins/outboard gear written into the waveform using a plugin |
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| The frame rate of motion picture film |
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| The term for the process of conversion between film and video |
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| The 2 key things we keep in mind when preparing to layer in out sound design |
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| Dialogue is most intelligble at ___ – 90 dB |
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| The info about the backgrounds we will use in a screenplay |
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| GVG, CMX 3600, and Sony 9000 are all examples |
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| sounds that describe cognitive ideas, relate to emotional states, and can even describe temperature or color |
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| The most prominent frequencies of the human voice fall in range of 1000 Hz – ______ Hz |
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| The frame rate for audio recorded on the set while shooting a film |
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| the process of nudging the work track against the guide track until a swirling sound is heard |
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| The frame for the 1-frame piece of tone placed two seconds before the first frame of picture |
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| The Foley artist will choose the ______ for the Foley session |
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| The fundamental frequencies of the male voice are 80 – ____ Hz |
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| The format we find production audio on while we cutting on film |
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| Music is considered to be the _____ of a movie |
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| A document used in Foley will be recorded, where it will be recorded, and for how long |
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| Using the pop-up takes list to comp a line of a dialogue, it is important to have ________ operates on all related takes checked |
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| Sound effects are considered to be the _____ of a movie |
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| The term for adding processed, subconscious, and subharmonic elements to a sound design |
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| To get an idea of where they are taking steps, we will watch their ____ and shoulders when we cannot see a characters feet |
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| The method of walking/running to help coney a sense of forward motion in the footsteps |
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| Which microphone pattern has a weak center image whichcan be useful for recording ambiences that can be easily blended with foreground sounds? |
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| Which stereo mic pattern os useful for recording in quieter locales? |
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| After you’re done with the Cloth/Movements, the next item in the Foley order of operations is ______ |
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| sounds are literal, on-screen sounds |
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| Dialogue is considered to be the _____ of a movie |
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| The option in pro tool posistional reference drop down that enables sync with Kems, Projectors or Mag dubbers |
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| Analogue Machines like the _____ are really useful because they have a very wide dynamic range that is useful for recording things like gunshots and explosions |
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| We _____ fade ambiences we’ve recorded as they will be looped later, and adding fades simply reduces the amount of usable audio we have per loop |
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| Scenes changes overlap by ____ frames |
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| We must always _____ sound effects recorded in the field to avoid unnecessary/unwanted popping at the edges of the sounds |
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| The name of the device that we use to edit the work print and mag stock when we are cutting on film |
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| The templates used for the backgrounds |
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| A categorized list of sounds to be recorded for a vehicle during the field recording process |
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| Another term for the common clock, or house sync, we will use to make all of our gear have the same speed reference |
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| The process of recording without looking at picture, and is typically done when a sound is going to be used as a custom effect by the sound design team, or when it is a complex sound that will not be easy to record in sync |
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| changes overlap by 1 frame |
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| The ______ system of archiving field recordings is typically used for Analogue Recording archival |
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| The sound designers name that talked about his work on Indiana Jones |
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| The perspective in ambience design is the furthest away from the listening perspective, typically exhibiting vague ambiences used to describe a general location |
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| Taking the elements of a sound design and combine them down according to their panning assignments, or simply bounce the whole sound design down to a single 5.1 track |
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| The quick key to move the end of the region to the inserts/selection point when it is clicked with the grabber tool (PC) |
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| Act as the director in the Dialogue session |
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| We organize our sound design session first by sound effect then by the ______ |
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| Repetative sounds heard in backgrounds |
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| The process of using EQs, Filters, and Panning to fit all of the layers in a sound design together |
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| The main sound type used in ambience design |
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