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Film 20A Midterm
Terms in this set (37)
Sound which is recorded during the filming of a scene, or used in synchronization with the film. This sound is also known as on-screen sound as it has a visible onscreen source - for example, the sound that results from a character clashing two cymbals together.
Sound that does not have a visible on-screen source, aka offscreen sound.
An image that has specific, recognizable sounds that correlate with the image. For example, a clip of a sink running spliced with the sound of running water.
Sound that originates in the narrative world of the film, presented as if the characters inhabiting the film are able to hear it. For example, if a character is in the car and turns on the radio, the song that would start playing would be considered a diegetic sound.
Sounds used in the film that do not have an identifiable origin within the world presented. Something like a film score would be considered non-diegetic if it is utilized in a scene where it could not have an identifiable point of origin within the film's world.
Semidiegtic sound (aka internal diegetic sound):
Sound that cannot be considered fully diegetic or nondiegetic. An example of this would be a voice-over, as even though it may not originate from the the world presented in the narrative, a voice-over still can be seen as originating from a character's thoughts and thus is connected to the world of the story.
This person works with planning and orchestrating a film's overall sound.
When the audio is recorded simultaneously during the filming process.
A device that is marked with the scene and take number that is filmed at the beginning of each take; the sound of it being snapped is recorded in order to synchronize sound recordings and camera images.
A long pole used used to hold a microphone above the actors to capture sound while remaining outside the frame, handled by a boom operator.
Sound captured directly from its source.
Recorded sound that is captured as it bounces from the walls and sets. It is usually used to give a sense of space; opposed to direct sound.
production sound mixer
The Sound engineer on the production set; also called a sound recordist.
Sound recorded after the actual filming and then synchronized to with onscreen sources.
Combining music, dialogue, and effects tracks to interact with the image track; performed by a sound editor.
The term for sound carried over a picture transition, or a sound belonging to the coming scene playing before the image changes.
The process of determining where music and effects will be added to a film.
A member of the sound crew who generates live synchronized sound effects while watching the projected film; named after their inventor, Jack Foley.
Sound recorded after the actual filming and then synchronized with onscreen sources.
ADR (automatic dialogue replacement
A process during which actors watch the film footage and re-record their lines to be dubbed into the soundtrack; also known as looping.
An image or sound recorded on a loop of film to be replayed and layered.
A nonsense word spoken by extras in a film to approximate the sound of a crowd during sound dubbing.
The aural properties of a location that are recorded and then mixed in with dialogue and other tracks to achieve a more realistic sound.
The process by which all the elements of the soundtrack, including music, effects, and dialogue, are combined and adjusted after the image; also called re-recording.
Sound playback during a film's exhibition.
Audio recorded to synchronize with a moving image, including dialogue, music, and sound effects; the physical portion of the film used for recorded sound.
Mixing two or more characters' speech to imitate the rhythm of speech; the term may also refer to dialogue that overlaps two scenes to effect a transition between them.
A person that is speaking and is present in the scene but is not onscreen or shown speaking.
A character or unseen presence who provides a voice and perspective that describes the action of the film, through means such as voiceover or by framing the film from their point-of-view.
A voice whose source is not visible within the frame, and also not implied to be offscreen. A voiceover is often used to narrate what is onscreen in the film, such as providing context to flashbacks or providing commentary in a documentary.
A category of films produced in the 1930s-1950s, featuring female stars in romances or melodramas and marketed primarily to women.
Same thing as a film's non diegetic background music.
Sound that forces the audience to notice the significance of something onscreen, such as an ominous chord struck when a villain's presence is more known.
The utilization of sound as narration for the characters actions and movements. For example a loud, vibrating drumbeat that coincides with every step an angry character takes.
The person who is in charge of asking musical artists for permission to use their work in a film.
This is how the journey and overall composition of the sound recording, music, mixing, editing, any noises in a movie, meet with the narrative. How the sound of the film support and combine with what is happening onscreen.
This is the overlap or cut between different noises.
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