Ch. 6 Principles Of Sound Design

Front 1

ADR

Back 1

automated dialogue replacement--following shooting, actors recreate portions of a scene's dilagogue in a sound studio, and this postproduction sound is mixed in with dialogue from the production track.

Front 2

ambient sound

Back 2

naturally occurring, generally low-level sound produced by an envrionment

Front 3

cue sheet

Back 3

contains a detailed description of each scene's action requiring music plus the exact timings to the second of that action

Front 4

dialogue

Back 4

f

Front 5

direct sound

Back 5

sound that comes immediately from the source. It is spoken or recorded directly into the microphone.

Front 6

effects

Back 6

physical sounds heard as part of the action and the physical environments seen on screen.

Front 7

Foley technique

Back 7

the live performance and recording of sound effects in sych with the picture. As the film is projected in a sound recording studio, a Foley artist watches the action and performs the necessary effects.

Front 8

Leitmotif

Back 8

musical label that is assigned to a character, a place, an idea, or an emotion. Once assigned, a leitmotif can be repeated each time the character or idea or emotion reappears.

Front 9

music

Back 9

f

Front 10

off-screen sound

Back 10

part of the dramatic action of a scene, but its source is off-camera. This kind of sound enlarges the coordinates of the world represented on screen.

Front 11

postdub

Back 11

sound editing performed afterwards in order to achieve a maximum of control over the sound design.

Front 12

production track

Back 12

the soundtrack recorded at the point of filming

Front 13

realistic sound

Back 13

matches the properties of a real source

Front 14

reflected sound

Back 14

carries reverberance. It reflects off of surrounding surfaces in the envrionment to produce reverberation.

Front 15

room tone

Back 15

the acoustical qualities of the room itself, the imperceptible sounds that it makes

Front 16

soundstage

Back 16

spread across three channels in the front, acoustical space established by the front speakers...broad and expansive and is anchored with an impressive bottom register supplied by the dedicated bass channel.

Front 17

sound bridge

Back 17

dialogue or effects carry over, or bridge, two or more shots, unifying them in time and/or space.

Front 18

sound design

Back 18

the complexity of modern film sound, and its increasing importance in the artistic design of the film, requires a new creative member of the production team.

Front 19

sound field

Back 19

acoustical area covered by speaker placement in a surround setup and activated by multichannel sound coming from the speakers.

Front 20

sound perspective

Back 20

d

Front 21

speech

Back 21

a

Front 22

spotting

Back 22

first stage of music creation, in which the composer consults with the film's director and producer and view the final cut in order to determine where and when music might be needed.

Front 23

synthetic sound

Back 23

invented sounds that have no counterpart in actual life, but they bond with the images on screen and extend their meaning.

Front 24

temp track

Back 24

a temporary musical track derived from a score the director likes

Front 25

voice-over narration

Back 25

accompanies images and scenes but is not delivered by a particular character from within the scene.