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101 Cards in this Set
- Front
- Back
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Location sound |
The process of gathering sound for a production in the field |
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Production sound |
sound recorded specifically for a production |
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Nat sound |
natural sound |
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ADR |
Automatic Dialogue REplacement |
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Sound mixer |
The person responsible for gathering the location sound |
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ENG |
Electronic News Gathering - "Running and gunning", fast-paced workflow, with a crew of 3 consisting of a producer, camera operator and sound mixer/boom op; any video production that is not considered a dramatic production |
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EFP |
Electronic Field Production - more elaborate setups for concerts, sports events and video productions short film-style |
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Sound |
vibrations in the air or other mediums such as water |
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Sound wave |
a 2-part vibration consisting of a compression and a rarefaction |
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Compression |
when air molecules are forced together |
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Rarefaction |
when are molecules move away from each other |
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Silence |
when there is neither a rarefaction or a compression |
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Wave cycle |
One compression and one Rarefaction |
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Frequency |
the number of complete wave cycles that occur in a secon |
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Hertz |
the measurement of frequency |
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The more wave cycles, _____________ |
The higher the frequency |
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Hearing range (textbook answer and average hearing response |
20Hz-20Hz, 40Hz-18Hz |
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Average range for human speech |
100Hz-3KHz |
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Higher frequencies are ____________ in pitch |
Higher |
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Lower frequencies are ___________ in pitch |
lower |
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Low range/"Low end" |
20Hz - 200Hz |
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Mid range/"Mids" |
200Hz - 5KHz |
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High range/"High end" |
5KHz - 20KHz |
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Low Mid Range |
200Hz - 1KHz |
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High Mid Range |
1KHz - 5 KHz |
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Amplitude |
The amount of energy present in a wave |
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Decibels |
A logarithmic unit used for measuring the amplitude of a sound wave - the more amplitude a sound wave has, the larger the dB number |
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SPL |
Sound Pressure Level - the measurement of decibels which tells us how loud a sound wave is in relation to perceived silence (0dB) |
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Dynamic range |
The difference between the quietest sound and the loudest possible sound before noticeable distortion |
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Analog VU meter range |
Begins at -20dB and increases to +60dB |
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Peak meter range |
Begins at -60dB and increases to +12dB in some equipment |
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Clipping |
The absolute ceiling for the amount of amplitude it can receive without a type of digital distortion |
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Preamplifier/preamp |
An amplifier which boosts mic level signals up to line level so it can be used in audio equipment |
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Amplitude vs volume |
Humans perceive different frequencies of equal amplitude as being different in volume |
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Complex wave |
A wave that is double in amplitude due to the combo of two waves of equal amplitude and frequency |
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Phase cancellation |
When two waves of equal amplitude and frequency are combined but have opposite states of pressure (compression vs rarefaction) and the waves cancel each other out |
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Echo |
When a sound bounces off a surface |
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Reverberation |
The continuation of echoes in an enclosed space |
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Transduction |
The process of converting acoustic energy into electric energy through a mic |
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Main types of transducers |
Dynamic and condenser |
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Dynamic microphones |
Mics with a moving coil attached to the diaphragm, wrapped around a magnet to convert sound waves into an electric signal |
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Dynamic mic characteristics |
1. Do not require external power to operate 2. Very rugged 3. Can handle high SPL 4. Great rejection of background noise 5. Require more air movement than other mic types (helps reduce feedback and excessive background noise 6. Have a lower transient response than condenser mics |
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Best use for dynamic mics |
Excellent for loud recordings such as drums, gunshots and electric guitar amplifiers, as well as ENG work |
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Transient response |
The measurement of time it takes for the diaphragm to respond to air movement - the faster the response, the more accurately the signal is reproduced |
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Condensor microphones |
Mics which use the change of stored charge (capacitance) to convert acoustical energy into an electric signal |
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Condensor mic characteristics |
1. Have a better transient response and a clearer sound than a dynamic mic 2. Most require external power (phantom power) to charge its capacitor |
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True condenser microphones |
Condenser mics which require external power (phantom power) to charge its capacitor |
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Electret condensor microphones |
Condenser mics with a permanently charged backplate phantom power is not required for the capsule to operate, however most will use phantom power to power a preamp that amplifies the weaker audio signal produced by these types of capsules |
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Electret condensor use |
The most popular and widely used mics in the world, found in every cell phone, headset, handheld recorder, etc Most popular use is lavaliers |
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Frequency response |
The range of frequencies that a mic can reproduce |
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Color |
Different frequencies within the frequency spectrum "lower-light" frequencies (reds and oranges) are described as warm "higher-light" frequencies (blues and greens are described as cold |
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Flat frequency response |
When all of the frequencies are faithfully reproduced without any colorization |
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Colorization |
When frequencies are artificially amplified or atennuated |
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Polar pattern |
The directionality of a mic |
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Omnidirectional |
A pattern which pics up sounds coming in a 360-degree sphere around the capsule, use a pressure diaphragm |
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Cardioid |
A heart-shaped pattern in which sound is gathered primarily from the front of the microphone, with some rejection of the sides and all of the rear |
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Hypercardioid |
A tighter response (than the cardioid) in front of the mic and some sensitivity in the rear |
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Supercardioid |
A more focused version of the hypercardioid pattern featuring a higher rejection of the sides and rear of the capsule |
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Shotgun |
The most directional of all polar patterns, with the highest rejection of the sides of the capsule |
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Figure-eight/Bidirectional |
A dual cardioid pattern that picks up sound from both sides of the microphone (not used in location sound work) |
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On-axis response |
When a sound occurs within the primary area of the microphone's polar pattern |
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Off-axis response |
When a sound occurs in the "rejection zone" of the mic's polar pattern |
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Inverse square law |
States that the volume is doubled when the distance between the mic and the source is halved |
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Proximity effect |
An artificial increase in low frequencies, which occurs when a sound source is too close to the mic |
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Plosives |
Sudden bursts of air that are produced by the mouth during the use of certain consonants such as "P"s and "B"s |
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Foam windscreen |
The most basic type of wind protection, reduces plosives and minor air movement |
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Furry |
A sleeve made of artificial fur, which offers the max amount of wind protection for a lavalier mic, but at the expense of making the mic more noticeable on camera |
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Windshield |
A wind protector with a plastic or foam mesh covered in a faux fur to reduce air movement from reaching the mic |
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Blimp |
A tubular housing unit made from a combination of plastic and special fabrics, provides the most superior wind protection |
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WIndsock |
A large, custom furry tailored to fit a specific model of blimp |
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Rain Man |
A special blimp covering that will keep the mic dry and the dialogue relatively clean |
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Two types of mics for boom |
Shotguns and cardioids |
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Drawback for shotgun mic in interior locations |
The tail in the polar pattern - the tail can artificially enhance the reverberation of a room, giving it an unnatural sound |
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Benefit for cardioids in interior locations |
Sound more natural for interior locations |
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Unidirectional mic |
Mic which uses a pressure gradient diaphragm |
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Phase ports |
The slits along the side of the tube where the "line" originates |
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Long vs short shotguns |
Long shotguns have a tight pickup and have better directionality at lower frequencies, but weigh more and are long - used almost exclusively outdoors Short mics have a wider patter, is more forgiving and easier for cueing actors, directionality is usually limited to mid and high frequencies |
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Cueing |
The process of aiming the mic at the actor's mouth |
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Directionality |
a mic's ability to reject or reduce sounds that come from a specific location |
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Top vs side address lavs |
Side-address laves face forward, whereas top-address laves face the end of the body, allowing them to be positioned up, down or sidways |
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Boundary mics |
Mics used to capture sound from a large area such as a conference-room table, sued on the walls of film sets and found on the floors of theatrical stages |
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Plant mics |
Any tipe of mic that is hidden, positioned, or fixed somewhere on the set |
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Handheld mics |
Mics held by the talent as they speak |
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Direct sound |
The mic capturing sound directly from the sound source |
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Indirect sound |
sound waves that are immediately bounced off nearby objects, including walls, floors and ceilings before they reach the mic |
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Lobing |
Capturing audio with the boom positioned overhead and the mic pointing downward toward the talent, at the actor's chest |
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Scooping |
The process of miking the actor with a boom mic from underneath |
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Issues with scooping |
1. Voice can sound muddy, due to high focus on low and midrange frequencies 2. Overhead noise, such as planes, light ballasts, and ceiling reflections are introduced into the mic 3. The actor's hand movements and prop handling can sound louder than the dialog, which can distort the sound perspective of the shot 4. The boom operator will need to navigate around furniture, set pieces, and props 5. Boom might have to be further from the actor's mouth |
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Shotgun best distance |
Within 18" to 36" for short, 4'-8' for long |
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Lavs best distance |
6"-8" below the mouth, at the center of the sternum |
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Handheld mics |
4"-12" from the mouth |
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Cue |
The end of the boom pole is rotated so that the boom mic can be aimed to capture the dialog from an actor |
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Swing |
The boom pole is moved horizontally to follow the talent or to cue another actor |
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Raise/Lower |
The boom pole is raised or lowered parallel to the ground |
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Pivot |
The boom pole is raised or lowered parallel to the ground |
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Pivot |
The boom pole is raised or lowered on an angle via the fulcrum point |
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Follow |
The boom pole and the boom operator move together to follow the talent |
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10Location Sound "Commandments" |
1. Provide clean, consistent and intelligible audio 2. Check equipment before going into the field 3. Know your gear and keep it maintained and organized 4. Tone up camera/recorder 5. Eliminate background noise 6. Critically listen to your audio 7. Discourage M.O.S 8. Play an active role in the production 9. Gather room tone 10. Be prepared for anything |
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Acoustics |
The acoustical properties of a room which are unique to each location |
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Ambience |
Environmental sounds of a location (ex. traffic, dining people, etc) |
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Incidental sounds |
Momentary and/or accidental sounds |
