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Vid102 Day 1

Vid102 Day 1. Class Schedule. Course Overview Syllabus Review Course Site Contact Sheets Lecture Careers in Audio Principles of sound Discussing Soundtracks What is Sound Design? Acoustics and Psychoacoustics Discussing Soundtracks Equipment Policies. Questions.

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Vid102 Day 1

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  1. Vid102 Day 1

  2. Class Schedule • Course Overview • Syllabus Review • Course Site • Contact Sheets • Lecture • Careers in Audio • Principles of sound • Discussing Soundtracks • What is Sound Design? • Acoustics and Psychoacoustics • Discussing Soundtracks • Equipment Policies

  3. Questions • What would you like to get out of this class? • What are you most interested in learning about? • Why are you taking this class?

  4. Course Outline • Weeks 1-2 Principles of Audio • Weeks 3-4 Production Audio • Week 5 Midterm • Weeks 6-10 Post Production Audio • Week 11 Final

  5. Requirements for Success • TEXTBOOK • Sound in Media 9th Edition • NOTES • COURSE WIKI • Vid102.wikispaces.com • bbrownsound.com.moodle – coming soon • ASK QUESTIONS!!!!!

  6. Questions • What does the term soundtrack mean? • If a tree falls in a forest does it make a sound? • What is sound design? • What are stems? • Why is sound important to film?

  7. Careers in Film Audio • Production Mixer • Boom Operator • Utility • Sound Supervisor • Librarian • Field Recordist • SFX, Foley, DX, ADR, MX – Recordist, Editor, Mixer • Foley Artist • Rerecording Mixer • Engineer • Transfer

  8. Audio Related Fields • Aerospace, industrial, and military development and applications • Audio equipment design, manufacturing, and distribution • Audio in medicine, security, and law-enforcement applications • Audio/visual media for industry, government, and education • Broadcast station and network operations • Communications systems, such as telephone, satellite, and cable TV • Consumer audio equipment, sales, and services • Motion picture distribution and exhibition • Professional audio equipment, sales, and services • Record preparation and distribution • Sound equipment rentals and installations

  9. Names to Know… • Walter Murch • Ben Burtt • Randy Thom • David Stone • Steve Flick • Gary Rydstrom • Greg Hedgepath • RenKlyce

  10. Films to Know… • Star Wars • The Godfather • Wall – e • The Conversation • Apocalypse Now • Dracula • Eraserhead • Terminator 2 • Inception • The list goes on….

  11. Emotion (51%) • Story (23%) • Rhythm (10%) • Eye-trace (7%) • Two-dimensional plane of Screen (5%) • Three-dimensional space of action (4%)

  12. The Soundtrack • A films soundtrack is defined as…. • The combining of all the stems into a finished mix • The following chart will outline the stems of a film soundtrack • Stems are the component parts of a film soundtrack

  13. Stems

  14. Film Sound • Dialogue • Production • ADR • Music • Source • Under Score • Effects • Foley • Hard • Design • BGs

  15. Understanding Sound • Propagation • The way in which a sound radiates from a source and interacts with its environment • Capture • Recording the sound to a medium • Editing • Mixing • Analog vs. Digital

  16. Question • Before we can begin discussion creative ways to use sound in film, we must first understand • How sound is created • How we can capture sound • Understand the way sound guides our emotions

  17. Hearing • The range of human hearing is roughly 20Hz – 20kHz • Hearing and Listening are two separate tasks • Pitch is our perception of Frequency which is measured in Hz • Frequency is the number of cycles per second • The length of waves • Lower frequencies are longer than higher frequencies • Equal Loudness Curve • At louder levels we perceive frequencies equally, at lower volumes the mids are accentuated and highs and lows are rolled off

  18. Hearing Continued • Binaural • Hearing with two functioning ears ILD and ITD • Hearing vs. listening • We are always hearing but not always listening • Cocktail effect • Ability to focus on a single source of audio and filter out others

  19. Frequency • Lower frequency sounds are less directional and therefore more likely to scare us • Higher frequency sounds are more directional

  20. Loudness • Volume/Loudness is our perception of Amplitude • Level is a measurement of the loudness of a sound in dB typically called dB SPL • SPL = Sound Pressure Level • Threshold of Hearing is 0 dB • Threshold of Pain is 130 dB

  21. Basic Wave Forms • Sine • Square • Triangle • Sawtooth

  22. Wave Forms

  23. Sound Radiation • Sound comes from a source (direct) and interacts with the space • Inverse Square Law • For each doubling of distance from the source, the level of a sound is cut by a quarter • Compression • Rarefaction the opposite of compression • Reflection • Absorption • Resonance • ADSR –Attack Decay Sustain Release

  24. Phase • 2 Sounds in phase will add • 2 sounds 180 degrees out of phase will cancel each other

  25. Dynamic Range • Dynamic Range • Measurement from the quietest point to the loudest point of program material • Peak vs. RMS Metering • Measure highest point vs. averaging of peaks

  26. Noise • Pink and White Noise – for testing • Noise is unwanted sound • Noise Floor • The inherent noise of the space and the equipment that will be present • S:N

  27. Compressions and Rarefactions molecular disturbances Sound Characteristics

  28. Pitch Frequency Loudness Amplitude Basic Acoustic Comparisons

  29. Transverse Longitudinal  Periodic Complex Periodic Random or Aperiodic Waveforms

  30. Waveform Characteristics • Frequency • Amplitude • Wavelength • Velocity • Envelope • Harmonics • Surface Effects and Propagation

  31. Frequency Defined • Cycles • Hertz • Range of Human Hearing • 20 Hz–20,000 Hz or 20 kHz

  32. Amplitude Defined • Atmospheric Pressure • Volume is our perception of Amplitude

  33. Root Mean Squared (RMS) • RMS = 0.707 * Peak Values of a sine wave

  34. Decibels and Intensity • Bel • Watts per meter squared

  35. The decibel scale SPL and SIL

  36. The Law of Conservation of Energy – Inverse Square Law

  37. Speed of Sound • Standard 344 m/s • V = 0.6 m/s * Y

  38. Envelope

  39. Fundamental Frequency Harmonics

  40. Reflection Surface Effects • Diffusion/Scattering • Absorption

  41. Diffraction Surface Effects

  42. Surface Effects • Refraction

  43. Check Out Procedures • All cage reservations must be made in advance of assignments • Audio Professor Signature REQUIRED for use of the recording booth • All equipment must be returned and any problems immediately reported

  44. For Next Class • Journal #1 • Reading from Alten

  45. Vid102 Day 2

  46. Class Schedule • Turn in Journals • Discussing Soundtracks • What is Sound Design? • Acoustics and Psychoacoustics • Discussing Soundtracks

  47. Models for discussion • Chions Mode of Listening • 3 types… • Causal • Semantic • Reduced • Stem Analysis

  48. Sound Categorization • Chion • Acousmatic (off-screen) sound • sound one hears without seeing their originating cause - a invisible sound source. i.e. Radio, phonograph and telephone • Either we hear and then we see or we see and then we hear • The first cause associates a sound with a precise image from the outset. This Image can then reappear in the audience mind each time the sound is heard off screen • The second case, common to moody mystery films, keeps the sound´s cause a secret before revealing all. (De-acousmatization) • Visualized (on-screen) sound • sound accompanied by the sight of its source or cause. In film a onscreen sound whose source appears in the image, and belongs to the reality represented therein 

  49. Sound Categorization • Chion • Anempathetic sound • seems to exhibit conspicuous indifference to what is going on in the film's plot, creating a strong sense of the tragic. • a radio continues to play a happy tune even as the character who first turned it on has died   • in a very violent scene after the death of a character some sonic process continues like the noise of a machine, the hum of a fan, a shower running as if nothing had happened. (In Antonioni´s The passenger - the electric fan, in Hitchcock's Psycho - the running shower)   • Empathetic sound • music or sound effects whose mood matches the mood of the action     • In Jonathan Demme´sSilence of the lambs when Jodie Foster visits Lecter in the dungeon the ambience are made of animal screams and noises. The room tone is a lunatic kind of screaming processed, slowed down and played in reverse.  

  50. Sonic Logic • Internal logic • continuous and progressive modifications in the sonic flow, and makes use of sudden breaks only when the narrative so requires.   • External logic • editing that disrupts the continuity of an image or a sound • Sudden changes of tempo • Synchresis • is the forging between something one sees and something one hears - it is the mental fusion between a sound and a visual when these occur at exactly the same time. Synchresis is an acronym formed by telescoping together the two words synchronism and synthesis   • The possibility of reassociation of image and • The sound of an ax chopping wood, played exactly in sync with a bat hitting a baseball, will "read" as a particularly forceful hit rather than a mistake by the filmmakers  

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