CCS 101 Chapter Notes - Chapter 9: Sound Recording And Reproduction, Film Stock, Sound
29 Jun 2018
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CCS 101
Chapter 9: Sound
sound crew - generates and controls the sound physically, manipulating its properties to
produce the effects that the director desires
production sounds - the sounds in a movie that are the result of recording during filming
postproduction sounds - most film sounds are constructed during the postproduction phase
sound design - the art of creating the sound for a film
sound track - in conventional filmmaking with film stock, a narrow band to one side of the
image on which the sound is recorded; in digital filmmaking, depending on the recording method
being used, the sound track basically consists of a digital code being placed somewhere on the
digital recording medium
the contemporary concept of sound design rests on the following basic assumptions:
oSound should be integral to all 3 phases of film production (preproduction, production,
and postproduction), not an afterthought to be added in postproduction only
oA film's sound is potentially as expressive as its images
oImage and sound can create different worlds
oImage and sound are co-expressible
Dolby system - in production, enhances fidelity by electronically reducing the hiss generated by
analog sound recording and enables the technicians to match a movie's sound to the emotional
intensity of its pictures
digital format - offers greater flexibility in recording, editing, and mixing and thus is fast
becoming the standard
of the various types of film sound, dialogue is the only type typically recorded during
production; everything else is added in the editing and mixing stages of postproduction
boom operator
double-system recording - the standard technique of recording film sound on a medium
separate from the picture
dailies (or rushes) - synchronized picture/sound work prints of a day's shooting; from these they
select the usable individual shots from among the multiple takes, log the usable footage, and
decide which dialogue needs recording/rerecording and which sound effects are necessary
outtakes - any footage that will not be used
rerecording of sound first recorded on the set (sometimes called looping or dubbing) can be
done manually: the actors watch the footage, synchronize their lips with it, and reread the lines
automatic dialogue replacement (ADR) - most rerecording is done by computer through ADR, a
faster, less expensive, and more technically sophisticated process
mixing - the process of combining different sound tracks onto one composite sound track
synchronous with the picture; each type of sound occupies an individual sound track
ohere the term mixing refers to a single element (one track for vocals, one for sound
effects, etc.) that can be combined in a multitrack sound design
pitch (or level) of a sound can be high, low, or somewhere in between
pitch is defined by the frequency (or speed) with which it is produced (the number of sound
waves produced per second)
the loudness (volume/intensity) of a sound depends on its amplitude, the degree of motion of
the air (or other medium) within the sound wave
the quality (also known as timbre, texture, or color) of a sound includes those characteristics
that enable us to distinguish sounds that have the same pitch and loudness
harmonic content - can be measured as wavelengths
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Document Summary
Sound crew - generates and controls the sound physically, manipulating its properties to produce the effects that the director desires. Production sounds - the sounds in a movie that are the result of recording during filming. Postproduction sounds - most film sounds are constructed during the postproduction phase. Sound design - the art of creating the sound for a film. The contemporary concept of sound design rests on the following basic assumptions: o. Sound should be integral to all 3 phases of film production (preproduction, production, and postproduction), not an afterthought to be added in postproduction only: a film"s sound is potentially as expressive as its images o o. Dolby system - in production, enhances fidelity by electronically reducing the hiss generated by analog sound recording and enables the technicians to match a movie"s sound to the emotional intensity of its pictures. Digital format - offers greater flexibility in recording, editing, and mixing and thus is fast becoming the standard.
