1. No Dragnet edits – The original Dragnet television series used a certain approach to cutting dialogue scenes. Audio and video edits tended to be made as straight cuts between the actors without any overlaps as they delivered their lines. It followed this formula: cut to actor A – deliver the line; cut to actor B – deliver the line; cut back to actor A and so on. Our brains seem to react better to edits where the change in picture and sound is not always together. These are called split edits, L-cuts or J-cuts. These are called split edits, L-cuts or J-cuts.

2. J CUT

3. L CUT

4.  Non-Linear Editing  Allows access to any clip without scrubbing through entire clips  Film was the first nonlinear editing system

5.  Workflow

6.  Editing Software  Is only making references to clips on your hard drive. The clips are not actually there in the software program. That means that if you move your clips around or delete them off of your hard drive—you will offline your media.

7.   Cache: A cache (pronounced CASH) is a place to store something temporarily in a computing environment.  In computing, active data is often cached to shorten data access times Premiere Pro and Cache Files

8.   You can pretty much throw anything on the Premiere Pro Timeline and it will just work  When you import your camera native files (say some.MTS files) Premiere will start to ‘conform’ those files getting them ready to play back.  creates a cache of all those conformed previews in a folder on your boot drive where it ends up taking up a lot of disk space  You can move the media cache folder to your media storage drive Premiere Pro and Cache Files

9.  Audio Waveform in Premiere

10. Wavelength The distance between any point on a wave and the equivalent point on the next phase. Literally, the length of the wave.

11. Amplitude: The strength or power of a wave signal. The "height" of a wave when viewed as a graph. Higher amplitudes are interpreted as a higher volume, hence the name "amplifier" for a device that increases amplitude.

12. Frequency: The number of times the wavelength occurs in one second. Measured in kilohertz (Khz), or cycles per second. The faster the sound source vibrates, the higher the frequency. Higher frequencies are interpreted as a higher pitch. For example, when you sing in a high-pitched voice you are forcing your vocal chords to vibrate quickly.

13.  Sound Levels  On old analog recorders 0 dB was 14 decibels higher than it is on many professional audio recorders  on magnetic tape and could push the recording level past the 0dB setting on a regular basis without any serious consequences.

14. Digital audio has a hard ceiling that is measured as 0dB When you push the audio level beyond that point, digital clipping occurs. This produces nasty distortion that effectively ruins your recording during the clipping. To avoid digital clipping, it's good practice to keep your recording levels well below the ceiling. A common setting is -10dBFS. This gives you some headroom for inevitable peaks and still keeps the signal loud enough to avoid noise. Many devices also include a signal limiter of some kind.

15.  Audio Levels on Premiere  “The key is, you never want to exceed zero, because your audio will get distorted.”  “Now some of you might be delivering to a broadcast station, and they might have specific requirements for your audio mix level. It may be minus 18 or minus 20. The best rule of thumb is ask before you start editing and you won't have to go back and fix it”

16.  Levels  Total audio mix level: -3 dB to -6 dB  Principle speaker (SOT) audio: -6 dB to -12 dB  Sound effects audio: -12 dB to -18 dB  Music when its an underscore: -18 dB

17.  Diegetic and Non-Diegetic Sound  http://www.npr.org/blogs/deceptivecadence/2013 /11/23/246916733/a-sound-of-fear-forged-in-the- shadow-of- war?utm_content=socialflow&utm_campaign=nprfa cebook&utm_source=npr&utm_medium=facebook http://www.npr.org/blogs/deceptivecadence/2013 /11/23/246916733/a-sound-of-fear-forged-in-the- shadow-of- war?utm_content=socialflow&utm_campaign=nprfa cebook&utm_source=npr&utm_medium=facebook

18.  Diegetic vs. Non-Diegetic  Part of the story world of the film  The Most Dangerous Game The Most Dangerous Game  Diner Scene Diner Scene  Diner Scene 2 Diner Scene 2

19.  Offscreen Sound: Paranormal Activity 1 and Paranormal Activity 2  http://www.youtube.com/watch?v=rS1C7kzn-FA http://www.youtube.com/watch?v=rS1C7kzn-FA  http://www.youtube.com/watch?v=HDq1_2s9oyI http://www.youtube.com/watch?v=HDq1_2s9oyI

20. Narration or Voiceover  Narration works best when woven in with sync sound from a scene  Be careful that background sounds do not become distracting  Ideally, final narration should be recorded in a sound booth to get high-quality clean sound Tips and Tricks from -- Digital Films a blog by Oliver PetersDigital Films

21.  Signal to Noise Ratio

22.  Handheld Microphones

23.  Lavalier Mics The most commonly used self-worn microphones in a broadcast environment would be lavalier (or lapel) microphones, and headset microphones. They are designed to be small, discreet, positioned extremely close to your sound source and plug into a variety of devices such as wireless belt packs, or direct to your camera.

24.  Wired/Wireless  The key word for these microphones is discreet. Wearable mics are the ultimate solution for maximizing your signal to noise ratio  Wireless units, if you decide to pursue this option can be quite expensive and occasionally prone to interference or configuration issues. If you are a solo videographer or a small production team this can add considerable cost your budget.

25.  The Shotgun Microphone

26.  Microphone Pickup Patterns

27.  Omnidirectional Omnidirectional microphones have a pickup pattern that captures sound in all directions equally, making them ideal for recording ambient sound. Ideal for capturing the ambient sound of a location Available in handheld and lavalier configurations Ideal as a lavalier when the actors needs to turn her head in the scene, as an omnidirectional lavalier will ensure her voice will not leave the pick-up pattern Not ideal for use on a boom pole. The purpose of boom mics are to isolate the actors' dialogue above the ambient sound of the location, and omnidirectional mics do the opposite

28.  Cardioid Cardioid mics are the first in the directional microphone category. With an inverse heart-shaped pick-up pattern, cardioids accept sound in front of the microphone and reject sounds to the side and behind the microphone. Cardioids are available in both handheld and lavalier configurations.  Handheld cardioids are the primary mics used in performance - singers, lecturers, comedians, broadcasters - where the mic can be held within 4-6 inches of the performer's mouth.  Lavalier cardioids, because they are more directional, tend to reject more ambient sound than their omnidirectional counterparts, making them ideal for recording talent in high-noise environments.  Cardioids are not often used on boom poles because the pick-up patterns is still too wide to isolate actor's dialogue.

29.  Hypercardioid  Hypercardioid Hypercardioid microphones are much more directional than cardioid, and are used in locations when the micrphone can be placed close to the actors.  Due to the physics of how microphones capture sound, hypercardioid microphones have a lobe of sensitivity behind the microphone.  Hypercardioids are used on boom poles when recording sound in interior, low-ceiling environements. Hypercardioids have a lobe of sensitivity on the rear axis that will capture sound

30.  Shotgun  Shotgun microphones are tube-shaped interference mics that use ridges along the side of the microphone to shape the pick- up pattern into a very narrow shape.  Shotguns are ideal for for recording dialogue on set because they accept sound directly on axis with the microphone, while rejecting sounds to the side.  Shotguns are the primary microphone choice when recording sound on set as they allow the boom operator to postition the microphone to only capture the actors' dialogue.  Be aware that useof a shotgun requires precision placement to ensure the actors do not leave the pick-up zone of the microphone.

31.  Dynamic Mic

32.  Condenser Mic

33.  DYNAMIC VS CONDENSER  (also called a moving-coil microphone) is considered the most rugged professional microphone.  This type of mic is a good choice for electronic newsgathering (ENG) work, where a wide variety of difficult conditions are regularly encountered.  C ondenser microphones (also called capacitor or electret condenser mics) are capable of top-notch audio quality.  Condenser mics aren't as rugged as dynamic mics, and problems can result when they are used in adverse weather conditions.  B ecause they require a pre- amp, this means that require a source of power

34.  On-Camera Microphones

35.  Positives and Negatives POSITIVES  On-camera mics are compact, lightweight, affordable, and feature universal connections such as a standard hot- shoe mount, and 3.5mm microphone jack, which makes them compatible with most DSLR cameras and camcorders on the market. NEGATIVES  As these microphones sit on top of your camera, this may not always give you the optimum signal to noise ratio. If your subject is close enough to the camera (roughly two meters or seven feet) or you’re simply recording the ambience of your environment, these microphones are perfect. For anything further away, you may achieve better results by getting your mic closer to your source using one of the following two microphone types.

36.  Diegetic and Non-Diegetic Sound  http://www.npr.org/blogs/deceptivecadence/2013 /11/23/246916733/a-sound-of-fear-forged-in-the- shadow-of- war?utm_content=socialflow&utm_campaign=nprfa cebook&utm_source=npr&utm_medium=facebook http://www.npr.org/blogs/deceptivecadence/2013 /11/23/246916733/a-sound-of-fear-forged-in-the- shadow-of- war?utm_content=socialflow&utm_campaign=nprfa cebook&utm_source=npr&utm_medium=facebook  Leit Motif

37.  Diegetic vs. Non-Diegetic  Part of the story world of the film  The Most Dangerous Game The Most Dangerous Game  Diner Scene Diner Scene  Diner Scene 2 Diner Scene 2

38.  Offscreen Sound: Paranormal Activity 1 and Paranormal Activity 2  http://www.youtube.com/watch?v=rS1C7kzn-FA http://www.youtube.com/watch?v=rS1C7kzn-FA  http://www.youtube.com/watch?v=HDq1_2s9oyI http://www.youtube.com/watch?v=HDq1_2s9oyI