Terms in this set (31)
The group that generates and controls a movie's sound physically, manipulating its properties to produce the effects that the director desires.
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).
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.).
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.
A polelike mechanical device for holding the microphone in the air, out of camera range, that can be moved in almost any direction.
the standard technique of recording film sound on a medium separate from the picture
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.
Material that is not used in either the rough cut or the final cut, but is cataloged and saved.
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.)
Automatic Dialogue Replacement (ADR)
Rerecording done via computer—a faster, less expensive, and more technically sophisticated process than rerecording that is done with actors.
the process of combining different sound tracks onto one composite sound track synchronous with the picture
The level of sound, which is defined by frequency. High or Low.
The speed with which sound is produced
Volume or intensity of sound which is drones by amplitude.
The degree of motion of air within a sound wave. The greater the amplitude the harder it strikes the ear drum.
Also known as timbre, texture, or color. The complexity of a sound by its harmonic content
the wavelengths that make up a sound
The faithfulness or unfaithfulness of a sound to its source.
Sound that originates from a source within a film's world.
Sound that originates from a source outside the world of the film
A form of diegetic sound that emanates from a source that we both see and hear.
A form of sound, either diegetic or nondiegetic, that derives from a source we do not see. When diegetic, it consists of sound effects, music, or vocals that emanate from the world of the story. When nondiegetic, it takes the form of a musical score or narration by someone who is not a character in the story.
Sound that is diegetic and occurs onscreen.
Sound that has previously been established in the movie and replays for some narrative or expressive purpose. Nonsimultaneous sounds often occur when a character has a mental flashback to an earlier voice that recalls a conversation, or to a sound that identifies a place, event, or other significant element of the narrative. Compare simultaneous sound. (page 397)
Sound that comes from a source apparent in the image but that is not precisely matched temporally with the actions occurring in that image.
A form of diegetic sound in which we hear the thoughts of a character we see onscreen and assume that other characters cannot hear them.
One 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).
A form of diegetic sound that comes from a place within the world of the story, which we and the characters in the scene hear but do not see.
Sound that emanates from the ambience (background) of the setting or environment being filmed, either recorded during production or added during postproduction. Although it 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.
A sound artificially created for the sound track that has a definite function in telling the story.
A sound belonging to a special category of sound effects, invented in the 1930s by Jack Foley, a sound technician at Universal Studios. 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.