FILM 2601 - SOUND QUIZ FLASHCARDS

Omnidirectional

AKA Pressure Mike, picks up all directions; typically seen in lav mics, maybe podium or group settings

Bidirectional

Picks up sound from two directions; typically used in music and stereo recording

Directional

AKA Pressure-gradient, includes bidirectional and omni patterns like cardioid, shotgun, etc.

Cardioid

Heart pattern, picks up from the front and sides; typically used for groups or documentary settings

Hyper Cardioid, Super Cardioid, Short Shotgun

All very directional, picks up from front and very little from sides and most typically used for booming

Shotgun

Club-shaped pattern, picks up from the very front, most directional of all polar patterns; typically used for noisy exteriors

Frequency

AKA pitch, how many sound waves pass per second, measured in Hertz (Hz)

Frequency Range

audible range that a mike can pick up; human hearing is 20Hz to 20KHz

Infrasonic

Below 20Hz

Ultrasonic

Above 20KHz (ex. Dog Whistles)

Amplitude

AKA spl (sound pressure level), how tall the wave is and thus how loud, measured in decibels (dB)

Dynamic Range

the range between audible sound, loud and soft; exceeding it can lead to distortion (too loud) or noise (too quiet); falls to 0 to 180 dB

• Signal to Noise Ratio + Headroom

Signal to Noise Ratio

The ratio of the sound of the space, aiming to decrease the amount of noise we get and trying to avoid overloading (hitting 0, distortion). Aim for -20 dB

Headroom

The “room” we allocate while recording sound, to around -6 dB, to make room for any loud sounds ex. yelling

Frequency & Wavelength

Inverse relationship, so a high frequency is a small wavelength and a low frequency is a big wavelength

Lo Cut

AKA high pass, is a filter equipped in most microphones to reduce the low frequencies due to them oftentimes being too loud and risking distortion in audio recording. Advised to avoid use unless absolutely necessary

Condenser Mikes

Needs phantom 48V power to operate; is a light and flexible membrane with a backplate, both sides being charged. Operates on the distance change causing a change in voltage. Is the most standard mike type for film and tv

Dynamic Mikes

Operate on a magnetic field due to a spinning coil that generates a current, no external power needed. Is more directional, with higher frequencies

Windscreen

Used to combat wind and should only be used when absolutely necessary — mikes should be kept as light as possible with a foam cover at minimum

Flat Response

When a mike is extremely sensitive to all audible frequencies, so it is harder to balance, common in condenser mikes

Phase Issues

Timing differences in two or more recordings of the same source, can also lead to phase cancellation resulting in thin or dull sound

On Axis

Mike is properly positioned to capture the dialogue accurately, pointed as directly to the talent’s mouth as possible

Off Axis

Mike is not properly positioned on the talent, resulting in sound that is slightly “off” and not accurate

Wild Sound

Any sound captured without a picture tied to it, done off camera

MOS

No sound in a shot

ADR

AKA Automatic Dialogue Replacement, dialogue recorded in post that dubs over a clip, usually in a studio, for clearer audio

Voice Over

Narration recorded in post unrelated to a clip but added after shooting

Folies

Creating sound effects in post with the use of various, often unrelated objects, to mimic sounds in a shot (ex. footsteps)

Room Tone

The sound of a space or atmosphere free of any intentional sound or dialogue that matches the master shot; used to fill in “empty” spots when cutting up dialogue so the silence is not so stark

-10dB

Good audio level on camera

-130dB to -140dB

Threshold of pain

Realistic Sound Design

What we actually see and hear

Hyperrealistic Sound Design

Over the top and exaggerated, as seen in blockbusters

Surrealist Sound Design

Unreal, dream sequences, exaggerated and imaginative

Stretched Reality Sound Design

Presenting things technically based in reality but not possible, ex. phonecalls and hearing the other person as clear as the person we see

Montage Sound Design

Music or sound over images that have no physical relationship

Absorption

Atmosphere absorbs higher frequencies, bass travels further

Reflection

Sound “bounces” off of certain surfaces

Reverberation

Multiple reflections, becoming indistinguishable from one another

Diffraction

Waves “bend” around corners, often used for off-screen sounds

Refraction

Waves “bend” by changes in atmosphere density, such as underwater or high elevations. Not something we will encounter often or at all

Radio Mikes

Analog (air) sound changes a radio wave through a transmitter sending the wave to be received by a receiver on the same frequency that decodes it to be sent out again. Problems in interference of numerous mikes on the same frequency, and in hiding the mike to avoid rustling or being seen on camera

Line

For amplified signals, ones coming from a mixer or a PA system

Mic

Does not need power from the camera or recorder, such as dynamic mikes

Mic +48

Mic that DOES need power from camera or recorder, Phantom 48V, such as condenser mikes