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| the little bits of info listed at the beginning of each scene or shot (location,time,mood) |
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| processing a sound element to fit the scene |
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| “See a sound, Hear a sound” |
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| being very subjective, with a tendency to involve cognitive ideas |
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| sounds that occur in the front of the theatre |
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| sounds that will take place in the surrounds and/or the sub |
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| sound effects performed to picture |
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| the ideal dynamic range for recording speech should fall between? |
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| the most prominent frequencies in the human voice? |
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| the fundamental frequency of a human males voice |
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| the fundamental frequency of a human females voice? |
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| (Automated Dialogue Replacement) the process of having an actor reread any lines that couldnt be used from the production audio |
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| (Edit Decision List) a list of time code addresses and tape names that are generated by a video editing system |
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| the update sound elements to stay in sync with picture after edits have taken place |
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| a file interchange format that will allow you to move material across platforms or software applications |
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| Metadata-which is the project edit info, Media Data-which is the audio and video files |
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| (Production Sound Effects) any sound effects that is not dialogue that happened to find its way into the production track (A Mutable) |
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| the parts of the work track that are going to interfere with the rest of the sound track |
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| bad production dialogue (A Mutable) |
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| generally used for dialogue during a wide-angle shot |
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| used during a close up shot of a character on screen |
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| where the editor will place all the dialogue that needs to be processed to fit the context on the screen |
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| a music and effect only mix that is sent to be overdubbed with foreign languages |
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| the person in charge of the foley, for a film |
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| performs the sound effects to picture |
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| responsibilities include setting and maintaining proper preamp levels,labeling tracks |
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| responsible for setting up the microphones and head phones, as well as patching |
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| these sheets are used to organize a foley session by listing specific cues, timings, and track layout |
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| Movements/Footsteps/Incidentals/Custom Effects |
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| Performing the sound, without doing it to picture |
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| best choice for cloth foley |
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| used for dresses and skirts due to its nice snappy sound |
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| used for formal wear scenes, or a piece with a lot of formal female attire |
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| used for male characters in formal scenes, also loud and harsh sounding great for winter clothes |
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| used for kung-fu clothing |
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| the person in charge of the post production sound staff |
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| the highest level of SFX editing |
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| editor that has the job of cutting the basic conscious sound effects, that are seen on screen |
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| the entry level sound editing position after serving an internship |
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| gives the mixer the ability to add or remove elements to create depth in the mix |
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| makes sounds more hyper-realistic and interesting |
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| detailed sounds that establishing the scene directly around the character |
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| establish more subtleties at a greater distance (less detailed then foreground) |
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| the vague ambient sounds that establish a general location |
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| “a location’s “aural fingerprint”- nonspecific sounds on the upper end (2000 and 8000 Hz) |
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| a template for the background editor’s session |
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| an obviously looping repetitive sound |
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| Original Sound/using Analogous Visualization/Using Sounds With No Visual Congruence |
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| 3 ways to conceptualize a sound effect |
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| a term used to describe using visual association to come up with sounds |
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| Sounds with no Visual Congruence |
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| sounds that do not seem to make any sense when you consider the original onscreen source |
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| elements to enhance the overall designed sound |
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| the process of bouncing the result of an effect down to an actual audio file |
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| bouncing the source tracks down to appropriate channels prior to mixing |
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| allows the designer to bleed the source signal into other channels |
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| commits a predefined amount of time, prior to the point at which the record button was pressed |
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| a term that is used to describe the pre amps and A/D converters in a field recording rig |
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| Mechanical, Maneuvers, Engines, BY’s |
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| 4 types of vehicle recordings |
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| scientific study of the human perception of sound |
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| when the stapedius musle is exposed to loud sustained sounds for an extended period of time the muscle tightens up reducing the amount of osscicular movement |
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| Temporary Threshold Shift |
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| where there is an upward shift in the threshold of human hearing |
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| the medical term for the perception of sound in one or both ears or in the head when no external sound is present |
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| 3 main cues of localization of sound |
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| the simplest aspect of the human perception of sound |
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| the human perception of the intensity of a sound |
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| an attribute of auditory sensation by which sounds can be ordered on a musical scale |
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| Loudness is a perceptual, Intensity is a physical quantity |
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| Fletcher Munson Equal Loudness Contours |
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| shows the intensity at which a sine wave must be presented , as a function of frequency, in order to sound equally loud as the sine waves of other frequencies on the same curve |
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| Lower Bass octave greta for creating atmospheric sounds or sounds that can help shape the mood of a scene |
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| Upper Bass octave with sounds of a wide open space, 4 being the thumpiness |
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| Midrange octave where sound gets its itensity, and contains most of the human voice as well as the fundamental lower harmoniscs and overtones |
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| octave known for fullness, roundness, or body |
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| to much of this octave brings out a hornlike quality |
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| too much of this octave will make a tinny sound |
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| octave that is the upper mids known as the “presence octave”, can improve speech,but to much can cause dialogue to sound lispy |
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| Octaves 9&10 (5120-20480Hz) |
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| octave range tends to give a sound of life by adding crispiness |
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| cues that involve movement of the subjects body that affect how sound enters and reacts with the ear |
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| Interaural Time Difference (ITD) |
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| a static cue referring to the delay time between sounds arriving at the left and right ear (azimuth) |
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| angular position, measured in degrees, of a sound source |
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| Interaural Intensity Difference (IID) |
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| a static cue referring in the difference in intensity of a sound reaching the left and right ear |
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| a static cue describing the effect the external ear, or pinna, has on sound (azimuth & zenith) |
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| a static cue the way a sound echoes off of your shoulders and upper torso, into your ears (zenith) |
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| a dynamic cue involved in turning your head to find a sound source |
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| a dynamic cue to identify the source of sound (hand in hand with head motion) |
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| a dynamic cue describing the first reflections of a sound |
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| a dynamic cue that is the natural decay of a sound in a given space |
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| Intensity of the sound source/Ratio of direct to reverberated sound/amount of high frequency content |
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| 3 principal cues for determining the distance form a sound source (simulating distance) |
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| Intensity of the sound source |
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| Intensity of the sound source |
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| Ratio of direct to reverberated sound |
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| the wet dry mix of what you are hearing |
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| Amount of high frequency content |
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| the farther you are from the source the less high frqeuencies you will hear |
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| Head Related Transfer Functions (HRTF’s) |
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| algorithms thta mimic the filtering effects of our pinnae, head, or upper torso |
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| a change in pitch that results when the source source of a sound abd the listener are moving relative to each other |
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| allows the listener to “tune in” to what one speaker (or sound source) is saying despite the presence of other sounds |
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| where the ear shifts the combined response of the unwanted signal in two ears and partially cancels out |
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| the blending of all the edited sound elements into one continuous soundtrack |
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| person responsible for all the routing |
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| pink noise, form a signal generator, is pumped through speakers and measured with an SPL meter, using C Weighting |
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| sometihng usually having a DAW, such as Pro Tools or Fairlight, available for the supervisors |
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| a huge bank of patch bays and rack mounted gear including some standard EQ’s and compressors |
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| the part of the process where all of the elements, received from the editorial department, are blended into more manageable sub mixes |
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| Principal Production Dialogue |
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| these source tracks include all the master, iso, and futz, to be mixed |
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| a series of outboard gear that is designed to help clean up the tracks and optimize the sound |
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| what occurs when the mixer pans the dialogue, to match the perspectibe on the screen |
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| often done by the sound effects re-recording mixer, while the dialogue rerecording mixer is doing the the dialogue predubs |
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| (group steps or panned steps) the steps made by non-principle characters that need to be panned |
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| these props go to the center channel just the same as principal dialogue and principal steps |
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| also known as incidentals |
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| predubs that are four tracks wide, that feed four channels commonly known as the “corners”, the 1 is a mono track that feeds the center chanel |
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| 5 channel background predub |
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| same a 4+1 but instead of being mixed as four corners with filler for the center channel coming from mono tracks, the 5 are mixed specifically to be LCR,Ls |
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| six tracks,, which are sent to six channels- LCR,Ls,Rs,and LFE |
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| Three tracks that are sent to three channels- LCR |
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| the productd of mixing the predubs together in the final mix |
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| 6 track ( L,C,R,Ls,Rs, and Aux) |
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| 6 track stem (L,C,R,Ls,Rs,and LFE |
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| Foley Add & Sound Effects Add |
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| two stems that are 3 tracks (L,C,R) |
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| a six channel discreet master of the movie that is supposed to be done in a controlled transfer |
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| bringing the stems back through the console wit the faders set to unity with no processing to create prints for the master |
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| The headrom for Dolby SR is ? |
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| the headroom of Dolby Digital,DTS, and SDDS is |
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| the music and effects only mix that is done for the foreign market |
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| the takes that the diretor feels protray the best performance |
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| two magnetic stripe, one is wide and one is thin |
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| 35mm Magnetic Three Stripe |
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| has three stripe of oxide printed on film |
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| is considered by many the most popular dynamically best sounding audio format for motion picture and television |
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| a machine that allows you to place the magnetic stock on wheels with sprockets that are coupled to one another for precision |
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| the process of converting film to video |
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