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FILM 2202 (6)
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Sound Design.docx

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Department
Film Studies
Course
FILM 2202
Professor
Anna Blake
Semester
Fall

Description
Sound Design Evolution of Film Sound Contemporary = multichannel • Sound Field: the acoustical area covered by speaker placement in a surround sound setup;  activated by multichannel sound • Soundstage: the acoustical space established by the front speakers 1930s—1970s = single channel • SOF (sound on film): the sound was recorded in an optical track on the film strip o Reduction in volume, limited frequency range, distortion of sound Types of Sound • Dialogue o Speech: delivered by characters on screen in conversation o Voice­over: accompanies images but not delivered by a character within the scene  Used mainly in noir films o Production track: the sound recorded at the point of filming o ADR (automated dialogue replacement): the sound RE­recorder by the actors in a sound  studio post filming • Sound Effects  ▯Physical non­speech sounds heard as part of the action and physical environment  seen on screen o Ambient sound  Naturally occurring, low level, produced by environment (traffic, birds, etc.)  Sounds produced by specific actions (throwing a rock threw a window  ▯glass  breaking)  Room tone = the acoustical properties of a room itself o Foley technique: live performance and recording of sound effects in synchronization with  the picture • Music 1. Spotting  ▯the composer consults with director to view the final cut edit to determine  where and when the music should be needed • Temp­track = a temporary musical track derived from another score, which the  director asks the composer to create a new score of similar sound 2. Cue Sheet  ▯a detailed description of each scene’s action requiring music, plus the exact  timings of each action 3. Composing • Sequencers = allow the composer to lock the score onto the video’s digital time  code 4. Performance and Recording  ▯the new composition is performed and recorder o
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