Looking at Movies Chapter 9
Terms in this set (38)
(timbre, texture, or color) characteristics that distinguish a sound from others of the same pitch and loudness
emanates from the ambience (background) of the setting or environment being filmed, either recorded during production or added during postproduction, may incorporate other types of film sound—dialogue, narration, sound effects, Foley sounds, and music—ambient sound does not include any unintentionally recorded noise made during production
The degree of motion of air (or other medium) within a sound wave. The greater the amplitude of the sound wave, the harder it strikes the eardrum, and thus the louder the sound. Compare loudness.
A polelike mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction.
recorded during production or rerecorded during postproduction, speech of characters who are either visible onscreen or speaking offscreen, (another part of the room not visible or an adjacent room)
come from a source within a film's world, heard both by audience and characters
greater flexibility in recording, edition, and mixing, a means of storing recorded sound, made possible by computer technology, in which each sound wave is represented by combinations of the numbers 0 and 1
recording film sound on a medium separate from the picture; maximum quality control of the medium, able to manipulate sound during postproduction
diegetic sound that comes from a place within the world of the story, we assume it is heard by the characters in that world
The faithfulness or unfaithfulness of a sound to its source
1930s- Jack Foley, Technicians known as Foley artists create these sounds in specially equipped studios, where they use a variety of props and other equipment to simulate sounds such as footsteps in the mud, jingling car keys, or cutlery hitting a plate. 1. created and recorded in sync with the picture 2. sounds are unique
speed with which a sound is produced (the number of sound waves produced per second)
The wavelengths that make up a sound
variation on the mental, subjective point of view of an individual character that allows us to see a character and hear that character's thoughts (in his or her own voice, even though the character's lips don't move)
when we hear the thoughts of a character we see onscreen and assume that other characters cannot hear them
The volume or intensity of a sound, depends on amplitude, loud or soft.
commentary spoken by either offscreen or onscreen voices, frequently used in narrative films, where it may emanate from an omniscient voice (and thus not one of the characters) or from a character in the movie (first person narration or voice-over narration)
come from a source outside a film's world, heard only by the audience
Sound that has previously been established in the movie and occurs when a character has a mental flashback to an earlier voice that recalls a conversation or a sound that identifies a place
diegetic or nondiegetic, derives from a source we do not see. DIEGETIC: it consists of sound effects, music, or vocals that emanate from the world of the story NONDIEGETIC: takes the form of a musical score or narration by someone who is not a character in the story
diegetic sound, emanates from a source that we both see and hear, may be internal or external sound
footage not used- cataloged and saved.
carries the sound from a first shot over to the next before the sound of the second shot begins
The level of a sound, which is defined by its frequency, high or low
(looping or dubbing) replacing of dialogue, which can be done manually (watching the footage, synchronizing their lips with it, and rereading the lines) or ADR
diegetic and occurs onscreen.
generates and controls a movie's sound physically, manipulating its properties to produce the effects that the director desires
the art of creating the sound for a film, editing and mixing, both theoretical and practical
artificially created for the sound track that has a definite function in telling the story
narrow band to one side of the image on which the sound is recorded, or a digital code being placed somewhere on the digital recording medium
result of recording during filming
film sounds constructed during the postproduction phase
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
(rushes) synchronized picture/sound work prints of a day's shooting
automatic dialogue replacement (ADR)
computerized automatic dialogue replacement
process of combining different sound tracks onto one composite sound track synchronous with the picture
sound that is closely related to the action but not precisely synchronized with it or a sound that either anticipates or follows the action to which it belongs- builds tension and suspense
mix that ideally includes multiple sources of diverse quality, levels, and placement and usually moves as rapidly as a montage of images
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