QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

Location Sound 1

QuickTime™ and a

TIFF (Uncompressed) decompressor

are needed to see this picture.

”People will forgive bad picture, but they will NEVER forgive bad sound.”

“Although film is considered a primarily visual medium, much of the storytelling and emotional resonance of a script is conveyed through [sound].”

“Audio is the majority of what people react to in a film’s showing and that you should be able to get the majority of what’s going on in a film by shutting your eyes.”

a word from Anthony

QuickTime™ and aH.264 decompressor

are needed to see this picture.

Sound has a bad reputation:

“As an audio post guy working on primarily indie projects most of my work is fixing truly horrendous production sound.”

“…they saw that bad films often have the same, simple problems:- Bad sound.” -filmmaking.net forum

“sound is generally undervalued in film and television, both in professional productions and where it is taught, in film schools and media courses. -“School of Sound” founders Sider & Freeman

Semester Goal: Get Good Sound!Main Focus

Learn theories and concepts of sound– Physical properties (frequency, amplitude, reverb)– Psychoacoustics (humans hear sound differently than

microphones do!)Record sound with confidence

- Learn how to use equipment, understand how to troubleshootSecondary Focus

Introduction to audio post process including sound editing and sound design.

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

Class policies

Attendance

Grading

Assignments

Oct 12 make up class

Website: soundess.wordpress.com

• DM&E “stems” (Dialogue, Music & Effects)• MOS will have Effects only, no music • Sync sound - we’ll learn it, and you’ll do it on

set, but you’re not required to actually sync it in post

Role of Sound in MOS

What is a Location Sound Recordist?

Responsibilities:

• Record Dialogue and Sound Effects (sometimes music) on set

• Understand not only principles of sound recording, but other departments as well

The Sound Crew

•Mixer

•Boom Operator

•Utility Sound Tech/Cable Person

and sometimes…

• sfx recordist

Production Sound Recording on big budget features:

Production Sound Recording on big budget features:

Production Sound Recording on lo/no budget independents:

A Location Sound Recordist’s Toys

•Recorder (702T)•Microphones (and boom pole)

•Slate•Mixer

•HeadphonesQuickTime™ and aTIFF (Uncompressed) decompressorare needed to see this picture.

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

Deliverables

• Audio! - DVDs, Hard Drive transfers • Sound Reports

What to do

Isolate the desired sound, minimize (eliminate) undesired sound

What to listen for• Hearing distortion (recording TOO HOT)

– If your audio is over-modulated, there’s not much you can do to salvage it

• Recording too low (introduces hissssssssssssss)– If your audio is recorded too low, you can salvage it but will introduce hiss. This

can be helped with in post, but will take time and $.

and now…

The Sleek, Sexy, Solid State Recorder

AKA…

The 702TBy Sound Devices

-no moving parts (solid-state)

-records broadcast .wav

-easy file transfer via firewire

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

702T 2-channel recorder

Format Compact Flash Cards

2 GB will give you about 3hrs of 2-track recording.

702T 2-channel recorderSide Panel

Time Code Digital inputs Firewire C-link

Menu Navigation/ Digital outputs word clock DC powerHeadphone Monitor select

702T 2-channel recorderSide Panel

Input Selects Line outs Headphone jack (mini)

XLR inputs Tape out (unbalanced) headphone volume

702T 2-channel recorderRecord settings

Rec: Sample Rate - 48kHz (suggested)Rec: Bit Depth - 24bit (suggested- the pre-amps perform 24 bit

conversion)

702T 2-channel recorderInputs & Tracks

Inputs: Mic vs. LineCalled 1 & 2You can see them.

You feed a sound source into the inputs.

Tracks: There are two of them, you record onto them.

Called A & B Think of them being “inside” the 702T.

702T 2-channel recorderInput Settings

18) Input 1: 48 V PhantomTurn on after plugging in mics, if needed.

Gain Control

Rotary knobs on the front

702T 2-channel recorderMeters

Ideally, the meters will average between:

-20dB and -12 (yellow) with peaks in the red

QuickTime™ and aMotion JPEG OpenDML decompressor

are needed to see this picture.

702T 2-channel recorderHeadphoneMonitoring Levels

Exposure to constant loud sounds will permanently damage your hearing.

…and the 702T can playback VERY LOUDLY, so please be careful.

QuickTime™ and aTIFF (Uncompressed) decompressor

are needed to see this picture.

702T 2-channel recorderFile organizationPresets

The manual has a lot of information.Once you get familiar with the menu system (and it doesn’t take very long) navigating will flow.

Your turn!

• Manipulating your audience with sound- use sound to tell them what to feel. • Create a mood, set up tension, trigger release.

Give sound design some thought while writing your script.[NCfOM script]

Sound Design begins at your film’s conception [script]

Sound Design begins at your film’s conception [script]

• This is your chance to let the audience know what your characters are hearing • “In recent years there has been a trend, which may be in insidious influence of bad

television, toward non- stop dialog in films” -Randy Thom (1999)

Role of Sound in MOS

QuickTime™ and a decompressor

are needed to see this picture.

For next week

Assignment #1

Mini sound design presentations (earlier or later?)

Attendance

Suggested reading - Randy Thom

(normally I won’t print these out)