This document discusses the introduction of sound in film. It defines key sound concepts like diegetic and non-diegetic sound. Diegetic sound is sound that exists both within the world of the film and can be heard by characters, like dialogue or ambient noise. Non-diegetic sound is added for the audience and is unseen by characters, like soundtrack music. It also discusses sound equipment, choosing and manipulating sounds during production and post-production, and how sound is used to guide audience attention and create meaning and emotion in a film.

1. INTRODUCE SOUND IN
FILM
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2. BASIC THEORY OF SOUND
• Sound is a vibration in an elastic medium such as
air, water, building materials and earth. Sound
energy progresses in atmospheric pressure and
travel a great distance.
• Wavelength of Sound: It is the distance a sound wave
traveling during one cycle of vibration or wavelength is
the distance between adjacent regions where identical
conditions of particle displacement occur.

3. Definition: Sound
o The way in which sound is used
to communicate meaning
o The manipulation and layering of
sound to create meaning

4. Two Types of SOUND:
 NON-DIEGETIC refers to
sound that ONLY the
audience can hear.
Typically, this would be
Soundtrack music –
played for effect, to build
tension in the audience
but not part of the scene
itself.
NOTE:
- EXTERNAL DIEGETIC SOUNDS are sounds of action and characters’ speech.
- INTERNAL DIEGETIC SOUNDS are sounds of internal dialogue and/or sounds
of memories or other actions taking place in a character’s mind.
 DIEGETIC (from inside
the DIEGESIS) refers to
sound that BOTH the
audience and the
characters can hear.
This would be sound
effects or music played
in the scene.

5. Example Of Diegetic And Non-diegetic Sound
• DIEGENTIC
• Ambient sound
(background noises -they create
atmosphere )
e.g. footsteps, traffic, birds, wind, voices,
machinery etc
• Dialogue (conversation or character
speaking aloud)
• Sound effects (synchronised to the
action)
e.g. gun firing, door slamming, car
screeching etc…
• Music (within the film world)
e.g. playing on a CD player, TV set, band
etc…
• NON-DIEGENTIC
• Sound Track (music played to
create atmosphere for the
viewer)
• Narration / Voice over (voice
added to give information to the
viewer – may be the character’s
thoughts heard only by the
audience)
• Sound effects (additional
sounds that help create the
atmosphere / build tension for
the viewer)

6. SOUND EQUIPMENT
 several item
that using for
audio in film.

7. Sound bridge
1
2
Sound bridges can lead in or out of a scene. They can occur at the
beginning of one scene when the sound from the previous scene
carries over briefly before the sound from the new scene begins.
Alternatively, they can occur at the end of a scene, when the sound
from the next scene is heard before the image appears on the screen.
 A sound bridge is where
the sound / music
carries on into the next
scene

8. PLEONASTIC SOUND
 Pleonastic sound is exaggerated sound e.g. light sabres
slashing the air in Star Wars - or a tap dripping more loudly
than normal in a horror film etc.
 A technique used to create this kind of sound is Foley
Sound

9. Choosing and Manipulating Sounds
• The creation of the sound track is
similar to and demands as much choice
and control as the editing of the image
track.
• Sometimes the sound track is
conceived before the image track.
• For example, studio-made animation
and experimental film.

10. Choosing and Manipulating Sounds
 Sound guides the viewer’s attention.
 Normally, this means clarifying and
simplifying the sound track so that important
material stands out.
 Dialogue, the transmitter of story
information, is usually recorded and
reproduced for maximum clarity.

11. Choosing and Manipulating Sounds
 Important lines should not have to
compete with music or
background noise.
 Sound effects are usually less
important and supply an overall
sense of a realistic environment.
However, if they were missing the
silence would be distracting.
 Music is also subordinate to
dialogue, noticeable during
pauses in dialogue and
transitions.
Foley work – where re-
recorded sound is used to
enhance ‘real’ sound

12. Choosing and Manipulating Sounds
Dialogue does not always rank
highest in importance.
Sound effects are central to action
sequences.
Music can dominate dance scenes,
transitions, or very emotional
moments with no dialogue.

13. Choosing and Manipulating Sounds
 In creating a sound track, the filmmaker
must select sounds that will fulfill a
particular function.
 Usually, the filmmaker will provide a
clearer, simpler sound world than that of
everyday life.
 This helps the audience to focus on only
the sound which is important and not
needless background noise.

14. Choosing and Manipulating Sounds
 The microphone is unselective; like the camera
lens, it does not automatically filter out what is
distracting.
 Directional and shielded microphones absorb
motor noise.
 Foley work – which re-creates the specific
diegetic sounds.
 Editing from libraries of stock sounds.
 All of these allow the filmmaker to choose
exactly what the sound track requires.

15. MANIPULATING SOUNDS
Today, film sound is
normally reprocessed to
produce exactly the
qualities desired.
A dry recording of the
sound will be changed
electronically to produce the
desired effect.
For example, the voice of
someone on a telephone will
be digitally filtered to make it
more tinny and muffled.

16. SOUND MIXING
 Guiding the viewer’s attention,
depends on selecting and
reworking sounds.
 It also depends on mixing, or
combining them.
 The sound track is not a set
of discrete sound units but an
ongoing stream of auditory
information.

17. AUDIO POST.
 Combining sounds is usually done after
shooting, in the mixing process called Audio
Post.
 The mixer can precisely control the volume,
duration, and tone quality of each sound.

18. o Today, a dozen or more
separate tracks may be mixed
in layers at any moment.
o The mix can be quite dense,
like in a busy airport or very
sparse with an occasional
sound emerging against a
quiet background.
o These choices reflect the
mood of the film the filmmaker
aims to achieve.
Layers of Audio built up to
create the right mood

19. DON’T FORGET…
Silence – even when there is no sound this can
create an impact
Dialogue – the tone, pitch and volume of actors
voices can all contribute to the meaning of a
scene or how the audience relate to them

20. CONCLUSION
 sound can attract audience.
 sound can set our emotion.
 sound making film perfect.