LESSON 6 HISTORY AND FUNCTIONS OF SFX AND FOLEY EFECTS
- 2. What is Sound Design? - Episode 5: Diegetic and Voice Treatment - https:/ /www.youtube.com/watch?v=RSupCqNnl48
- 3. SOUND DESIG N LESSON 3 DIALOG, MUSIC AND SOUND EFFECTS
- 5. SOUND DESIG N DIALOG, MUSIC AND SOUND EFFECTS
- 6. OBJECTIVES 1. Summarize the different elements of a soundtrack 2. Compare & Contrast the different uses of sound in different animation shots & sequences 3. Recognize the importance of tools in sound recording
- 8. DIALOG • the most direct means of storytelling, contributing greatly to the implied reality. • 2 forms of Dialog: • On-screen dialog - synchronous (lip sync) or • Off- nonsynchronou logdiascreen s (su implie- ch as over aracchs -the- te shoulde racteinr r shot onti s) without providing a visual reference.
- 13. MELODY • a linear narrative element with the power to draw attention away from the dialog; therefore, film composers often avoid writing active melodies when • Exceptions important dialog thisto is practice being deliver include ed. the dramatization of speeches through underscores, where the music often hits at
- 15. UNDERSCORE • enhances the subtext of dialog without interfering with intelligibility https://www.youtube.com/watch?v= XWuPGKLJXe8&t=82s
- 16. SON G• songs contain lyrics, which can easily compete with dialog; therefore, songs are often reserved for sequences that do not involve dialog
- 17. RECITATIVE • the blending of speech and music approach is often used to deliver story points. https://www.youtube.com/watch?v=ofVAToQItG0
- 24. VOICE TALENT STEREOTYPIN G Scottish Terrier breed character speaks with a Scottish accent Siamese Cats speaks with an Asian accent
- 26. NARRATION • the telling of a story from a different time or location than implied • In on narration, - screen it is understood that the narrator is not https://www.youtube.com/watch?v=zZTegd_uc7M
- 27. NARRATION FIRST PERSON • an extension of the character’s thoughts https://www.youtube.com/watch?v=S7BFaLChV0o&t=29s
- 28. NARRATION THIRD PERSON • narrator is typically an observer rather than a character participating in the story https://www.youtube.com/watch?v=BrOfzAXOqSo
- 29. WALLA • a specialized verbal sound that can be either language specific or neutral https://www.youtube.com/watch?v=t52MVV4duqs
- 31. MICROPHONE • principle means of capturing a • transduce voice (convert) acoustical energy to electrical energy (signal) • Two basic types: dynamic & condenser
- 32. MICROPHONE • dynamic microphone - loud sounds from close distances without distortion
- 33. MICROPHONE • condenser microphone - more responsive to high frequencies and sudden attacks (transients)
- 34. POLAR PATTERN • pattern by which the microphone captures or rejects • various sounds patterns of directionality (omnidirectional, cardioid and bidirectional)
- 35. OMNIDIRECTIONAL POLAR PATTERN • picks up sound uniformly at 360°.
- 36. CARDIOID POLAR PATTERN • more directional, rejecting sound progressively as the •
- 37. BIDIRECTIONAL POLAR PATTERN • similar to two cardioid capsules placed back-to- back AND equally sensitive from both sides.
- 39. • recorded with close microphone placement (approximately 8 inches) • microphone is usually pointed at a downward angle • pop-shield is often placed between the talent and the microphone to reduce the effects of plosives • script is placed on a music stand or a hanging clip, positioned off to the side to prevent unwanted reflections or paper rustling.
- 40. • Looping - Multiple takes of each line are • Dialog is typically divided into individual sentences or short phrases
- 41. • Words that begin with f, s, z, ch, ph, sh, and th all produce a hissing sound that, if emphasized, can detract from a reading. • Emphasizing a different portion of the word in a subsequent reading can control most sibilance. SIBILANCE
- 42. • Wind distortions caused by the rapid release of air pressure that is built-up prior to the delivery of the letters b, pm k, d ,t and g • can occur at the beginning or end of a word • can be reduced or prevented by placing a pop shield between the talent and the microphone or backing the talent away from the microphone or moving the microphone slightly to the PLOSIVES
- 43. • No jewelry and items on the body that can produce unwanted sound
- 44. • No jewelry and items on the body that can produce unwanted sound
- 45. • No jewelry and items on the body that can produce unwanted sound
- 46. THE ROLE OF MUSIC IN ANIMATION
- 47. SOUNDTRACK • the completed audio mix that includes the dialog, SFX, and music stems
- 48. MUSIC STEM SCORE • also referred to as the score • consists of a series of cues (musical selections), each corresponding to a specific scene or action. CUE • categorized as underscore or source
- 49. SOUNDTRACK • some soundtracks are comprised entirely of songs • song scores are differentiated as original song scores (containing five or more original songs) and adaptation scores (utilizing preexisting music)
- 50. SOUNDTRACK • some soundtracks are comprised entirely of songs • song scores are differentiated as original song scores (containing five or more original songs) and adaptation scores (utilizing preexisting music)
- 51. SPOTTING SESSION • sessions occurs soon after the film is locked (no further picture edits)
- 52. SPOTTING SESSION • director meets with the composer to identify, define, and develop time references for each cue • consists of a series of starts and stops followed by discussions in which the cues are defined
- 53. SPOTTING SESSION • the music editor takes detailed notes regarding each cue • these notes are used to generate a cue sheet that serves as a blueprint for the score. It also provides an accurate total for the number of minutes required. This timing information is critical in the development of a scoring
- 54. ROLE OF THE MUSIC EDITOR • edits & synchronizes the score to image • produces the cue sheet for the project from detailed notes taken at the spotting session and serves as the main liaison between the director and the composer • If original music is recorded, the music editor assists the composer with the scoring session (recording). • When the scoring session is completed,
- 55. ABBREVIATION USED IN SPOTTING NOTES Term BG Dead cue Definition Backgrounds Specific location on a film that will be accented with music (often referred to as a sync point) Dubbing Final mix of the film utilizing all stems ET End title (the final music cue in a picture)/end title credits FB Flashback (any film device used to denote a passage backward in time) FG Foreground FI Fade in FO Fade out HIT Time code location to receive extra musical emphasis Intercut Process of editing music to remove mistakes, make corrections in timing, or Improve performance; differs from picture edit intercut
- 56. ABBREVIATION USED IN SPOTTING NOTES Term Pick-ups Definition Short sections of recording that can be intercut to account for late editing decisions; cutting the ending of an extended production cue and moving it closer to the beginning When music starts just prior to the scene Any track that is recorded before filming Bursts of light that have been punched into film for the purpose of keeping the conductor oriented to Prelap Prescor e Punches the music Sneak start Start of any music cue that is brought in under a sound effect (masked sync point); if no sound effect is available, the orchestra will probably fade in Spotting Process of deciding where music is to start and stop Streamer Line scribed on the film that visually guides the composer to a dead cue Sync point Place in the action that a composer wants to accent; also called a hit Wil d Recording music without a click, streamers, or punches
- 57. FADE TOO L • used to smooth amplitude differences and eliminate pops that occur at the edit seam • customized to smooth out differences in volume levels, tempo, or instrumentatio n. CROSS- FADES
- 58. INTERCUT • involves the removal of portions of an existing cue to tailor the length and hits of the resultant cue to a particular visual