FILM 2601 MIDTERM REVIEW FLASHCARDS

through the power of analog signal i will get an A+ on this final and in this course AMEN

Polar Patterns

the area around the mike that picks up sound

Omnidirectional

circle-shaped polar pattern, used in lavs

Bidirectional

dual-ended polar pattern, used in music recording

Cardioid

heart-shaped polar pattern, used in group settings in a quiet location OR podium

Hypercardioid, Supercardoid, Short shotgun

club-shaped polar pattern, used all the time, especially on film sets (for booming)

Shotgun

clover-shaped polar pattern, super directional, used in loud exteriors

Frequency

how many waves pass through a point in a second, measured in Hz (hertz), aka pitch

Frequency Range

recorded pickup that equipment can handle, aka Human Hearing Range (20Hz to 20,000 Hz)

Amplitude

the volume of a wavelength, measured in dB (decibels), aka Sound Pressure Level

Dynamic Range

the range of soft to loud something can handle, in both hearing and equipment

Threshold of Pain

130 dB

Ideal Recording Level

-20 dB

Headroom

-6 dB

Signal to Noise Ratio

the amount of signal in relation to the amount of noise in a specific location and the equipment used, also encompasses the average audio level and the headroom we allocate to sound

Dynamic Mike

self-powered, works on a moving coil that generates electric currents that move through a magnetic field to create power, typically used in omnidirectional mikes

Condenser Mike

needs power to operate, is a light, flexible membrane and backplate that are both charged and create voltage through changing the distance between them, widely used for “booming” mikes

Radio Mike

Analog sound changes a radio wave through a transmitter that sends the signal to a receiver on the same frequency, that then decodes the wave

Analog Signal

recording of the sound itself

Digital Recording

recording information about the sound, represented in 1s and 0s and is measured (quantization) in bits, bit depth, and sampling rate

Standard Sampling Rate

48,000Hz

Standard Bit Depth

24

Lo-cut / High Pass Filter

Used in situations where longer wavelengths are seen as they become problematic, to reduce the diffraction (ex. windy exteriors)

Flat Response

not impacting sound at all in terms of using a filter

Phase Issue

when 2 mikes are recording but not coming in at the same time (one later than the other) because the signals aren’t properly interfering with each other

On Axis

the point where the boom is at the best angle to capture sound in relation to the subject

Wild Sound

sound not captured in relation to the camera

Room Tone

the sound of a room with no dialogue or movement, but all existing sounds in the room (ex. Air conditioning), number of people, and mics in same position

MOS

no sound

Folies

sfx made in post while watching a projection of the scene

ADR

aka Automatic Dialogue Replacement, audio added in post with actors “dubbing” over their lines while it is projected on a screen to sync

Absorption

sound is absorbed into certain surfaces; we aim for a location with a maxiumum of this

Reflection

sound bounces around certain surfaces; we aim for a location with the least amount of this

Reverberation

combination of reflections

Diffraction

waves will bend and move around corners, thus “seeping” into sound, common with longer wavelengths (lower frequencies)

Refraction

sound will react to different changes in atmospheric density (but is not something we will encounter often)

Mixer (on set)

manages audio levels

Boom Operator

manages the boom mike, ensuring it is on axis and not in frame

Sound Utility

manages wires, cables, and equipment

Phantom 48V

most common power source for condenser mikes (like the boom)

Line

power is taken from another system that is already amplified

Mixer/Recorder (equipment)

captures the sound, is used because there is a wider selection of sound control in relation to levels and is separate from camera

Gain

levels into the track itself, how much sound is collected

Fader

how much of those tracks are combined to go into the pan

Pan

the left versus the right headphone, what source you are hearing in what ear

Isolated Tracks

being able to hear each individual channel per ear to distinguish them