LESSON 6 HISTORY AND FUNCTIONS OF SFX AND FOLEY EFECTS

LESSON 6 HISTORY AND FUNCTIONS OF SFX AND FOLEY EFECTS

1. SOUND DESIGN

2. What is Sound Design? - Episode 5: Diegetic and Voice Treatment - https:/ /www.youtube.com/watch?v=RSupCqNnl48

3. SOUND DESIGN LESSON 3 DIALOG, MUSIC AND SOUND EFFECTS

4. https: //www.youtube.com/watch?v=ZOALyHwWs_M&list=PLSC6ykdWzbjHa8dCRI397-p7AKuG0IjXD&index=18

5. SOUND DESIGN DIALOG, MUSIC AND SOUND EFFECTS

6. OBJECTIVES Summarize the different elements of a soundtrack Compare & Contrast the different uses of sound in different animation shots & sequences Recognize the importance of tools in sound recording

7. NARRATION, DIALOGUE & CHARACTER DEVELOPMENT

8. DIALOG the most direct means of storytelling, contributing greatly to the implied reality. 2 forms of Dialog: On- screen dialog - synchronous (lip sync) or O f f - nonsynchrono u lo g di a screen s (s u impli e - ch as ove r ara c c h s - the - t e should e ra c t e i n r r sho t o n ti s ) without providing a visual reference.

9. DIALOG https: //www.youtube.com/watch?v=wjrwS2BXc- w

10. DIALOG https: //www.youtube.com/watch?v=aKlTG93LZAA

11. DIALOG https: //www.youtube.com/watch?v=UOwpey8x_n0

12. SCORE • • U n So n d e M e lod y rs c g ore

13. MELODY a linear narrative element with the power to draw attention away from the dialog; therefore, film composers often avoid writing active melodies when Exception s im p ortant dialo g thi s to i s practic e being delive r includ e ed . the dramatization of speeches through underscores, where the music often hits at specific points in dialog for emphasis

14. MELODY https://youtu.be/xyGnlbhkdDg

15. UNDERSCORE enhances the subtext of dialog without interfering with intelligibility https: //www.youtube.com/watch?v= XWuPGKLJXe8&t=82s

16. SONG songs contain lyrics, which can easily compete with dialog; therefore, songs are often reserved for sequences that do not involve dialog

17. RECITATIVE the blending of speech and music approach is often used to deliver story points. https:// www.youtube.com/watch?v=ofVAToQItG0

18. VOICE TALENT MEL BLANC

19. VOICE TALENT DAWS BUTLER

20. VOICE TALENT DON MESSICK

21. VOICE TALENT JUNE FORAY

22. VOICE TALENT PAUL WINCHELL

23. VOICE TALENT NANCY CARTWRIGHT

24. VOICE TALENT STEREOTYPING Scottish Terrier breed character speaks with a Scottish accent Siamese Cats speaks with an Asian accent

25. VOICE TALENT STEREOTYPING https: //www.youtube.com/watch?v=_jQ8W03_YSE

26. NARRATION the telling of a story from a different time or location than implied I n o n narration , - screen it is understood that the narrator is not interacting with the on- screen characters. https: //www.youtube.com/watch?v=zZTegd_uc7M

27. NARRATION FIRST PERSON an extension of the character’s thoughts https: //www.youtube.com/watch?v=S7BFaLChV0o&t=29s

28. NARRATION THIRD PERSON narrator is typically an observer rather than a character participating in the story https: //www.youtube.com/watch?v=BrOfzAXOqSo

29. WALLA a specialized verbal sound that can be either language specific or neutral https: //www.youtube.com/watch?v=t52MVV4duqs

30. WORKING WITH VOICE ACTORS & RECORDING DIALOG

31. MICROPHONE principle means of capturing a transduc e voice (convert) acoustical energy to electrical energy (signal) Two basic types: dynamic & condenser

32. MICROPHONE dynamic microphone - loud sounds from close distances without distortion

33. MICROPHONE condenser microphone - more responsive to high frequencies and sudden attacks (transients)

34. POLAR PATTERN pattern by which the microphone captures or rejects vario u s so u nds patterns of directionality ( omnidirectional , cardioid and bidirectional )

35. OMNIDIRECTIONAL POLAR PATTERN picks up sound uniformly at 360 ° .

36. CARDIOID POLAR PATTERN more directional, rejecting sound progressively as the tw o objec t v a riation s moves of f of th e a x is. basic cardioid pattern: super-cardioid and hyper- cardioid .

37. BIDIRECTIONAL POLAR PATTERN similar to two cardioid capsules placed back- to- back AND equally sensitive from both sides.

38. WHAT HAPPENS IN RECORDING VOICE TALENT

39. recorded with close microphone placement (approximately 8 inches) microphone is usually pointed at a downward angle pop- shield is often placed between the talent and the microphone to reduce the effects of plosives script is placed on a music stand or a hanging clip, positioned off to the side to prevent unwanted reflections or paper rustling.

40. Looping - Multiple takes of each line are Dialog is typically divided into individual sentences or short phrases

41. Words that begin with f, s, z, ch, ph, sh, and th all produce a hissing sound that, if emphasized, can detract from a reading. Emphasizing a different portion of the word in a subsequent reading can control most sibilance. SIBILANCE

42. Wind distortions caused by the rapid release of air pressure that is built- up prior to the delivery of the letters b, pm k, d ,t and g can occur at the beginning or end of a word can be reduced or prevented by placing a pop shield between the talent and the microphone or backing the talent away from the microphone or moving the microphone slightly to the side (off- axis) of the talent PLOSIVES

43. No jewelry and items on the body that can produce unwanted sound

44. No jewelry and items on the body that can produce unwanted sound

45. No jewelry and items on the body that can produce unwanted sound

46. THE ROLE OF MUSIC IN ANIMATION

47. SOUNDTRACK the completed audio mix that includes the dialog, SFX, and music stems

48. MUSIC STEM SCORE also referred to as the score consists of a series of cues (musical selections), each corresponding to a specific scene or action. CUE categorized as underscore or source

49. SOUNDTRACK some soundtracks are comprised entirely of songs song scores are differentiated as original song scores (containing five or more original songs) and adaptation scores (utilizing preexisting music)

50. SOUNDTRACK some soundtracks are comprised entirely of songs song scores are differentiated as original song scores (containing five or more original songs) and adaptation scores (utilizing preexisting music)

51. SPOTTING SESSION sessions occurs soon after the film is locked (no further picture edits)

52. SPOTTING SESSION director meets with the composer to identify, define, and develop time references for each cue consists of a series of starts and stops followed by discussions in which the cues are defined

53. SPOTTING SESSION the music editor takes detailed notes regarding each cue these notes are used to generate a cue sheet that serves as a blueprint for the score. It also provides an accurate total for the number of minutes required. This timing information is critical in the development of a scoring schedule and budget

54. ROLE OF THE MUSIC EDITOR edits & synchronizes the score to image produces the cue sheet for the project from detailed notes taken at the spotting session and serves as the main liaison between the director and the composer If original music is recorded, the music editor assists the composer with the scoring session (recording). When the scoring session is completed, the music editor cuts the music to image.

55. ABBREVIATION USED IN SPOTTING NOTES Term BG Dead cue Definition Backgrounds Specific location on a film that will be accented with music (often referred to as a sync point) Dubbing Final mix of the film utilizing all stems ET End title (the final music cue in a picture)/end title credits FB Flashback (any film device used to denote a passage backward in time) FG Foreground FI Fade in FO Fade out HIT Time code location to receive extra musical emphasis Intercut Process of editing music to remove mistakes, make corrections in timing, or Improve performance; differs from picture edit intercut MOS Without sound MT Main title OC Off camera Overlap The process of laying two music cues together

56. ABBREVIATION USED IN SPOTTING NOTES Term Pick- ups Definition Short sections of recording that can be intercut to account for late editing decisions; cutting the ending of an extended production cue and moving it closer to the beginning When music starts just prior to the scene Any track that is recorded before filming Bursts of light that have been punched into film for the purpose of keeping the conductor oriented to Prelap Prescore Punches the music Sneak start Start of any music cue that is brought in under a sound effect (masked sync point); if no sound effect is available, the orchestra will probably fade in Spotting Process of deciding where music is to start and stop Streamer Line scribed on the film that visually guides the composer to a dead cue Sync point Place in the action that a composer wants to accent; also called a hit Wild Recording music without a click, streamers, or punches

57. FADE TOOL used to smooth amplitude differences and eliminate pops that occur at the edit seam customized to smooth out differences in volume levels, tempo, or instrumentation. CROSS- FADES

58. INTERCUT involves the removal of portions of an existing cue to tailor the length and hits of the resultant cue to a particular visual