Crash Course-Sound Production Notes

 Crash Course Sound Production Notes

• Your feeling pulled into the story and living in the world of the film when sound production is done well; Sound helps us go from watching to feeling 

Sound department

⁃ Sound mixer: supplies sound equipment and records all sound, sounds actors make in the scene like dialogue, drinking, or footsteps, offset monitoring, manage boom operater

⁃ Boom operator: person who holds microphone, have to really know scripts and blocking

⁃ Body mics: small mics on your body attached to your shirt help the person talk project their voice; lavalier mics

⁃ Blocking: how the actors move through the scene

⁃ Utility sound technician: second AC; equipment maintnance, mic placement, cable management, cable management, keeping people quiet, operates second boom

⁃ Windscreens: record clean sound and not just wind swooshingn help filter the sound

Microphone pattern: shape around the mic where it picks up sound best

⁃ Omnidirectional: mic records sound coming from every direction

⁃ Bidirectional : 2 directions, front to back, side to side, kind of looks like a figure 8, interviews or duets

⁃ Cariod mic: shaped like a heart, directly on one direction it is pointed plus alittle behind and sides

⁃ Subcardiod: wider than cardioid mic

⁃ Super cardioid, hyper cardioid: have enliven more directional pick up and sensitivite

⁃ Interference tube: makes unwanted sound waves from the sides cancel out and create lobar

Post production

• Wild sound: any extra lines or sounds recorded when the camera isn’t recording to be added to the film

• Before editing anything sync the sound with the camera footage

• The scene shot and take number are written on the slate

• A slate is to make the audio levels spike

• Time code syncs the moment the slate hits the board a signal is sent

• Guide track: editing software you have everything that a wavefirm programs syncs together

• Picture lock: visual and story edit of the film

• Sound editor: makes sure the best sound takes make it into the film

• Dialogue editors: borrow sound from other takes or wild sound, choose the best dialogue

• ADR: mixing seprate video with audio complexes

• Work with director to curate

• Sound designers

• Music supervisors