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Sound in Film
Terms in this set (42)
First feature film with recorded score.
Sound with an identifiable onscreen source - dialog, realistic effects, etc.
Sound without a visible onscreen source - score, special effects, etc.
When the soundtrack and image "say the same thing."
When sound and image imply two different meanings.
Comes from within the narrative world of the film.
Sounds that do not follow the rules of versimilitude, do not occur within the world of the telling. Voice-over narration, background music, sound effects.
Internal diegetic sounds whose place within the world of the telling is ambiguous - dead character's voice-over, character's inner-thoughts.
Plans and directs the overall sound of the film through to the final mix.
Snapped at the beginning of each take to synchronize sound recordings and camera images.
Collection of sounds that occurs simultaneously with the filming of a scene.
Recording device attached to a long pole used to capture sound without appearing within the action or camera range.
Sound captured directly from its source - dialog between stars, etc.
Captured as sounds bounce from the walls and sets; gives a sense of space.
Postproduction sound work
Process of compiling sound editing, the sound bridge, spotting, foley artists, postsynchronous sound and sound mixing after filming in preparation for a new cut.
Process of making sound interact with the image track to create rhythmic relationships, establish connections between sound and onscreen sources, and smooth or mark transitions.
When a sound carries over a visual transition of a film; Music that connects scenes, dialog that is heard before the speaking characters appear.
Process of determining where music and effects will be added. Collaboration between director, sound composer and sound editors.
Named for Jack Foley, sound crew members who watch film and simultaneously generate live sound effects (footsteps, leaves rustling, key in lock) on a foley stage.
Recorded after the filming process and then synchronized with onscreen sources to convey natural sound and background noise.
Automated dialogue replacement (ADR)
Actors watch film footage and re-record their lines to be dubbed into the soundtrack; "Looping."
The word extras are instructed to murmur to approximate the sound of a crowd.
The aural properties of a location when nothing is happening.
AKA re-recording; All elements of the soundtrack - music, sound effects, dialog - are combined on to one track then joined with the final image (locking picture) to create a final mix, continuity, and emphasize certain sound elements.
The sound experienced by the audience.
Voice, music and sound in a film. Combines with image track to create a film.
Human speech in a film, made up of dialogue, voice-off, sound perspective, voice over, talking heads and synchronization.
Apparent distance of a sound source to the audience; A character's voice remains clear and steady even when camera distances change.
Speech from or between characters.
Mixing characters' speech simultaneously.
Voice originating from a speaker who is inferred to be present in a scene but is not visible to the camera.
Voice originating from a speaker who is not visible to the camera and is not part of the characters within the diegesis.
Ranges from authoritative voice used to tell the story of a documentary to an anonymous voiceover used to set up and interpret a film's images; Michael Moore style voiceover.
Visible coordination of the voice with the body from which it is emanating.
AKA background music; Nondiegetic and used to emphasize or reinforce drama in the narrative.
Used by composers creating the underscore; holes punched in the film to keep the bear of the action.
Sounds that force us to notice the significance of something onscreen; Ominous chords to denote a villain's entrance into a scene.
Overillustration of the action through the score; plucked strings accompanying a character tiptoeing quietly.
Selects and secures the rights for songs to be used in films.
Describes the range of scoring, sound recording, mixing and playback processes that strive for unification of meaning and experience between sound and narrative.
The elements separate of the real world that creatively manipulate emotions and images in a film.
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