Sound
What we perceive as sound travelling across time and distance is actually the invisible moving presence of a sound pressure wave. Sound waves are a special type of energy that can travel through solids, gases or liquids but air molecules are the best transmission medium. The easiest way to understand how sound works, is to use the image of the water on the left. What we hear is created by changes in the pressure and movement of air particles around us, just like the concentric circles that form when you drop a rock in water. These ripples are the visible evidence of molecular vibration. Uniform waves progress outward in every direction as energy is released at the point of disturbance.
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Amplitude and frequency are the two most common observable dimensions of a sound pressure wave. Amplitude is a sound pressure wave's intensity or dynamic pressure and frequency is the wave's rate of vibration or oscillation. In hearing, we perceive amplitude as the relative loudness of a sound and frequency as its pitch.
Amplitude
A sound wave's height is called the amplitude and indicates the intensity or magnitude of the pressure wave. Amplitude is defined as the distance from the crest of the wave to the trough. The louder the sound, the greater the amplitude, and the taller its waveform will be. Amplitude is measured in decibel units (dB).
Film Sound
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the
image on the screen. The entire sound track is comprised of three essential ingredients:
THE HUMAN VOICE: dialogue
Dialogue authenticates the speaker as an individual or a real person rather than the imaginary creation of a story teller. As is the case with stage drama, dialogue serves to tell the story and
expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example:
Humphrey Bogart is Sam Spade; film personality and life personality seem to merge. Perhaps this is the case because the very texture of a performer's voice supplies an element of character.
When voice texture fits the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example:
In the film 2001 little dialogue was evident, and most of what was used was banal. In this way the filmmaker was able to portray the “inadequacy of human esponses when compared with the magnificent technology created by man] and the visual beauties of the universe.”[2]
The comedy, Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at break-neck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katharine Hepburn, but also the absurd duality of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism - largely due to its frenetic dialogue.
SOUND EFFECTS: synchronous and asynchronous sounds
Synchronous sounds are those sounds which are synchronized or matched with what is viewed. For example:
If the film portrays a character playing the piano, the sounds of the piano are projected.
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example:
The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example:
A film maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city setting.
MUSIC: background music
Background music is used to add emotion and rhythm to a film. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound is comprised of conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. Yet, it behooves us to foster an awareness of film sound as well as film space so as to truly appreciate a twentieth century art form, the modern film.
http://filmsound.org/marshall/
image on the screen. The entire sound track is comprised of three essential ingredients:
- the human voice
- sound effects
- music
THE HUMAN VOICE: dialogue
Dialogue authenticates the speaker as an individual or a real person rather than the imaginary creation of a story teller. As is the case with stage drama, dialogue serves to tell the story and
expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example:
Humphrey Bogart is Sam Spade; film personality and life personality seem to merge. Perhaps this is the case because the very texture of a performer's voice supplies an element of character.
When voice texture fits the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example:
In the film 2001 little dialogue was evident, and most of what was used was banal. In this way the filmmaker was able to portray the “inadequacy of human esponses when compared with the magnificent technology created by man] and the visual beauties of the universe.”[2]
The comedy, Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at break-neck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katharine Hepburn, but also the absurd duality of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism - largely due to its frenetic dialogue.
SOUND EFFECTS: synchronous and asynchronous sounds
Synchronous sounds are those sounds which are synchronized or matched with what is viewed. For example:
If the film portrays a character playing the piano, the sounds of the piano are projected.
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example:
The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example:
A film maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city setting.
MUSIC: background music
Background music is used to add emotion and rhythm to a film. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters depicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound is comprised of conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. Yet, it behooves us to foster an awareness of film sound as well as film space so as to truly appreciate a twentieth century art form, the modern film.
http://filmsound.org/marshall/
Music for your videos
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Activity
Summarise the article above and then answer the following questions:
1. What are the 3 essential parts of any film sound track? Explain how they can be used in film?
2. What is asynchronous and synchronous sound? Where might they be used in film?
3. Give 3 reasons why music is used in film?
Garage Band
1. Create a 30 second music track in GarageBand and export it as an MP3.
1. What are the 3 essential parts of any film sound track? Explain how they can be used in film?
2. What is asynchronous and synchronous sound? Where might they be used in film?
3. Give 3 reasons why music is used in film?
Garage Band
1. Create a 30 second music track in GarageBand and export it as an MP3.
Where to get sound?
Epidemic Sound has a free trial giving access to licensed music (no royalties needed)
https://www.epidemicsound.com/
https://www.bensound.com/royalty-free-music/cinematic
Epidemic Sound has a free trial giving access to licensed music (no royalties needed)
https://www.epidemicsound.com/
https://www.bensound.com/royalty-free-music/cinematic
Microphones
1. Define the purpose of the following types of Microphones:
3. What is an external microphone?
4. Give 4 reasons why you should use an external microphone when recording sound
- Handheld
- Lavaliere(or lapel)
- Shotgun
3. What is an external microphone?
4. Give 4 reasons why you should use an external microphone when recording sound
Royalty free music
www.purple-planet.com/
www.purple-planet.com/
RODE Video Pro on Camera Mic
Settings for using Rode On camera mic on SLR for sound capture.
https://youtu.be/YJM6AH1NVuM youtu.be/YJM6AH1NVuM
Troubleshooting - Check battery is inserted and not flat. Takes 9V battery.
https://youtu.be/YJM6AH1NVuM youtu.be/YJM6AH1NVuM
Troubleshooting - Check battery is inserted and not flat. Takes 9V battery.