Chapter 3: Sound and Image Courtesy Kendelyn Ouellette

© 2011 Delmar, Cengage Learning Objectives Produce a commercial or promotional short. Classify and utilize the types of audio that make up a sound mix. Evaluate uses of sound in a variety of movies. © 2011 Delmar, Cengage Learning

Matching Image and Sound Synchronous sound Reproducing sound Phonograph Amplifier Sound-on-disc systems Vitaphone and The Jazz Singer Optical sound (or “sound-on-film”) © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Synchronization Time codes to keep picture & sound constant Slate Specific frame when sticks hit is matched with sound track Digital slates indicate time code Frame rates and sound time code (or constant speed) must be perfectly monitored to retain sync © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Sound Crew Production sound mixer Use of microphones Setting and mixing proper levels Communication with director and other departments Boom operator To capture best possible sound To keep boom pole, microphones, and shadows out of frame Courtesy Mike Chase © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Equipment Boom and exterior tools Boom pole – careful operation is a key Windscreen, including blimp Microphones Radio microphone Cardioid microphone Shotgun microphone Recording devices Nagra (constant speed reel-to-reel) Hard disk recording © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Components of the Mix Ambient sound Wild sound Off-screen voices Nonsync sound effects recorded during production Foley effects Automated Dialogue Replacement (ADR) Looping of dialogue Dubbing Courtesy Kendelyn Ouellette © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Music Is the music heard by people in movie or not? Score Collaboration between composer and production team, particularly director Typically recorded in sync with final cut of movie Musical motion picture Music or songs previously recorded and used during production or recorded while shooting Prerecorded music Edit completed to match the selected music Songs commonly used when prerecorded music is employed © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Sound Design Crafting a sound world to function in conjunction with the visual reality Creation of effects Mixing of many sound elements Coordination of picture and sound in editing Key figures Walter Murch Ben Burtt Alan Splet Skip Lievsay Courtesy of http://www.georgegroves.org.uk © 2011 Delmar, Cengage Learning

Dialogue and Screenwriting Scene heading Interior or exterior Location Time of day Action Tells the reader about observed actions and visual aspects of the scene (also called scene directions or body copy). Dialogue Separated from body copy by a blank line above and below. Name of the character in bold above dialogue. Spoken words placed in interior margin. Courtesy 20th Century Fox/Photofest © 2011 Delmar, Cengage Learning

© 2011 Delmar, Cengage Learning Summary In Chapter 3, you explore the integral place of sound in motion picture communication. Tools such as microphones, mixers, slates, and boom poles are commonly used in the process of audio recording for motion pictures, while elements of the sound mix such as production recording, foley effects, wild sound, music, ADR, and other types can combine to create the sound design of a movie. © 2011 Delmar, Cengage Learning