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RTV 440 Sound and Miking

This week's class will focus on sound and miking techniques for Test 3, Final review, and Chapter 13 Voiceovers. Topics covered include sound wave, frequency, amplitude, acoustics, microphone directional patterns and more. Be prepared to meet all deadlines for Story 3.

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RTV 440 Sound and Miking

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  1. RTV 440Sound and Miking Will be on Test 3 and Final; content not in the textbook—take notes AND Chapter 13 Voiceovers, Packages, and Story Formats. – some review

  2. This week • See continued weekly reading on the outline • Low Daily grade from not reading • Proposed topics were to be listed before class – story topic by tomorrow. • REMEMBER – if you have no grade for Story 2, you will get a grade, but it will be very low • To recover some points, do Story 3 and MEET ALL DEADLINES – see the Project Directions and be sure you do it right

  3. This week • REQUIRED TRAINING:  schedule a time with a PA and learn all stations in the TV studio this week. • Class time next Monday – be IN THE STUDIO at 2:00, ready to start. • If your position requires headset, already have it on and be at your station. • Others, be in position at 2:00 • Be ready to rotate to ANY OTHER POSITION

  4. Story 3 issues • Everyone can have a chance to improve your Story 2 grade • BUT – it will not count as ‘B story’ – you have to decide and let me know: if you have a grade for Story 2, is this the B story or a replacement story? • AND – the ‘A’ story weeks will become the ‘B’ grade story, OR … • You would have a new schedule to work toward an A, with three stories to cover in the coming eight weeks • AND – grade on tests is also a major factor • Come talk to me individually with questions

  5. Package Must Have • SEQUENCED VIDEO • Two interview subjects • Three sounds bites minimum • Good lighting and good sound – balanced and mixed correctly • At least one two shot • A standup • Nat pops and good nat sound • Interview script, and rough draft and final draft news story script • Submitted hard copy script with all support materials stapled underneath – BY DEADLINE

  6. Sound in an environment • Sound wave • Compression / rarefaction • Frequency / Measured in hertz • Amplitude / Measured in decibels (db-spl) • AM/FM, kHz / MHz (r.f.) • Attack/sustain (internal dynamics)/decay -- sound envelope • Acoustics / Psychoacoustics / binaural hearing • Absorbed / Reflected • Direct / Indirect (echo & reverberation)

  7. Some issues with sound • Equal loudness principle--depending on loudness we don’t hear low and high frequencies as well as we hear middle • Masking--Hiding of some sounds by other sounds by other sounds when each is a different frequency and they are presented together. Loud over soft / lower-pitched over higher • Acoustical phase--the time relationship between two or more sound waves at a given point in their cycles • Timbre--a sound’s unique tone quality or tone color

  8. Acoustical issues • Ergonomics – human element in designing room • Sound Absorption and Reflection • Diffusion--scattering of sound waves • Diffraction--spreading or bending • Resonance--vibration of an object at the same frequency as the original body’s frequency • Lively or Dead Room • Isolation • Outside / field shooting acoustics?

  9. Sound Frequency Spectrum • Bass • Low bass, 1st & 2nd octaves, 16-64 Hz • Upper bass, 3rd& 4th octaves, 64-256 Hz • Midrange • 5th, 6th & 7th octaves, 256 - 2,048 Hz • Upper midrange: 8th octave, 2,048 - 4,096 Hz • Treble • 9th & 10th octaves, 4,096 - 16,384 Hz • 20 to 20,000 Hz, sort of

  10. ‘Hearing Test’ • High frequency test • Range of frequencies (oscillator) • 10 – 200 Hz • 22 kHz down to 8 kHz • C Scale notes

  11. Mics -- Converting Sound • Sound Frequency Spectrum • Bass, midrange, treble • Frequency / Hertz • Amplitude / decibels • Acoustics • Direct / indirect sound • Echo / reverberations

  12. Microphone Directional Patterns • Omnidirectional / nondirectional • Unidirectional / Directional/ cardioid • Super, hyper, ultra • Bidirectional • (see reading for diagrams)

  13. Applications of polar patterns • Football miking • News live shot • Basketball game • Studio interview • News anchor • In audio recording studio • Shotgun boom pole

  14. Cardioid range • Cardioid • Supercardioid • Hypercardioid • Ultradirectional • Shotgun mic

  15. Professional Mic types • Moving coil/dynamic • Ribbon • Capacitor/condensor (power source) • Electret condensor • Transducer – changes energy from one form to another – in this case sound waves into an electrical current

  16. Mics on cameras • +48v ONLY for mics that require phantom power (some of the shotguns) • Line vs. mic input • Audio Technica mini plug mics • Balanced vs. unbalanced • Always use lavaliere for close up audio • Inverse Square Law

  17. More about mics and sound • Common audio connectors • RCA (phono), ¼” (phone), mini-plug, XLR • Jack (‘female’) vs. plug (‘male’) • Firewire, HDMI, etc. • Close vs. distant miking • Cross-pair, mid-side, coincident (stereo) • Wide – range of frequencies • Flat – accurately recreates frequencies • Colored response – changes frequencies (lavaliere boosts high frequencies, for example

  18. Close miking when you can’t get close • Visible mics • What kinds of productions • ‘dressing the mic’ • Hidden mics • Under clothing, in set pieces • Wired vs. wireless • Boom pole • Fishpole, giraffe, perambulator • Looping / ADR • High percentage of TV and movie content

  19. Common mic types • lavaliere • headset • handheld • studio/boom mounted • TV boom • Perambulator boom, giraffes, fishpole • PZM (boundary mic)

  20. Audio Mixing • Three things you mix • Sources, techniques, aesthetics • ProTools or Adobe Audition (DAW) • Stereo or multi-track recording • 5 console functions • Amplify, switch, route, mix, balance • Various console inputs • Layering, in moviemaking

  21. Audio Levels & Mixing • In video editing • EVERY CLIP that has foreground sound set to -6 • Peak up to -3 BUT NOT BEYOND • EVERY CLIP, you must go through and set the background / nat audio UNDER the foreground (about -10 to -12 BUT … it’s about intensity of the audio level: jackhammer vs. Violin)

  22. Other console terms • Program / Audition • Monitor vs. cue • Master pot • VU meter / PPM (analog / LED) • Muting system • Foldback (IFB note) • Pad / trim / gain / AGC • Pan Pot • Submixer & pre-amp

  23. Other audio mixing terms • Compressor • Limiter • Equalizer (EQ) • Filters • High pass, low pass, band pass, notch • Stereo vs. multi-track recording • Basics of multi-track / mixdown

  24. Three things you mix... • Music • Production library, royalty-free loops • BMI, ASCAP, SESAC • blanket license vs. ‘needle drop’ • SoundExchange fees • SFX -- Production library, Foley • Voice • Narration vs. dialogue • Straight voice, VO/music, donut, jingle # • Teams go record sounds, due before 5:00 -->

  25. What is the major difference between writing for radio and writing for television? Split page script and ‘pictures’

  26. Internet news stories are most like what type traditional stories? How is Internet new different? Video is big, so … / but print style content? And multimedia content – A multimedia story, including full interviews, still pictures, infographics etc.

  27. How will poor pictures affect TV news stories? Poor footage will either weaken the video element of the story (VO, VO-SOT or PKG) or force the producer to change the story into a reader.

  28. How will poor audio affect TV news stories? Poor audio will either weaken the viewer interest in the story (VO-SOT or PKG) or force the producer to change the story into a reader or VO story.

  29. How important are sound bites to a TV news script? Why? Sound bites humanize the story and tie the elements together for the viewer—plus it allows the factual story to have reaction or commentary from people involved – ‘tell stories though people.’

  30. Why are readers important to a TV newscast? They hold the newscast together and serve as bridges between the video elements of the newscast.

  31. Describe what the audience sees and hears during a voiceover. B-roll with nat sound

  32. What is ‘writing for pictures’ in a voiceover script—whether PKG, VO or VO-SOT. Why is it important? Making the text of the voice-over match up with edited images – We show the most visually interesting shots first , and we engage viewers with good images that match the script

  33. What factors determine how long a package runs? Aside from the newsworthiness of the story, other factors include the quality of video, whether the story is part of an ongoing series, and what other stories are available for the newscast.

  34. ______ stories means finding new angles to update ongoing stories. advancing

  35. Our text says a ______ also called a ______, or _____ is used mostly for the names, addresses, and titles of people being identified in a news package or newscast. Font / super / VG (video graphic

  36. The chapter uses the term ______refer to the standard TV news script. The left side of the page is used for video directions, and the right side is for the script and audio cues. Split page

  37. A writing technique that allows the reporter to reference the first shots of video before moving into other information. Touch and go

  38. Limiting reporter involvement in stories if such involvement takes away from the newscast. Tricycle principle

  39. ____ are self-contained video stories that come from reporters in the field. packages

  40. OC, like ....expects the event to attract thousands"stands for ______, while the O/C as in (Andrea O/C) stands for _______. Outcue / On Camera

  41. Editors always “_______ the tape” or what we would call add _____, meaning always cutting in more footage than the writer requests. pad

  42. SIL stands for ______, SOT stands for _______ and ESS stands for _________ Silent footage; sound on tape; electronic still store

  43. When an anchor reads a final sentence about a package after the OC, that final sentence is called a: tag

  44. The foundation of any TV newscast is its _____.  packages

  45. Even on slow days, packages rarely run longer than ______ seconds. 90

  46. The three types of stand-ups are _____, and the most common is ______. Opens, bridges, closes

  47. Limiting reporter involvement in stories if such involvement takes away from the newscast. Tricycle principle

  48. CNN Newsource and other news services often distribute packages as “________” where the reporter begins the story with a stand-up open, allowing the news anchors to toss directly to the prerecorded segment as if the reporter is live in the field. Look lives

  49. See the study materials for each chapter and use them now, not the day before test 3 Pass or fail difference xxx

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