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Location Sound I

Location Sound I. Sound Design: Sound Effects. (SFX, Sound FX, PFX, Hard Effects) vs. Backgrounds -Influences your mind decide what to ‘see’ -can communicate information we might not see in the picture. Perspective. What is film sound perspective?. Perspective.

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Location Sound I

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  1. Location Sound I

  2. Sound Design: Sound Effects (SFX, Sound FX, PFX, Hard Effects) vs. Backgrounds -Influences your mind decide what to ‘see’ -can communicate information we might not see in the picture

  3. Perspective What is film sound perspective?

  4. Perspective Film sound perspective is the spatial relationship between what you see and what you hear. Types: Camera perspective, character’s perspective… wide, medium, close, etc. http://www.vimeo.com/2179614

  5. Mic Perspective/Continuity The desired sound perspective will determine our mic placement. If mic perspective changes too drastically, it’s often jarring when picture is not. Try to maintain continuity in your mic perspective. (how?)

  6. Mic Techniques Distance between mic and subject -The closer the mic is to the subject, the closer we feel to them. -The further away the mic is, the more the subject will ‘disappear’ into the background sounds. - When in doubt, get close. Remember, you can add reverb in post but you can’t remove it from your production sound Mic motion • Static mic: Plant mic, boom - Panning mic: Boom, lav on body

  7. Room Tone Also called ‘presence’ Every physical space has an associated acoustic space. Purpose: • Provides “acoustic continuity” of the location from shot to shot • Lay underneath dialogue or sound fx that are recorded in a studio. • Helps smooth over edits

  8. MOS- What to record? Sync sound - Time Code slate (another class) - Any shot with audible action Wild Sound (freedom of mic placement): - When you can’t record what you want while the camera rolls. - Hard effects - what microphone? - Backgrounds/ambience - what microphone? - Verbal slating *keep perspective in mind. How close do you want the mic to your sound source? How will the mic perspective affect the audience’s experience or interpretation?

  9. 702T File Management • Menu #36 > File Folder Options Top-level call “Movie Name” mid-level set to <daily> (production date) bottom-level to <scene> • Menu #7 > Scene Name/Number • Select <Add New Entry> and number your scene • Menu #9 > Rec: Take Name/Number • Select Reset to get ‘T 01’ • Menu #10 > Rec: Take Reset Mode • Set to automatically reset take number after Scene is changed

  10. Mic PerspectiveExercise Record dialogue from a close, medium and distant perspective. Notice if the desired sound is clear or disappears into the background. Use the 416 (shotgun) Verbally slate each one. Wild Sound Exercise Record a hard effect (door close, footsteps, something interesting) Hold the mic in different positions, i.e. near the ground or a wall, pressed against your body. Do you hear a difference? Verbally slate what you’re recording and your mic position. * Rename scene name/number when necessary

  11. Assignment #3: Script Analysis for Sound • Read through and circle anything that makes sound. • Make a list of sounds to record for each scene. • What backgrounds- not just ‘hotel’ but ‘busy hotel’ or ‘hotel quiet at night’ • Categorize into sync sound or wild sound • Jot down any ideas you have for mic technique. • DUE: Monday Oct 12 (put in my mailbox) Sc 1 Sync: Footsteps (walk, pace) … Sc 1 Wild: Room tone inside phone booth … Idea- record phone ring from diff. mic perspectives in case director wants to play in post. Record inside and outside phone booth, close up and distant.

  12. Week 4: Small Group Classes 1:45 – 2:45 2:45 – 2:45 3:45 – 4:45

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