Sound
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The document analyzes and describes different types of sounds that can be used in film including selective sound to emphasize key elements, ambient sound to set atmosphere or place, and sound bridges to transition between sequences fluidly. It also discusses diegetic sounds that are visible or implied on screen versus non-diegetic sounds not visible like narration, and synchronous versus asynchronous sounds.
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Sound
This document discusses different types and terminology of sound used in media. It lists examples of common sounds like clocks ticking, buzzing, speech, and machines moving. It defines ambient sound as sounds that create atmosphere, and selective sound as emphasizing key sound elements. It also distinguishes between diegetic sound whose source is visible or implied on screen, and non-diegetic sound whose source is neither visible nor implied.
Use of sound
Sound can be used selectively to emphasize key elements or create atmosphere. Transitions between sequences are helped by sound bridges. Effects create realism or psychological impact. Diegetic sounds come from visible sources while non-diegetic sounds do not. Synchronous sound matches what is seen while asynchronous usually refers to musical soundtracks from outside the story. Contrapuntal noise does not match visuals. Theme music introduces and develops throughout a film. Musical scores create atmosphere and help the narrative. Silence is occasionally used to provoke audience reaction.
Sound 3 october
The document discusses different types of sounds that can be used in films, including selective sound to emphasize key elements, ambient sound to set atmosphere, and sound bridges to help transitions between scenes. It also defines diegetic sounds that come from visible or implied sources in the story, versus non-diegetic sounds that are added for effect without a story source. Synchronous sounds match visuals, while asynchronous sounds come from outside the story world, like musical scores.
Sound
Selective sound is used to emphasize key sound elements within a sequence. Ambient sound creates atmosphere and sense of place, while sound bridges help transitions pass more fluidly. Sound effects are used to create realism or psychological impact. Diegetic sounds originate from within the film's world, like characters' voices or music from instruments, while non-diegetic sounds do not originate from the world, such as a soundtrack or narration. Synchronous sound matches an event, while asynchronous sound comes from outside the diegetic reality, like a musical soundtrack.
06. sound notes sheet
The document discusses different types of sound used in film production and identifies sounds in an excerpt from Sherlock Holmes. It describes diegetic sound as any noise that exists within the world of the film, like characters talking, while non-diegetic sound is added later in post-production, such as music and narration. Film sound is carefully mixed and different types are used to emphasize elements, create atmosphere, or help with scene transitions. Examples of specific sound elements identified in the Sherlock Holmes excerpt include the non-diegetic theme music, and diegetic noises like horses, crows, and characters whispering.
Types of Sound
There are several types of sound used in filmmaking to convey meaning and emotion. Diegetic sound occurs within the film's narrative and includes voices, music, and sounds emanating from on-screen objects and events. Non-diegetic sound comes from outside the narrative, such as voiceovers or mood music. Synchronous sound matches visual actions precisely, while asynchronous sound is less precisely timed to create tension. Contrapuntal sound uses music that contrasts the visuals, and parallel sound matches the tone and mood. Ambient sound consists of normal background noises that provide a sense of realism to film locations.
Sound
This document defines and distinguishes different types of sound that can be used in media, including diegetic sounds that exist within the fictional world and non-diegetic sounds that are only heard by the audience. It also discusses synchronous and asynchronous sounds, sound motifs, sound bridges, dialogue techniques like voiceovers and direct address, perspectives on sound distance and soundtrack music like scores, incidental music, themes and ambient sounds.
Sound
The document discusses different types of sounds that can be used in films, including selective sound to emphasize key elements, ambient sound to create atmosphere, and sound bridges to help with transitions between sequences. It also describes diegetic sounds whose source is visible or implied and non-diegetic sounds like music that create atmosphere, as well as synchronous sounds that match the action and asynchronous sounds from outside the film.
Recommended
Sound
This document discusses different types and terminology of sound used in media. It lists examples of common sounds like clocks ticking, buzzing, speech, and machines moving. It defines ambient sound as sounds that create atmosphere, and selective sound as emphasizing key sound elements. It also distinguishes between diegetic sound whose source is visible or implied on screen, and non-diegetic sound whose source is neither visible nor implied.
Use of sound
Sound can be used selectively to emphasize key elements or create atmosphere. Transitions between sequences are helped by sound bridges. Effects create realism or psychological impact. Diegetic sounds come from visible sources while non-diegetic sounds do not. Synchronous sound matches what is seen while asynchronous usually refers to musical soundtracks from outside the story. Contrapuntal noise does not match visuals. Theme music introduces and develops throughout a film. Musical scores create atmosphere and help the narrative. Silence is occasionally used to provoke audience reaction.
Sound 3 october
The document discusses different types of sounds that can be used in films, including selective sound to emphasize key elements, ambient sound to set atmosphere, and sound bridges to help transitions between scenes. It also defines diegetic sounds that come from visible or implied sources in the story, versus non-diegetic sounds that are added for effect without a story source. Synchronous sounds match visuals, while asynchronous sounds come from outside the story world, like musical scores.
Sound
Selective sound is used to emphasize key sound elements within a sequence. Ambient sound creates atmosphere and sense of place, while sound bridges help transitions pass more fluidly. Sound effects are used to create realism or psychological impact. Diegetic sounds originate from within the film's world, like characters' voices or music from instruments, while non-diegetic sounds do not originate from the world, such as a soundtrack or narration. Synchronous sound matches an event, while asynchronous sound comes from outside the diegetic reality, like a musical soundtrack.
06. sound notes sheet
The document discusses different types of sound used in film production and identifies sounds in an excerpt from Sherlock Holmes. It describes diegetic sound as any noise that exists within the world of the film, like characters talking, while non-diegetic sound is added later in post-production, such as music and narration. Film sound is carefully mixed and different types are used to emphasize elements, create atmosphere, or help with scene transitions. Examples of specific sound elements identified in the Sherlock Holmes excerpt include the non-diegetic theme music, and diegetic noises like horses, crows, and characters whispering.
Types of Sound
There are several types of sound used in filmmaking to convey meaning and emotion. Diegetic sound occurs within the film's narrative and includes voices, music, and sounds emanating from on-screen objects and events. Non-diegetic sound comes from outside the narrative, such as voiceovers or mood music. Synchronous sound matches visual actions precisely, while asynchronous sound is less precisely timed to create tension. Contrapuntal sound uses music that contrasts the visuals, and parallel sound matches the tone and mood. Ambient sound consists of normal background noises that provide a sense of realism to film locations.
Sound
This document defines and distinguishes different types of sound that can be used in media, including diegetic sounds that exist within the fictional world and non-diegetic sounds that are only heard by the audience. It also discusses synchronous and asynchronous sounds, sound motifs, sound bridges, dialogue techniques like voiceovers and direct address, perspectives on sound distance and soundtrack music like scores, incidental music, themes and ambient sounds.
Sound
The document discusses different types of sounds that can be used in films, including selective sound to emphasize key elements, ambient sound to create atmosphere, and sound bridges to help with transitions between sequences. It also describes diegetic sounds whose source is visible or implied and non-diegetic sounds like music that create atmosphere, as well as synchronous sounds that match the action and asynchronous sounds from outside the film.
different types of sound
The document discusses different elements of sound design in films. It begins by listing various sounds heard in a film clip, then explains that sound is carefully crafted in post-production similar to visual elements. Film sound is mixed to emphasize important sounds and maintain the intended atmosphere. There are different types of sounds like selective sounds used to highlight key elements, and ambient sounds that create a sense of place. Other elements discussed include sound bridges, sound effects, diegetic sounds from within the film world versus non-diegetic sounds from outside it, synchronous versus asynchronous sound, and the uses of voiceovers, theme music, musical scores, and silence.
GCSE Film Studies - Sound
This document summarizes different types of sounds used in films. It divides film sounds into diegetic and non-diegetic categories. Diegetic sounds are part of the film's world, while non-diegetic sounds come from the film's soundtrack. It also discusses synchronous and asynchronous sound effects, and how the three components of a film soundtrack - dialogue, sound effects, and music - must be carefully balanced. Parallel and contrapuntal music are described based on whether the music's tone matches or contrasts the on-screen mood. Sound bridges are also summarized as connecting scenes through continuing sound across frames.
Sound Notes
The document analyzes the use of diegetic and non-diegetic sound in a Sherlock Holmes film. It identifies various diegetic sounds heard in the film, such as footsteps, hitting noises, and bird noises. Non-diegetic sounds are also discussed, including speech and different music beats. The document concludes by defining diegetic sounds as those where the source is visible or implied on screen, and non-diegetic sounds as those whose source is neither visible nor implied.
Media sound terminology
This document defines various types of sounds used in film and media production, including ambient sounds, incidental music, sound perspective, dialogue, voice overs, sound effects, synchronous and asynchronous sounds, diegetic and non-diegetic sounds, empathetic sounds, and the audio-visual contract. It discusses background sounds, music, the positioning of sounds, sound mixing, conversations, narration, imitative sounds, the synchronization of sounds and actions, sounds heard by characters versus the audience, conveying mood, and agreeing to suspend disbelief of the medium.
Sound
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the scene like car sounds or music playing on a radio, and non-diegetic sound added in post-production like background music or sound effects. It also defines techniques for building tension with sound, such as using a crescendo to gradually increase the volume to imply something is about to happen, or a diminuendo to reduce volume and release tension once a threat has passed. Motifs of particular sounds or music are also discussed as cues to signal events to the audience.
Sound
The document provides information about Foley artistry and sound design in film and television. It begins by asking the reader to match sound effects to their creation techniques. It then profiles Alyson Moore, a professional Foley artist, and lists some common sound effects she creates through various methods like coconuts stuffed with cloth or thumping a watermelon. The document goes on to define diegetic and non-diegetic sounds and provides examples of each. It asks the reader to analyze sound sequences and consider how sound generates meaning and affects narrative, characters, and emotion.
06. sound notes sheet (1)
The document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that exist within the world of the film and non-diegetic sounds from outside the world. Film sound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere. Examples of different sound techniques are provided, such as using sound bridges between scenes, synchronous sounds that match the visuals, and asynchronous non-diegetic music. The document also gives examples of diegetic and non-diegetic sounds identified in Sherlock Holmes.
Lesson 3 sound
This document discusses sound techniques in film. It defines diegetic and non-diegetic sound and provides examples. Non-diegetic sound, like music, can establish mood, atmosphere, and meaning without being part of the film's world. Diegetic sound belongs to the film's world and can reveal characters' states of mind. The document analyzes the non-diegetic score in Jaws, which builds tension without showing the shark. It also discusses how diegetic sounds in Rear Window establish the setting and protagonist's detached frame of mind. Sound can create meaning by enhancing emotion, setting mood, and identifying characters.
Sound
Sound is used in several ways in films, including to emphasize key elements, create atmosphere, and help with transitions. There are different types of sounds like diegetic sounds whose source is visible or implied, non-diegetic sounds from outside the film's world, and synchronous or asynchronous sounds matched or not matched to the visuals. Different sounds are also used like voiceovers, theme music, musical scores, and silence is occasionally used for effect.
Types of tv and film sound
1. Sound plays a crucial role in films, with 90% of the experience coming from audio rather than visuals. Sound is used to simulate reality, add elements not visible, and set mood.
2. Key audio elements include dialogue, ambient noise, additional recordings, narration, effects, score, and soundtrack music. Effects are created through Foley artistry and studios.
3. The editing and mixing process combines all audio layers to enhance realism and emotional impact for the audience.
Sound Resarch
This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound that builds tension, diminuendo sound that releases tension, and forzando sound that emphasizes shock. The document stresses the significance of using appropriate sound to manipulate scenarios and change moods. It also lists some sounds that could be used in an opening sequence, such as sad music, the sound of a baseball bat, and heartbeats to build anxiety.
Sound research
This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound that builds tension, diminuendo sound that releases tension, and forzando sound that emphasizes shock. The document stresses the significance of using appropriate sound to manipulate scenarios and change moods. It also lists some sounds that could be used in an opening sequence, such as sad music, the sound of a baseball bat, and heartbeats to build anxiety.
sound notes sheet
Film sound is carefully designed and added in post-production to emphasize important sounds, maintain atmosphere, and help transitions. Sound can be diegetic, existing within the film's world, or non-diegetic from outside. It can be synchronous to match action, asynchronous like music, or contrapuntal with mismatching noise. Elements include voiceovers, theme music, musical scores, and strategic use of silence. The document provides examples of different types of sounds that can be identified in the film Sherlock Holmes.
Film Sound Techniques
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the world of the film and non-diegetic sound that is added in post-production. It notes that diegetic sound helps create a sense of place and events, while scripted dialogue moves the story forward and develops characters. Non-diegetic music and voiceovers can interpret emotions and enhance understanding of characters. Sound can also be used to link sequences, reflect themes, position the audience, and match or contrast events on screen through parallel or contrapuntal use.
Final sound presentation for intro to film
The document discusses sound in film, including soundtracks, the power of sound to create interest, narration, understanding, anticipation, and value silence. It covers sound fundamentals like loudness, pitch, and timbre. It also discusses choosing sounds, manipulating and editing sounds, sound and film form including scores, dimensions of sound like rhythm and coordination with images. Additional topics covered include fidelity, diegetic and nondiegetic sounds, space, narrators, sound perspective, and the functions of sound over time.
Sound presntation
Diegetic sound refers to all sound in a film whose source is visible or implied to be present in the scene, such as voices, music from within the story, or sounds made by objects. Non-diegetic sound includes any sound that seems to come from outside the story world, like narration, sound effects added for drama, or mood music. The document also defines other sound-related film terms like synchronous sound, sound effects, sound motifs, sound bridges, dialogue, voiceovers, sound mixing, sound perspective, and soundtrack.
Sound notes
Filmsound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere for scenes. There are different types of sounds, including diegetic sounds that exist in the world of the film and non-diegetic sounds from outside. Sounds are used selectively to highlight key elements, create ambience and atmosphere, and help transitions between scenes flow smoothly. Effects add realism or psychological impact, while synchronous effects reinforce actions and asynchronous music guides the narrative.
06. sound notes sheet
This document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that come from within the story world and non-diegetic sounds from outside the story world. Selective sounds are used to emphasize key elements, while ambient sounds create atmosphere. Sound bridges help transitions and sound effects add realism or psychological impact. The document also discusses voiceovers, theme music, musical scores, silence and how identifying these elements can enhance analysis of films like Sherlock Holmes.
Sound definitions
Film sound is carefully mixed to emphasize important sounds and set the right atmosphere. Selective sound highlights key elements while ambient sound creates a sense of place. Sound bridges help transitions and effects create impact. Diegetic sound exists in the film world and is visible or implied, while non-diegetic sound comes from outside and narrates. Synchronous sound matches actions while asynchronous comes from outside reality, and contrapuntal noise creates alternative meanings.
sound notes sheet
This document discusses the use of sound in films. It explains that sound is carefully crafted in post-production to emphasize important sounds and set the proper atmosphere. Sound can be diegetic, meaning it exists within the world of the film, or non-diegetic and comes from outside the film. Examples of each type are provided. The document also discusses other sound design elements like synchronous and asynchronous sound, and how sound is used to guide the audience's understanding.
Sound
The document analyzes the sound used in a film clip, listing various sound effects used throughout the sequence. It then defines key terms related to sound in film, including selective sound to emphasize elements, ambient sound to set atmosphere or place, and sound bridges to help transitions between sequences flow more smoothly. Digetic sounds have a visible or implied source in the scene, while non-digetic sounds like added music do not originate from within the film's world.
Sound
Sound is carefully mixed to maintain the correct atmosphere for a sequence. There are several types of sounds that can be used, including selective sounds that emphasize key elements, ambient sounds that set the scene, and sound bridges that help transitions flow smoothly. Sounds can be diegetic, originating from visible on-screen sources, or non-diegetic, coming from sources not visible. Synchronous sounds reinforce visual events while asynchronous sounds come from outside the scene.
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different types of sound
The document discusses different elements of sound design in films. It begins by listing various sounds heard in a film clip, then explains that sound is carefully crafted in post-production similar to visual elements. Film sound is mixed to emphasize important sounds and maintain the intended atmosphere. There are different types of sounds like selective sounds used to highlight key elements, and ambient sounds that create a sense of place. Other elements discussed include sound bridges, sound effects, diegetic sounds from within the film world versus non-diegetic sounds from outside it, synchronous versus asynchronous sound, and the uses of voiceovers, theme music, musical scores, and silence.
GCSE Film Studies - Sound
This document summarizes different types of sounds used in films. It divides film sounds into diegetic and non-diegetic categories. Diegetic sounds are part of the film's world, while non-diegetic sounds come from the film's soundtrack. It also discusses synchronous and asynchronous sound effects, and how the three components of a film soundtrack - dialogue, sound effects, and music - must be carefully balanced. Parallel and contrapuntal music are described based on whether the music's tone matches or contrasts the on-screen mood. Sound bridges are also summarized as connecting scenes through continuing sound across frames.
Sound Notes
The document analyzes the use of diegetic and non-diegetic sound in a Sherlock Holmes film. It identifies various diegetic sounds heard in the film, such as footsteps, hitting noises, and bird noises. Non-diegetic sounds are also discussed, including speech and different music beats. The document concludes by defining diegetic sounds as those where the source is visible or implied on screen, and non-diegetic sounds as those whose source is neither visible nor implied.
Media sound terminology
This document defines various types of sounds used in film and media production, including ambient sounds, incidental music, sound perspective, dialogue, voice overs, sound effects, synchronous and asynchronous sounds, diegetic and non-diegetic sounds, empathetic sounds, and the audio-visual contract. It discusses background sounds, music, the positioning of sounds, sound mixing, conversations, narration, imitative sounds, the synchronization of sounds and actions, sounds heard by characters versus the audience, conveying mood, and agreeing to suspend disbelief of the medium.
Sound
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the scene like car sounds or music playing on a radio, and non-diegetic sound added in post-production like background music or sound effects. It also defines techniques for building tension with sound, such as using a crescendo to gradually increase the volume to imply something is about to happen, or a diminuendo to reduce volume and release tension once a threat has passed. Motifs of particular sounds or music are also discussed as cues to signal events to the audience.
Sound
The document provides information about Foley artistry and sound design in film and television. It begins by asking the reader to match sound effects to their creation techniques. It then profiles Alyson Moore, a professional Foley artist, and lists some common sound effects she creates through various methods like coconuts stuffed with cloth or thumping a watermelon. The document goes on to define diegetic and non-diegetic sounds and provides examples of each. It asks the reader to analyze sound sequences and consider how sound generates meaning and affects narrative, characters, and emotion.
06. sound notes sheet (1)
The document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that exist within the world of the film and non-diegetic sounds from outside the world. Film sound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere. Examples of different sound techniques are provided, such as using sound bridges between scenes, synchronous sounds that match the visuals, and asynchronous non-diegetic music. The document also gives examples of diegetic and non-diegetic sounds identified in Sherlock Holmes.
Lesson 3 sound
This document discusses sound techniques in film. It defines diegetic and non-diegetic sound and provides examples. Non-diegetic sound, like music, can establish mood, atmosphere, and meaning without being part of the film's world. Diegetic sound belongs to the film's world and can reveal characters' states of mind. The document analyzes the non-diegetic score in Jaws, which builds tension without showing the shark. It also discusses how diegetic sounds in Rear Window establish the setting and protagonist's detached frame of mind. Sound can create meaning by enhancing emotion, setting mood, and identifying characters.
Sound
Sound is used in several ways in films, including to emphasize key elements, create atmosphere, and help with transitions. There are different types of sounds like diegetic sounds whose source is visible or implied, non-diegetic sounds from outside the film's world, and synchronous or asynchronous sounds matched or not matched to the visuals. Different sounds are also used like voiceovers, theme music, musical scores, and silence is occasionally used for effect.
Types of tv and film sound
1. Sound plays a crucial role in films, with 90% of the experience coming from audio rather than visuals. Sound is used to simulate reality, add elements not visible, and set mood.
2. Key audio elements include dialogue, ambient noise, additional recordings, narration, effects, score, and soundtrack music. Effects are created through Foley artistry and studios.
3. The editing and mixing process combines all audio layers to enhance realism and emotional impact for the audience.
Sound Resarch
This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound that builds tension, diminuendo sound that releases tension, and forzando sound that emphasizes shock. The document stresses the significance of using appropriate sound to manipulate scenarios and change moods. It also lists some sounds that could be used in an opening sequence, such as sad music, the sound of a baseball bat, and heartbeats to build anxiety.
Sound research
This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound that builds tension, diminuendo sound that releases tension, and forzando sound that emphasizes shock. The document stresses the significance of using appropriate sound to manipulate scenarios and change moods. It also lists some sounds that could be used in an opening sequence, such as sad music, the sound of a baseball bat, and heartbeats to build anxiety.
sound notes sheet
Film sound is carefully designed and added in post-production to emphasize important sounds, maintain atmosphere, and help transitions. Sound can be diegetic, existing within the film's world, or non-diegetic from outside. It can be synchronous to match action, asynchronous like music, or contrapuntal with mismatching noise. Elements include voiceovers, theme music, musical scores, and strategic use of silence. The document provides examples of different types of sounds that can be identified in the film Sherlock Holmes.
Film Sound Techniques
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the world of the film and non-diegetic sound that is added in post-production. It notes that diegetic sound helps create a sense of place and events, while scripted dialogue moves the story forward and develops characters. Non-diegetic music and voiceovers can interpret emotions and enhance understanding of characters. Sound can also be used to link sequences, reflect themes, position the audience, and match or contrast events on screen through parallel or contrapuntal use.
Final sound presentation for intro to film
The document discusses sound in film, including soundtracks, the power of sound to create interest, narration, understanding, anticipation, and value silence. It covers sound fundamentals like loudness, pitch, and timbre. It also discusses choosing sounds, manipulating and editing sounds, sound and film form including scores, dimensions of sound like rhythm and coordination with images. Additional topics covered include fidelity, diegetic and nondiegetic sounds, space, narrators, sound perspective, and the functions of sound over time.
Sound presntation
Diegetic sound refers to all sound in a film whose source is visible or implied to be present in the scene, such as voices, music from within the story, or sounds made by objects. Non-diegetic sound includes any sound that seems to come from outside the story world, like narration, sound effects added for drama, or mood music. The document also defines other sound-related film terms like synchronous sound, sound effects, sound motifs, sound bridges, dialogue, voiceovers, sound mixing, sound perspective, and soundtrack.
Sound notes
Filmsound is carefully crafted in post-production to emphasize important sounds and create the right atmosphere for scenes. There are different types of sounds, including diegetic sounds that exist in the world of the film and non-diegetic sounds from outside. Sounds are used selectively to highlight key elements, create ambience and atmosphere, and help transitions between scenes flow smoothly. Effects add realism or psychological impact, while synchronous effects reinforce actions and asynchronous music guides the narrative.
06. sound notes sheet
This document discusses different elements of sound design in film. It identifies various types of sounds that can be used, including diegetic sounds that come from within the story world and non-diegetic sounds from outside the story world. Selective sounds are used to emphasize key elements, while ambient sounds create atmosphere. Sound bridges help transitions and sound effects add realism or psychological impact. The document also discusses voiceovers, theme music, musical scores, silence and how identifying these elements can enhance analysis of films like Sherlock Holmes.
Sound definitions
Film sound is carefully mixed to emphasize important sounds and set the right atmosphere. Selective sound highlights key elements while ambient sound creates a sense of place. Sound bridges help transitions and effects create impact. Diegetic sound exists in the film world and is visible or implied, while non-diegetic sound comes from outside and narrates. Synchronous sound matches actions while asynchronous comes from outside reality, and contrapuntal noise creates alternative meanings.
sound notes sheet
This document discusses the use of sound in films. It explains that sound is carefully crafted in post-production to emphasize important sounds and set the proper atmosphere. Sound can be diegetic, meaning it exists within the world of the film, or non-diegetic and comes from outside the film. Examples of each type are provided. The document also discusses other sound design elements like synchronous and asynchronous sound, and how sound is used to guide the audience's understanding.
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The document analyzes the sound used in a film clip, listing various sound effects used throughout the sequence. It then defines key terms related to sound in film, including selective sound to emphasize elements, ambient sound to set atmosphere or place, and sound bridges to help transitions between sequences flow more smoothly. Digetic sounds have a visible or implied source in the scene, while non-digetic sounds like added music do not originate from within the film's world.
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Sound is carefully mixed to maintain the correct atmosphere for a sequence. There are several types of sounds that can be used, including selective sounds that emphasize key elements, ambient sounds that set the scene, and sound bridges that help transitions flow smoothly. Sounds can be diegetic, originating from visible on-screen sources, or non-diegetic, coming from sources not visible. Synchronous sounds reinforce visual events while asynchronous sounds come from outside the scene.
Sound
Sound can be used in several ways in films. Ambient sound creates the atmosphere of a place, while synchronous sound emphasizes key audio elements. Sound bridges help transition smoothly between scenes. Sound effects add realism or psychological impact, while diegetic sounds come from visible or implied sources in the story. Non-diegetic sounds do not have a visible source. Contrapuntal sound contrasts with visuals to create new meaning. Voice overs and theme music are also used to convey meaning and set the tone.
Sound
This document discusses different types of sounds used in film and TV production, including diegetic sounds that originate from within the story world and non-diegetic sounds added for effect. It notes that film sound must be carefully mixed to emphasize important audio elements and maintain the proper atmosphere. Selective sounds are used to highlight key elements while ambient noise helps set the scene and mood. Other aspects covered include sound bridges between scenes, synchronous or asynchronous sounds, and the purposes of voiceovers, theme music, and silence.
06. sound notes sheet
This document discusses elements of sound design in film. It identifies different types of sounds that could be heard in a film clip provided in the form of a list. It then explains key concepts in film sound including diegetic vs non-diegetic sound, synchronous vs asynchronous sound, and other techniques like selective sound, ambient sound, sound bridges, and voiceovers. The document aims to provide terminology to describe different types of sounds that can be used and their purposes in film sound design and mixing.
Sounds
The document discusses different types of sounds used in films, including selective sound to emphasize key elements, ambient sound to set atmosphere, and sound bridges to aid scene transitions. It also covers diegetic sounds that originate on screen versus non-diegetic sounds like music or narration not part of the scene. Synchronous sound matches actions while asynchronous does not. Voiceovers, theme music, musical scores, silence are also discussed in how they can be used to convey meaning or direct viewer emotion.
Sounds
The document discusses different types of sounds that can be used in films including selective sounds to emphasize key elements, ambient sounds to set the scene, and sound bridges to connect scenes fluidly. It also describes diegetic sounds that belong to the world created on screen like voices and objects, versus non-diegetic sounds from narration or music that don't belong in the real world. Synchronous sound matches the visual action while asynchronous sound comes from outside the scene. Contrapuntal sound may juxtapose noise with visuals to create alternate meanings. Other sounds discussed are voiceovers, theme tunes to introduce characters, musical scores that set atmosphere, and strategic use of silence.
Sound notes
Filmsound is carefully designed and mixed in post-production to emphasize important sounds and create the intended atmosphere. Selective sound is used to highlight key audio elements while ambient sound helps establish a sense of place. Sound bridges also help smooth transitions between sequences through continued audio. Together, these elements of film sound work to enhance realism and psychological impact on the audience.
Sound notes
Filmsound is carefully designed and mixed in post-production to emphasize important sounds and create the intended atmosphere. Selective sound is used to highlight key audio elements while ambient sound helps establish a sense of place. Sound bridges also help smooth transitions between sequences through continued audio. Together, these elements of film sound work to enhance realism and psychological impact on the audience.
Sound research
This document discusses different types of sound used in media, including diegetic sound that exists within the story world and non-diegetic sound that does not. It provides examples of crescendo sound, which builds tension, and diminuendo sound, which indicates a passed threat. Forzando sound emphasizes shock through loud noises. The document stresses the significance of sound in manipulating moods and emphasizing concepts or scenes, and lists some sounds that could be used in an opening sequence, like music to reflect on actions or a heartbeat to build anxiety.
Sounds
This document defines and describes different types of sounds that can be used in films, including selective sounds to emphasize key elements, ambient sounds to set the atmosphere or sense of place, and sound bridges to help transitions flow more smoothly. It also discusses diegetic sounds whose source is visible or implied, non-diegetic background sounds, synchronous sounds matched to actions, asynchronous soundtrack music, contrapuntal sounds that create alternative meanings, voiceovers, theme music, musical scores, and the use of silence.
Basics of sounds
The document discusses the basics of sound, including how sound intensity is measured in decibels, common decibel levels of different environments, and that sounds above 130 decibels can cause pain. It also covers sound properties like wavelength, amplitude and frequency. Different types of program sounds are described, including speech, sound effects and music. Sound effects are further broken down into contextual, descriptive and commentative sounds.
06. sound notes sheet
This document discusses the use of sound in film. It explains that sound is carefully controlled and added during post-production even if recorded on set. Film sound is mixed to emphasize important sounds and maintain the proper atmosphere for each sequence. There are different types of sounds like selective sounds to highlight key elements, ambient sounds to set the mood or place, and sound bridges to smoothly transition between scenes. Sound can be diegetic, existing in the world of the film, or non-diegetic, coming from outside the film like voiceovers or scores. Synchronous sound reinforces actions while asynchronous comes from outside the narrative.
06. sound notes sheet
This document discusses different elements of sound design in film. It identifies different types of sounds that can be used, including diegetic sounds that exist within the world of the film and non-diegetic sounds from outside the film. Selective sounds are used to emphasize key elements, while ambient sounds create atmosphere. Sound can also be synchronous, asynchronous, or contrapuntal to image. Other elements discussed include voiceovers, theme music, musical scores, and silence. Careful use of these sound elements is important for atmosphere, narrative, and audience experience.
06. sound notes sheet
Film sound is carefully designed and added in post-production to emphasize important elements and set the atmosphere. There are different types of sounds - diegetic sounds come from within the scene while non-diegetic sounds are added externally. Sound can also be synchronous to match actions, asynchronous to come from outside the scene, or contrapuntal to create alternative meanings. Elements like voiceovers, theme music, and musical scores are also used to convey information, characters, and atmosphere.
Lesson 13 - Sound
This document provides information about analyzing sound in films. It defines key sound terminology like diegetic and non-diegetic sound, parallel and contrapuntal sound, and on-screen and off-screen sound. Examples are given of different types of sounds used in films and how they can be used to move the narrative, set mood, or make the audience feel uncomfortable. The document also discusses Foley studios and how realistic sounds are added to films.
Film language 2
This document defines and provides examples of key concepts in film sound, including:
1) Diegetic sounds originate from visible or implied sources within the story world, while non-diegetic sounds come from outside the story.
2) Synchronous sounds match visible actions, while asynchronous sounds are indigenous but not precisely synchronized.
3) Parallel sounds fit a scene's genre or mood, whereas contrapuntal sounds create unexpected contrasts.
4) Ambient sounds establish locations, and sound bridges/motifs condition emotional responses to characters, settings or ideas.
06. sound notes sheet
Film sound is carefully designed and added during post-production to emphasize important elements and set the atmosphere. There are different types of sounds that serve different purposes - selective sounds highlight key elements while ambient sounds create a sense of place. Sound can also be diegetic, existing within the film's world, or non-diegetic from outside the world, like music or narration. During mixing, sounds are made synchronous or asynchronous to images and dialogue to reinforce or alter their meaning. Elements like voiceovers, theme music, and musical scores are also used to guide the narrative or set mood, while silence can build tension.
Sound
There are several types of sounds that can be used in films and television to achieve different effects. Selective sound emphasizes key audio elements, ambient sound creates atmosphere, and sound bridges provide fluidity between shots. Diegetic sounds come from visible or implied sources while non-diegetic sounds do not. Synchronous sound reinforces visuals while asynchronous sound provides alternative meaning. Theme music and musical scores set tone and guide narrative or characters. Silence is sometimes used to provoke audience reaction.
Sound sheet
The document discusses different elements of sound design in films. It identifies various sounds that can be heard in a film clip, such as piano music, horse carriages, drums, and gunshots. It explains that while some sound is recorded on set, most film sound is added during post-production. Film sound is carefully mixed and edited to emphasize important sounds and create the proper atmosphere for each sequence. Some other elements of sound design discussed are diegetic versus non-diegetic sound, synchronous versus asynchronous sound, voiceovers, theme music, and musical scores.
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Casting details
The document casts the roles of Eryn, Eryn's Mum, Robber #1, and Robber #2. Sophie Rowley aged 15 is cast as Eryn because she is the right age and mature enough to understand the plot. Christine Waddington aged 49 is cast as Eryn's Mum as she has the correct look and availability. Ellen Waddington aged 15 is cast as Robber #1 due to her petite size and past reliability. Holly Waddington also aged 15 is cast as Robber #2 due to her enthusiasm, similar appearance to Ellen as twins, and shared availability.
Evaluation
The document provides an analysis of a short film created for a competition. It summarizes that the film successfully blends the thriller and comedy genres to engage audiences with suspense and humor over a short yet developed plot. While some aspects like dialogue could be improved, overall the film effectively uses techniques like varied shots, smooth transitions between scenes, and sound effects to create quality and flow. The creator believes the film meets the brief of the competition well and would stand out from other submissions.
Editing evidence log
The document describes the steps taken to edit a film project in Adobe Premiere Pro. It outlines how the filmmaker imported clips in numerical order based on the shooting script, added titles and adjustment layers, experimented with transitions, edited audio levels, cropped frames, and ultimately exported the finished film. Techniques used included setting clip sorting, adding effects like fades and tones, trimming clips, pasting duplicated audio, and using track keyframes to balance sound levels.
Josie (2)
Yes, youths in the UK are part of today's consumer culture. With social media, businesses can target and encourage youths to buy into products and lifestyles through digital advertising to fit in with peers. There is a link between how youths express identity and modern consumerism, as prominent figures like Kylie Jenner and musicians promote consumer products that youths then copy and use to express themselves. However, consumer culture has not fully disintegrated class hostility and segregation, as class privilege still advantages some. While consumerism allows for more freedom in expressing gender identity, some youths may adopt trends without belief, risking confusion. Representation of ethnicities has improved but not reached full equality, as political
Legal report guide
The document discusses copyright and permissions for various elements of a film project. It notes that the filmmaker will copyright their own filmed footage so anyone wishing to use it in the future must ask permission. All actors have given permission to be in the film and parents have signed consent forms for those under 18. The filmmaker's studio title logo does not need copyright since it is their own work. Additional video footage found on Pexels can be used freely as the website is copyright free. Sound effects from Freesfx can also be used without permission as they are copyright free. Sound effects and musical scores from Freesfx.co.uk and Bensound.com can be used freely as long as Bensound is credited
Conscious script draft 1
Eryn Miller, 15, has been experiencing vivid dreams of burglars breaking into her home at night. On the night before her 16th birthday, she dreams of two burglars entering her room and stealing a ring from her windowsill. When she wakes up on her birthday, her mother brings her breakfast in bed with presents. Eryn remains confused about the dream, until she opens one of the presents to find the same ring from her dream inside the box. This suggests that Eryn's vivid dreams may have been more than just dreams.
Editing evidence log
The document describes the steps taken to edit a film project in Adobe Premiere Pro. It outlines how the filmmaker imported clips in numerical order based on the shooting script, added title screens and adjustment layers to manipulate lighting and tone. Transitions like dissolves and dips to black were experimented with, and sound effects, music and credits were layered in using keyframes to control volume. The final steps were tightening shots, balancing audio, and adding end credits before export.
04. rushes log
The document is a rushes log created by editor Josie Waddington for the production "Conscious". It lists 58 video files shot for the production, providing the file name, duration of each shot, and notes on any editing needed such as cutting, darkening, or speeding up clips. It also lists where each video file is stored on the editor's computer.
Evidence pp
The document describes photos from the filming of a project. The first photo shows setting up camera equipment correctly using a shooting script. The second photo shows using pre-production materials like a script and shot list to ensure coherence. The third photo depicts safely cleaning up a water spill on set to prevent slips and follow the risk assessment. The fourth photo shows communicating with an actor on set to achieve the best shot before moving to the next scene.
Recce
This document provides safety information for filming scenes in different areas of a house, including keeping walkways clear and floors free of clutter in the bedroom, ensuring the hallway remains unblocked and advising crew to wear slip-resistant shoes due to a slippery wooden floor, and notifying crew about weather conditions and appropriate clothing for outdoor scenes in the front garden and driveway.
Recce
This document provides safety information for filming scenes in different areas of a house. It notes that the bedroom will have a clear floor and safe walkways, the hallway must remain clear and crew should wear sturdy shoes due to slippery wooden floors, and outdoor scenes may require weather-appropriate clothing as crews could be outside for long periods. Crew are advised to avoid doorways and stairs inside and be aware of weather conditions.
Conscious script draft 2
Eryn is a 16-year-old girl who struggles with vivid dreams and insomnia. In her latest dream, she witnesses robbers breaking into her house and stealing a ring. When she wakes up on her birthday, her mother gives her a present containing the same ring she saw in her dream. Unsure if it was just a dream or something more, the story leaves Eryn perplexed about what is real and what is a product of her dreams.
Max payne
This document provides an analysis of the style, narrative structure, genre, and target audience of the video game script "Max Payne". The script uses descriptive language to fully immerse gamers in the plot. It employs a typical story structure to keep gamers engaged in the narrative as they play. The genre is action and police drama, featuring stereotypical police characters and settings. The target audience is likely male gamers who identify with or wish to emulate the masculine characters and themes of crime-solving and violence.
Risk assessment
This document identifies potential hazards for a film shoot and outlines steps to address them. It notes trip, spill, and temperature hazards that could injure cast and crew. To mitigate risks, areas will be well-lit with no cables left out, walkways kept clear, and cast and crew wearing sensible shoes. All liquids will be bottled, food and drink restricted to the kitchen, and reminders given. Heating will be checked and warm clothing required for outdoor shoots scheduled during best weather.
Risk assessment
This document outlines three potential hazards - trip hazards, spill hazards, and temperature hazards - that could affect the cast and crew of a production. For each hazard, it identifies who may be harmed and how, what is already being done to control the risk, and any additional actions needed by deadlines. Trip hazards will be addressed by ensuring good lighting, clear walkways, and proper footwear. Spill hazards will be controlled by using bottles for liquids and restricting food and drink. Temperature hazards will be managed by advising crew to dress warmly, checking heating, and scheduling outdoor scenes for best weather.
Date of lesson
This document contains a production schedule for filming and editing a short film. It includes details of filming locations, cast and crew needed, props and costumes required, and equipment needed for each day of production and post-production. Filming will take place from February 18th to 22nd at a house in Ringwood. Post-production such as uploading footage, adding sound effects and music, and editing the four scenes will occur from February 26th to March 22nd. The filmmaker will be working alone as director and editor.
Casting details
The document provides casting details for a short film, assigning roles to four actresses. Sophie Rowley, age 15, will play Eryn due to being the right age and local. Christine Waddington, age 49, will play Eryn's mother as she has the right look and teaching schedule. Ellen Waddington, age 15, will play Robber #1 due to her petite size and past reliable work. Holly Waddington, Ellen's twin sister, will play Robber #2 for her enthusiasm, similar appearance, and ability to interact well with Ellen due to being twins.
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- 1. Sound Clip analysis: Organ (creepy) Rain Rumbling Low violin Horsesrunning Splashes Crow Gun? Smashof glass Talking Beep Wipingnoises Fighting Selective Sound– Used to emphasise the keyelements withinasequence. Ambientsound – Used to create a specificatmosphere orsense of place. Sound Bridges– the use of soundto transition betweensequencesmore fluidly. Sound effects– usedto create a sense of realismorsome kindof psychological impact. DiegeticSound– Soundwhichisvisible orimpliedonthe screen. Non DiegeticSound– Soundwhichisn’t visible orimplied e.g. narrator’scommentary. Synchronous Sound– Whena soundeffectismatchedwithatechnical eventoraction. AsynchronousSound – whena soundoriginatesfromoutsidediegeticrealityegmusic. Contrapuntal Sound – usedto create juxtapositionasit doesn’tmatchthe visuals. Voiceover– The voice of a character. Theme music – the soundtrackthat createsa personalityforthe film. Musical score - Cello Drums Talking Breathing Punching Screaming Highsound Door openingandclosing Knife sounds Risingcrescendo Piercinghighnoise Glassbreaking Whispering