1. Location Sound 1 ” People will forgive bad picture, but they will NEVER forgive bad sound.” “Although film is considered a primarily visual medium, much of the storytelling and emotional resonance of a script is conveyed through [sound].” “Audio is the majority of what people react to in a film’s showing and that you should be able to get the majority of what’s going on in a film by shutting your eyes.”

2. a word from Anthony

3. Sound has a bad reputation: “As an audio post guy working on primarily indie projects most of my work is fixing truly horrendous production sound.” “…they saw that bad films often have the same, simple problems:- Bad sound.” -filmmaking.net forum “sound is generally undervalued in film and television, both in professional productions and where it is taught, in film schools and media courses. -“School of Sound” founders Sider & Freeman

4. Semester Goal: Get Good Sound! Main Focus Learn theories and concepts of sound –Physical properties (frequency, amplitude, reverb) –Psychoacoustics (humans hear sound differently than microphones do!) Record sound with confidence -Learn how to use equipment, understand how to troubleshoot Secondary Focus Introduction to audio post process including sound editing and sound design.

5. Class policies Attendance Grading Assignments Oct 12 make up class Website: soundess.wordpress.comsoundess.wordpress.com

6. DM&E “stems” (Dialogue, Music & Effects) MOS will have Effects only, no music Sync sound - we’ll learn it, and you’ll do it on set, but you’re not required to actually sync it in post Role of Sound in MOS

7. What is a Location Sound Recordist? Responsibilities: Record Dialogue and Sound Effects (sometimes music) on set Understand not only principles of sound recording, but other departments as well The Sound Crew Mixer Boom Operator Utility Sound Tech/Cable Person and sometimes… sfx recordist

8. Production Sound Recording on big budget features:

10. Production Sound Recording on lo/no budget independents:

11. A Location Sound Recordist’s Toys Recorder (702T) Microphones (and boom pole) Slate Mixer Headphones

12. Deliverables Audio! - DVDs, Hard Drive transfers Sound Reports

13. What to do Isolate the desired sound, minimize (eliminate) undesired sound

14. What to listen for Hearing distortion (recording TOO HOT) –If your audio is over-modulated, there’s not much you can do to salvage it Recording too low (introduces hissssssssssssss ) –If your audio is recorded too low, you can salvage it but will introduce hiss. This can be helped with in post, but will take time and $.

15. and now… The Sleek, Sexy, Solid State Recorder AKA… The 702T By Sound Devices -no moving parts (solid-state) -records broadcast.wav -easy file transfer via firewire

16. 702T 2-channel recorder Format Compact Flash Cards 2 GB will give you about 3hrs of 2-track recording.

17. 702T 2-channel recorder Side Panel Time CodeDigital inputs Firewire C-link Menu Navigation/Digital outputs word clock DC power Headphone Monitor select

18. 702T 2-channel recorder Side Panel Input SelectsLine outsHeadphone jack (mini) XLR inputsTape out (unbalanced) headphone volume

19. 702T 2-channel recorder Record settings Rec: Sample Rate - 48kHz (suggested) Rec: Bit Depth - 24bit (suggested- the pre-amps perform 24 bit conversion)

20. 702T 2-channel recorder Inputs & Tracks Inputs: Mic vs. Line Called 1 & 2 You can see them. You feed a sound source into the inputs. Tracks: There are two of them, you record onto them. Called A & B Think of them being “inside” the 702T.

21. 702T 2-channel recorder Input Settings 18) Input 1: 48 V Phantom Turn on after plugging in mics, if needed. Gain Control Rotary knobs on the front

22. 702T 2-channel recorder Meters Ideally, the meters will average between: -20dB and -12 (yellow) with peaks in the red

23. 702T 2-channel recorder Headphone Monitoring Levels Exposure to constant loud sounds will permanently damage your hearing. …and the 702T can playback VERY LOUDLY, so please be careful.

24. 702T 2-channel recorder File organization Presets The manual has a lot of information. Once you get familiar with the menu system (and it doesn’t take very long) navigating will flow. Your turn!

25. Manipulating your audience with sound- use sound to tell them what to feel. Create a mood, set up tension, trigger release. Give sound design some thought while writing your script. [NCfOM script] Sound Design begins at your film’s conception [script]

26. This is your chance to let the audience know what your characters are hearing “In recent years there has been a trend, which may be in insidious influence of bad television, toward non- stop dialog in films” -Randy Thom (1999 ) Role of Sound in MOS

28. For next week Assignment #1 Mini sound design presentations (earlier or later?) Attendance Suggested reading - Randy Thom (normally I won’t print these out)