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Announcements

Announcements. Thursday: Sound and midterm review Mid-term next Tuesday --review in sections. Sound Technology and. Sound and Film. Sound with Picture. Is sound secondary or supportive to vision in cinema? It is less consciously perceived--yet it is a very powerful factor.

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Announcements

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  1. Announcements • Thursday: Sound and midterm review • Mid-term next Tuesday --review in sections

  2. Sound Technology and Sound and Film

  3. Sound with Picture • Is sound secondary or supportive to vision in cinema? It is less consciously perceived--yet it is a very powerful factor. • Our ears do a great deal of selective filtering. So sound in cinema must be consciously controlled: recorded, edited and mixed in a very intentional manner.

  4. Functions of Sound • Another register of experience: complexity. • Affecting how we experience what we see. • Structuring or extend cinematic space. • Strengthen continuity, smoothing over edits. • As a cue—associated with a character, etc. • Information (voice, but also effects, ambient) • Spatial or temporal orientation (location, environment, time of day, historical period) • Predictive (warning; off-screen or imminent) • Conveying mood or character’s emotions • Setting the pace of scene

  5. Sound Stems 1. Sound effects 2. Voice 3. Music 4. Ambient sound (5.) Silence

  6. The Conversation, by Francis Ford Coppola, 1974 • Sound and space

  7. The Graduate, Mike Nichols, 1961

  8. M, Fritz Lang, 1931. • Selective use of sound and silence

  9. Sound and the Story • DIEGETIC = from the world of the film: voices of characters, sounds made by objects in the story, music represented as coming from instruments in the story space ( = source music). May be on screen or off screen • INTERNAL DIAGETIC = thoughts of characters on screen • Non-Diegetic = outside of the film: narrator's commentary, sound effects which is added for the dramatic effect, mood music

  10. Playtime, Jacques Tati,1967 Playing with relationship of Sound to Image • Perception/confusion and the representation of sound • Foley effects

  11. Delicatessen, Jean-Pierre Jeunet and Marc Caro, 1991 Rhythm and Motion

  12. Hiroshima Mon Amour, Alain Resnais,1959, 86 min. • Modern use of sound

  13. Daughters of the Dust, Julie Dash, 1991 • Narration of unborn child • Dialogue spoken in the Gullah language

  14. Qualities of Sound • Volume • Pitch • Timbre • Rhythm • Fidelity between sound and image

  15. Frequency and Amplitude • Slow moving wave - low frequency, low pitch • Fast moving wave - high frequency, high pitch • Wave with great disturbance of molecules - greater volume

  16. Altman The Material Heterogeneity of Recorded Sound (its complex make up)

  17. Altman and Sound Sound is vibration in a medium over time. Most of what we call sounds are complex events of multiple sounds The sound envelope • Attack • Sustain • Decay What is / where is the medium?

  18. Altman and Sound Since sound reception differs from moment of sound production, sounds is necessarily spatial nature. Variables: space, distance, directionality, reverberance • Moment of creating sound (carries spatial signature) • Moment of recording sound (technical stamp) • Moment of playing sound (amplifying / reproducing) • Moment(s) of reception (subjectivity, cocktail party effect)

  19. Altman (cont.) Altman discusses the difference between audio as representation vs. reproduction • Representations are never reproductions: they are always symbols and things in themselves • Becoming more conscious of the resonance between the two • We are already extremely attuned to this difference and this is central to communication

  20. Altman (cont.) • Communication is about patterning (signal and noise, modulation, difference and sameness, identity and difference) • You already are, if unconsciously, extremely engaged and attuned to subtle variations in sound and the ambiguity between representation and materiality—this is fundamental to communication. By becoming more conscious of this—more reflexive— you can be productive in new ways.

  21. Types of Audio Recording Equipment • Analog • Digital

  22. Audio Recording Techniques • Boom or Lavaliere

  23. Audio Recording Choices • Digital or analog • Pick up pattern for microphone • Type of microphone / transducer • Stereo, mono • Multi-channel recording • Field or studio

  24. Microphone Choices • Hand held, Boom, Lavaliere Mic, • Pick up pattern for microphone: Directional / cardiod Super-cardioid or shotgun Omni-directional • Type of microphone / transducer: condenser or dynamic • Stereo, mono • Field or studio

  25. Microphones • Directionality / Pick up pattern: Omni, Uni, Cardiod, Hyper cardiod, shotgun

  26. Microphones Transducer: Convert molecular disturbances into electrical energy.

  27. Dynamic Mic • Magnet and coil of wire converts sound waves into electrical energy. • Rugged, can tolerate high temperature changes and humidity.

  28. Condenser Microphone • Requires battery or power from external source. • Two plates with voltage between them. • One plate acts like a diaphragm, vibrates thus changing the voltage.

  29. Condenser Microphone • Output audio signal is weak - requires amplification • Power can come from a battery or through the cable = Phantom Power • Can be very small - lavaliere microphones • Sensitive to high and low frequency sounds

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