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Film
Sound: From Production to Presentation
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1
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| Audio | Always
strive for the best quality but this goal may be mediated by several factors:
Time required to achieve best quality, Resources available, Production climate, Priorities of production, Media, etc. |
| Priorities | In dramatic projects, generally the dialogue (intelligibility, clarity, quality, etc.) is of highest concern followed other elements. Audio recording is by nature selective so many decisions are needed as there are many possible approaches. |
| Features | Perspective, synchronization, source, fidelity, context, perception (from obvious to subliminal) |
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| Location Environment | Camera noise, other noises, wind, etc. |
| Transducer Quality | Microphone noise, noise from boom, etc. |
| Recorder | Tape hiss, preamplifier noise, digital distortion, calibration errors |
| Transfer | Level mismatches, impedance mismatches, noise in transfer system |
| Modify/Edit/Mix | System noise & accumulation, process artifacts (various), level changes |
| Presentation | Calibration off, levels wrong, noise in system, etc. |
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| Synchronization Type | Mechanics | Issues |
| Wild | Camera and recorder operate independently. Synchronization achieved by matching slate noise with slate frame (head & tail) | If either device changes rate then synchronization will be lost - even if both recordings are exactly the same length. May work with short takes. |
| Crystal Sync | As above with the addition of a crystal to lock camera speed and an internal reference tone for the analogue recorder (Nagra) or a digital clock (DAT). | Slate still required to locate start and confirm sync at end. Nagra requires "resolver" to correct any speed changes. Problematic in post because of a lack of location information. |
| Time Code | As above with addition of a time code reference. Camera may generate time code (video & film) or time code may be recorded on DAT/Nagra only. Slate may generate and display code. | Now material is tagged with information which permits easier synchronization in post. |
| Sprockets | Both audio and film are recorded/played on sprocketed media. Sprockets keep material in sync by a physical means. No location information. | Sprocket friction may cause wow and flutter. Editing is slow and sometimes changes are practically irrecoverable. Multiple audio tracks problematic. |
| Internal Digital | Both image and sound are captured in digital form (digital camera) or transferred to digital form from analogue. Work is done in general purpose or special design computer system (Non-Linear Editor). | Easiest system for editor - picture quality may be poor in certain systems. All systems moving towards this. |
| Video | Both image and sound are captured on same medium - sync is not an issue. | Editing for sound may simply use video system: commonly found in Electronic News Gathering (ENG) systems. Generally lacks flexibility and scope of other systems. |
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Film
Sound: From Production to Presentation
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2
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| Requires | robust recorder ideally 2+ tracks time code or other location system in addition to synchronization/rate system portable off-mains capability (not always required) accurate metering and monitoring variety of microphones*, most designed for voice and selectivity wind abatement system wireless options discrete systems (small), boom operator and communication systems for boom operator and director. |
| *shot gun (highly directional),
lavalier (body mic), pressure zone (PZM), cardioid/hyper cardioid
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| Dialogue | For flexibility in post (montage),
foreign language release, ADR, etc.
Must be separated from background Must not overlap (flexibility of montage) Must be intelligible Requires some rehearsal to determine if mic (boom operated) in frame, actor's movement, etc. Lense and microphone perspective issues: does the lense perspective match? Should it? Can it? etc. ADR likely Special issues: movement, off screen sources, ambiance context (if characters are in a supposedly loud club then perhaps they need to shout, etc.) Politics of boom operator being on the "front lines" with continuity, script, camera operator and director, etc.) |
| Ambiance | Specific to location and equipment/personnel surrounding. Required to fill holes in dialogue during post editing. May needed as background. |
| Playback | Required for sceens with source music that characters hear/react to such as dancing, singing, etc. Also off screen sound events such as telephones, amnnouncements, explosions, weather, etc. |
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Film
Sound: From Production to Presentation
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3
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Diegetic
Screen Music
Source Music
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Coming from digesis or story
space:
dialogue off screen voices sound effects (sfx) ambiance music with a source implied or visible off screen sounds (weather, etc.) |
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Non-Diegetic
Pit Music
Score (Music)
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Coming from outside the story
space; characters don't hear it, etc.
Conventional music score Narration (may be considered quasi - diegetic) Other transition sound devices |
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Dialogue
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Must
be separated from background
Must not overlap (flexibility of montage) Must be intelligible Perspective may be independent of camera (lense) Replaced? (noisy location, inappropriate reflections, poor performance, script changes, changes required because of editing, etc.) Modified - time altered, pitch altered, mistakes corrected, takes mixed, spacial qualities added (reflections, reverberation, etc.) |
| Production sources
Captured or synthesized for production Library sources |
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| As in SFX | |
| SFX created in the studio. Generally:
Relating to action by characters and requiring performance (footsteps, clothing rustle, object manipulation noise, etc.) Sounds chosen to
Imbue action with emotional or psychological quality Indicates degree of intimacy May support perspective Support of narrative |
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Music
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May be created for project
(score) or pre-existing ("needle-drop", "temp tracks", songs, etc.)
May be written to action (conventional score) or not (song). May provide structure (music videos, animations, etc.,) or follow it. Whether score is diegetic or non-diegetic greatly influences how it is read by audience; that is, how it may function. |
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Film
Sound: From Production to Presentation
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4
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| Format | Media | Issues |
| video
Nagra (with Pilot tone) DAT wild source (cassette) |
magnetic film | low fidelity system (wow &
flutter, noise)
slow editing; not easily altered nor are previous edits easily recovered editors are simple to use and reliable traditional method media is relatively expensive limited availability now of support services (mixing facilities, etc.) |
| computer files | File management:
Labeling Format decisions Storage and back-ups
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| non-linear editiors | As above |
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Film
Sound: From Production to Presentation
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5
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| Spotting
Session |
Scene by scene determination
of sound track needs (support of action, psychological and emotional issues,
transitions, narrative, etc.) for all sound track elements. Of critical
importance is sound effects and music and in particular any coordination
issues which may arise in complex scenes (dialogue/music conflicts, etc.)
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| Dialogue | Editing
Evaluation for ADR Manipulation/Modification Preparing for the mix splitting tracks removing location background filling in holes in background balance/timbre perspective |
| Sound
Editing |
Overall coordination of sound track: Sound Design |
| Foley | Recording
Editing |
| Sound
Effects |
Recording
Synthesising Sourcing Editing Modifying |
| ADR | Recording
Cutting in (see dialogue editor) May be for poor location quality, script changes, performance changes, off screen sources, additional dialogue, etc. |
| Music | Composed
Selected Composed Recorded Edited Sourced and rights negotiated (Music Supervisor) Cut in to sound track (Music Editor) |
| The Mix | Preparation of all materials
as well as a cue sheet for the mixing date(s).
Includes streamers, punches, etc to sync media (film work print or video). |
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Film
Sound: From Production to Presentation
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6
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Film
Sound: From Production to Presentation
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7
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