Sound and Recording Overview Soundtracks Sound Basics Recording

Sound and Recording

Overview • • Soundtracks Sound Basics Recording Dialogue Effects Music Mixing

Soundtracks • Although most films come with a soundtrack on them, the picture and the sound are recorded, edited, and mixed separately. • The soundtrack usually consists of dialogue, effects, and music. • During post-production (mixing) they are “married” back together. • A clapboard was used traditionally to synch up picture and sound. • Time-code used in film and video production for editing purposes. – 01: 52: 44: 12. – Hours, minutes, seconds, frames

Overview • Film Sound is hyper-real – an exaggeration of reality – it is not a replica of reality. – There are too many competing sounds in real life. – sound designers accent the important ones. • Storytelling matters the most

Sound Basics • Compression and expansion of the sound waves in the medium determine its characteristics • Sound moves in a way analogous to the ripples in a pond from a dropped stone (Propagation)

Basic Characteristics • Amplitude is the size of a soundwave • Other names: volume, level, loudness • Measured in Db* • Frequency relates to pitch • It is the number of waves per second • Measured in Hertz • Timbre is the quality of sound that comes from its tone rather than its pitch or volume • the quality or color of tone of an instrument or voice. • Also called tone color

Sound in Film (cont’d) • Diegetic Sound is sound whose source is visible on the screen or whose source is implied to be present by the action of the film: voices of characters, sounds made by objects in the story, music represented as coming from instruments in the story space ( = source music). • In other words, Diegetic Sound is the sound produced by things seen on the screen. For example, you see a man slam a door shut and you hear the sound of door slam. • Non-Diegetic sounds are all other sounds included in the film. This may include the score and voice-over narration.

Decibels • The name decibel means a tenth of a bel – Alexander Graham Bell (hence the capital B in d. B). • d. B doesn't have to relate to any fixed level of signal – it is simply a convenient way of expressing the ratio between two signal levels. • We can pick any power or voltage to be our 0 d. B level and then express all other values relative to that. • For example, the record level meter on a tape machine is always set so that the optimum recording level is shown as 0 d. B.

Audio • Audio is the representation of sound, electrically or by various methods on media, not sound itself. • Sound is processed by microphones. • Microphones are transducers, they convert the sound energy into electrical energy. After that the sound is called a signal.

Boom Operator

Recording • Recording dialogue and production sounds is done during principle photography, with a sound person (usually a boommic operator). • Record sounds as loudly as possible without distortion. You want the largest possible signal to noise ratio. • Avoid external noises or voices that interfere with the sounds you are trying to record. • The pick-up pattern often determines the best microphone to use for each situation.

Microphones • Basic Microphone types: – – • • • Omnidirectional Bi-directionaly Cardioid Hypercardioid Chose the mic according to the situation Isolate the sound source as much as possible Use a boom for dialogue if possible Roll the sound before recording the picture Use a wind-screen whenever possible

Dialogue • Dialogue is usually recorded using a boom-mic with a boom-mic operator • Dialogue should be in the -12 to -6 db range • Always check the recording before you break down the set • Room-tone is useful to have with dialogue (always record 10 seconds before and after each take)

ADR- Automated Dialogue Replacement or “looping”. This is done to add lines or replace unclear dialogue after the shooting has taken place

Sound Effects • Effects are recorded occasionally on set and usually in post production • Hard Effects are sounds that emanate from the action onscreen. For example, you see a man slam a door shut and you hear the sound of door slam. • Soft Effects are ambient sounds. Off-screen sounds. • It is not unusual to have hundreds of effects tracks • Many copyright-free sound effects can be found on the internet • Foley is the act of recording sound effects such as footsteps and efforts, in a sound studio on a Foley stage.

Music • This is called a score. • Music can overpower a film if not chosen properly. Song lyrics can change the meaning of a scene • You can find pre-recorded material or hire a composer. You can also create your own soundtrack using real or digital instruments • Garage Band Logic are excellent software packages for creating original soundtracks. • If you plan to enter film festivals or sell your film, you need to clear the copyright with the owner of the recording.

Characterization • Dialogue, sound effects, music contribute • Musical themes often identify characters • Music can underscore characters’ insights

Step by Step Sound Recording • • • • Test the recording equipment before shooting. Record ambience, effects, and dialogue on set Use a shot-gun mic on a boom for dialogue Leave space before and after each take (roll sound first) Use a clap-board for sync purposes. Isolate the sounds as much as possible. Once the picture is locked you should think about effects and music Go through the movie and make a list of needed effects Collect or create effects scene by scene Separate ambience, hard effects, and background effects Create a rough mix Hire a composer or acquire music for your film Mix down for the different media you plan to output to. Back up all of your work.