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Chapter 9 Terms

Terms in this set (33)

Sound crew
The group that generates and controls a movie's sound physically, manipulating its properties to produce the effects that the director desires. (page 390)
Sound design
A state-of-the-art concept, pioneered by director Francis Ford Coppola and film editor Walter Murch, combining the crafts of editing and mixing and, like them, involving both theoretical and practical issues. In essence, sound design represents advocacy for movie sound (to counter some people's tendency to favor the movie image). (page 390)
Sound track
A separate recording tape occupied by one specific type of sound recorded for a movie (one track for vocals, one for sound effects, one for music, etc.). (page 390)
Digital format
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. (page 391)
Boom
A polelike mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction. (page 391)
Double-system recording
The standard technique of recording film sound on a medium separate from the picture; this technique allows both for maximum quality control of the medium and for the many aspects of manipulating sound during postproduction editing, mixing, and synchronization. (page 392)
Dailies
Also known as rushes. Usually, synchronized picture/sound work prints of a day's shooting that can be studied by the director, editor, and other crew members before the next day's shooting begins. (page 392)
Outtake
Material that is not used in either the rough cut or the final cut, but is cataloged and saved. (page 392)
Rerecording
Also known as looping or dubbing. The replacing of dialogue, which can be done manually (that is, with the actors watching the footage, synchronizing their lips with it, and rereading the lines) or, more likely today, through computerized automatic dialogue replacement (ADR). (Dubbing also refers to the process of replacing dialogue in a foreign language with English, or the reverse, throughout a film.) (page 392)
Automatic dialogue replacement (ADR)
Rerecording done via computer -- a faster, less expensive, and more technically sophisticated process than rerecording that is done with actors. (page 392)
Mixing
The process of combining different sound tracks onto one composite sound track that is synchronous with the picture. (page 393)
Pitch
The level of a sound, which is defined by its frequency. Pitch is described as either high or low. (page 394)
Frequency
The speed with which a sound is produced (the number of sound waves produced per second). The speed of sound remains fairly constant when it passes through air, but it varies in different media and in the same medium at different temperatures. Compare pitch. (page 394)
Loudness
The volume or intensity of a sound, which is defined by its amplitude. Loudness is described as either loud or soft. (page 394)
Amplitude
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. (page 394)
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