Sound terminology
•Download as PPTX, PDF•
0 likes•178 views
This document defines key sound terminology used in film, including diegetic sounds whose source is visible or implied, non-diegetic sounds without a visible source, and sound effects that exaggerate actions. It also discusses voiceovers, dialogue, sound bridges, synchronous and asynchronous sounds, sound mixing, perspective, soundtracks, themes, ambient sounds, and incidental music.
Report
Share
Report
Share
Recommended
Sound
Diegetic sounds come from within the story world, like birds chirping, while non-diegetic sounds come from outside, like music. Synchronous sound matches images, like dialogue matching lip movements, while asynchronous sound is out of sync. Sound effects create realistic environments without drawing attention, but some filmmakers emphasize effects to direct viewers or suggest meanings. Sound motifs are repeated musical or sound elements that compare scenes and suggest themes. Sound bridges briefly carry sound between scenes to lead into the next. Dialogue is spoken words and voice over is non-diegetic commentary. Direct address breaks the fourth wall by characters speaking to viewers. Sound mixing combines tracks and sound perspective conveys spatial positioning through volume and other qualities.
Session 8 film sound: Film Appreciation Course
This document discusses various aspects of film sound, including:
- A brief history of film sound from the silent era to the introduction of sound in 1927.
- The five main types of film sound: dialogue, voiceover/commentary, music, sound effects, and silence.
- How each type of sound can be used creatively in films, such as using music to enhance themes or contrast scenes, and employing sound effects to add atmosphere, heighten impact, or extend beyond the frame.
- The importance of sound fitting within the overall film language rather than dominating, as well as how silence can be just as powerful as sound in films.
Film sound
Film sound is carefully designed to achieve particular goals and shape the audience's experience. There are different types of sound in films including vocal sounds like dialogue and narration, environmental sounds like ambient noise and effects, and music. Sound can come from diegetic sources visible on screen or nondiegetic sources not visible. It serves many functions such as creating continuity, shaping the sense of space, guiding audience attention, creating expectations, adding characterization, and commenting on the film images.
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.
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 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.
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.
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.
Recommended
Sound
Diegetic sounds come from within the story world, like birds chirping, while non-diegetic sounds come from outside, like music. Synchronous sound matches images, like dialogue matching lip movements, while asynchronous sound is out of sync. Sound effects create realistic environments without drawing attention, but some filmmakers emphasize effects to direct viewers or suggest meanings. Sound motifs are repeated musical or sound elements that compare scenes and suggest themes. Sound bridges briefly carry sound between scenes to lead into the next. Dialogue is spoken words and voice over is non-diegetic commentary. Direct address breaks the fourth wall by characters speaking to viewers. Sound mixing combines tracks and sound perspective conveys spatial positioning through volume and other qualities.
Session 8 film sound: Film Appreciation Course
This document discusses various aspects of film sound, including:
- A brief history of film sound from the silent era to the introduction of sound in 1927.
- The five main types of film sound: dialogue, voiceover/commentary, music, sound effects, and silence.
- How each type of sound can be used creatively in films, such as using music to enhance themes or contrast scenes, and employing sound effects to add atmosphere, heighten impact, or extend beyond the frame.
- The importance of sound fitting within the overall film language rather than dominating, as well as how silence can be just as powerful as sound in films.
Film sound
Film sound is carefully designed to achieve particular goals and shape the audience's experience. There are different types of sound in films including vocal sounds like dialogue and narration, environmental sounds like ambient noise and effects, and music. Sound can come from diegetic sources visible on screen or nondiegetic sources not visible. It serves many functions such as creating continuity, shaping the sense of space, guiding audience attention, creating expectations, adding characterization, and commenting on the film images.
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.
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 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.
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.
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 - Theory
Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere. There are different types of sounds that serve different purposes. Selective and ambient sounds are used to highlight key elements or create a sense of place, while sound bridges help transitions. Diegetic sounds come from within the film's world, while non-diegetic sounds like music or effects come from outside. Synchronous sounds match the visuals, while asynchronous or contrapuntal sounds are used to create alternative meanings. Elements like voiceovers, theme music, and silence are also employed to guide the narrative or provoke audience reactions.
Sound terminology
This document defines and describes various types of sound that can be used in films, including diegetic sound whose source is visible or implied to be present in the story, and non-diegetic sound whose source is outside the story world. It also discusses synchronous and asynchronous sound, sound effects, motifs, bridges, dialogue, voiceovers, perspective, incidental music, themes, stings, and ambient sound. Each term is concisely defined.
Film Sound
Basic intro to using Film sound in media product. Some examples of music effects contrapuntal sound and the power of sound in reinforcing meaning in product
Sound and Meaning
This document discusses how sound is used in film to generate meaning and elicit emotional responses from viewers. It outlines the differences between diegetic and non-diegetic sound and provides examples of each. Specific scenes from Jaws and Rear Window are analyzed to show how diegetic and non-diegetic sound establishes tone, atmosphere, genre and narrative elements. The document also discusses how sound can be used to characterize people and settings, signal changes, and move the plot forward.
Type’s of sound
This document defines and describes different types of sounds that can be used in filmmaking. It discusses diegetic sounds that come from visible or implied sources on screen versus non-diegetic sounds from external sources. It also covers synchronous sounds that match the action, asynchronous sounds that are out of sync, and contrapuntal/parallel sounds that contrast or match the visuals in tone. Additionally, it defines ambient, voiceover, sound motifs, dubbing, empathetic, anempathetic, and sound bridge techniques.
Functions of a voiceover
The voiceover in film trailers serves several functions: it provides background information about the setting, characters, director, and producer; it helps build anticipation for the film's release; and it reinforces the title and sets the tone. Non-diegetic sounds like music are added to manipulate emotions, while diegetic sounds originate from within the scene.
Sound overview
This document provides an overview of different types of sound techniques used in filmmaking and television production. It discusses diegetic and non-diegetic sounds, and categories of sound effects like background effects, Foley effects, and design effects. It also covers uses of music, dialogue, voiceovers, and silence in audio mixing and how sounds are used to direct audience attention and establish mood. Specific techniques discussed include sound bridges, stings, ambient sounds, synchronous sounds, themes, and internal diegetic sounds. The document is intended as instruction on sound elements and techniques exam questions may address.
Sound
The document defines and describes various types of sound that can be used in television and film production. It discusses diegetic sounds that come from the world of the story versus non-diegetic sounds added for emphasis or mood. It also covers ambient sounds, sound bridges, motifs, voiceovers, soundtracks, scores, dialogue, synchronous versus asynchronous sounds, sound effects, mixing, perspective, incidental music, themes, and direct address. The overall framework provided suggests writing about the type of sound used, why that editing choice was made, describing the specific sound or song, and how it impacted representations.
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.
Glossary Sound And Music In Film
Sound & Music in Film provides definitions for many key film sound terms:
- Diegetic sound is sound that exists within the story world that characters can hear, like dialogue or ambient noise. Non-diegetic sound is added in post-production, like music or voiceovers.
- Foley artists record replacement sounds in post to enhance what was captured on set, like footsteps. Dubbing involves re-recording dialogue, often in another language.
- Sound effects, motifs, and bridges help tell the story through meaningful or sustained sounds that enhance scenes. Music can also provide character themes to represent characters even when they're not on screen.
- Together, sounds and music work to establish tone and real
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.
TV Drama - Sound
The document discusses the different types of sounds used in TV drama, including diegetic sounds that come from within the world of the story and non-diegetic sounds that are added later for mood or emotion. It explains that dialogue, sound effects, and music make up the sound track and help create balance between the realism of the story world and the drama. Proper use of these sounds through techniques like stings, incidental music, and ambient noise can manipulate audiences' emotions and signal upcoming events to enhance dramas.
Sound
This document defines and provides examples of different types of sounds that can be used in films, including the soundscape, ambient sounds, diegetic and non-diegetic sounds, sound bridging, sound effects, voiceovers, dialogue, and direct address. Specifically, it explains that a soundscape includes all ambient sounds in a scene, ambient sounds provide background noise relevant to the setting, diegetic sounds can be heard by characters while non-diegetic sounds are only for the audience, and sound bridging uses music across scenes to maintain mood.
Sound note sheet
Film sound is carefully designed and mixed in post-production to emphasize important sounds and create the right atmosphere for scenes. Sound can be either diegetic, coming from visible or implied sources within the film, or non-diegetic, coming from outside the film world, like voiceovers or musical scores. Effective film sound uses techniques like selective sound to highlight key audio elements, ambient sound to set a scene's location or mood, and sound bridges to smoothly transition between sequences.
Sound in Film
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the film's world and non-diegetic sound added in post-production. It explains that diegetic sound helps set the environment and pace of a scene, while scripted dialogue moves the story and develops characters. Non-diegetic music and voiceovers are also used to interpret emotions, enhance understanding of characters, and influence the audience's perspective. The document outlines various techniques for manipulating elements of non-diegetic music like volume, tempo, and arrangement to parallel or contrast visuals and guide the audience's experience.
TV Drama - Sound Analysis
This document provides an overview of how sound is used in TV dramas to create meaning for viewers. It discusses using sound to represent characters, establish genre, and set scenes. Specific types of sound are defined, including diegetic/non-diegetic, internal diegetic, parallel, contrapuntal, asynchronous, voiceover, and silence. The lesson aims to help students analyze how sound conveys emotions, atmosphere, realism, and mood. It concludes with a task to deconstruct gender representation through sound editing in a Dr. Who scene.
Sound in short film
This document discusses the effective use of sound in short films. It explains that sound is as important as video and audiences are more bothered by poor sound than poor cinematography. The three essential sound elements are dialogue, sound effects, and music. Dialogue conveys character and story. Synchronous sounds match the visuals while asynchronous sounds add emotion. Background music provides tone and links scenes. Sound corresponds to emotions and scenes to effectively tell the story and engage audiences. Pre-production planning considers how music will build suspense or show emotion by increasing or decreasing at certain points.
Sound effects
Sound effects are artificially created or altered sounds used in movies and television to emphasize action or set a mood. They make what is happening on screen seem more realistic and impactful. Films include subtle background sounds like chatter to create a sense of realism and place scenes in a busy setting. A technique called Foley reproduction adds everyday ambient sounds in post-production to further enhance realism, such as using cellophane to mimic the sound of a crackling fire. When creating a movie trailer, effective sound effects will be included to make the world of the trailer seem more real through modification and ambient sounds recognizable to the target audience.
Film Studie - Sound
This document provides an introduction to sound terminology and techniques used in film. It defines key terms like diegetic and non-diegetic sound, and external and internal diegetic sound. It also covers concepts like voiceover, sound bridges, pleonastic sound, and contrapuntal sound. Examples are given to illustrate different types of sound, including a detailed breakdown of a scene from the film The Last King of Scotland. Students are assigned homework to create a film sequence using the sound techniques and also to select a film sequence for coursework analysis.
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.
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.
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.
More Related Content
What's hot
Sound - Theory
Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere. There are different types of sounds that serve different purposes. Selective and ambient sounds are used to highlight key elements or create a sense of place, while sound bridges help transitions. Diegetic sounds come from within the film's world, while non-diegetic sounds like music or effects come from outside. Synchronous sounds match the visuals, while asynchronous or contrapuntal sounds are used to create alternative meanings. Elements like voiceovers, theme music, and silence are also employed to guide the narrative or provoke audience reactions.
Sound terminology
This document defines and describes various types of sound that can be used in films, including diegetic sound whose source is visible or implied to be present in the story, and non-diegetic sound whose source is outside the story world. It also discusses synchronous and asynchronous sound, sound effects, motifs, bridges, dialogue, voiceovers, perspective, incidental music, themes, stings, and ambient sound. Each term is concisely defined.
Film Sound
Basic intro to using Film sound in media product. Some examples of music effects contrapuntal sound and the power of sound in reinforcing meaning in product
Sound and Meaning
This document discusses how sound is used in film to generate meaning and elicit emotional responses from viewers. It outlines the differences between diegetic and non-diegetic sound and provides examples of each. Specific scenes from Jaws and Rear Window are analyzed to show how diegetic and non-diegetic sound establishes tone, atmosphere, genre and narrative elements. The document also discusses how sound can be used to characterize people and settings, signal changes, and move the plot forward.
Type’s of sound
This document defines and describes different types of sounds that can be used in filmmaking. It discusses diegetic sounds that come from visible or implied sources on screen versus non-diegetic sounds from external sources. It also covers synchronous sounds that match the action, asynchronous sounds that are out of sync, and contrapuntal/parallel sounds that contrast or match the visuals in tone. Additionally, it defines ambient, voiceover, sound motifs, dubbing, empathetic, anempathetic, and sound bridge techniques.
Functions of a voiceover
The voiceover in film trailers serves several functions: it provides background information about the setting, characters, director, and producer; it helps build anticipation for the film's release; and it reinforces the title and sets the tone. Non-diegetic sounds like music are added to manipulate emotions, while diegetic sounds originate from within the scene.
Sound overview
This document provides an overview of different types of sound techniques used in filmmaking and television production. It discusses diegetic and non-diegetic sounds, and categories of sound effects like background effects, Foley effects, and design effects. It also covers uses of music, dialogue, voiceovers, and silence in audio mixing and how sounds are used to direct audience attention and establish mood. Specific techniques discussed include sound bridges, stings, ambient sounds, synchronous sounds, themes, and internal diegetic sounds. The document is intended as instruction on sound elements and techniques exam questions may address.
Sound
The document defines and describes various types of sound that can be used in television and film production. It discusses diegetic sounds that come from the world of the story versus non-diegetic sounds added for emphasis or mood. It also covers ambient sounds, sound bridges, motifs, voiceovers, soundtracks, scores, dialogue, synchronous versus asynchronous sounds, sound effects, mixing, perspective, incidental music, themes, and direct address. The overall framework provided suggests writing about the type of sound used, why that editing choice was made, describing the specific sound or song, and how it impacted representations.
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.
Glossary Sound And Music In Film
Sound & Music in Film provides definitions for many key film sound terms:
- Diegetic sound is sound that exists within the story world that characters can hear, like dialogue or ambient noise. Non-diegetic sound is added in post-production, like music or voiceovers.
- Foley artists record replacement sounds in post to enhance what was captured on set, like footsteps. Dubbing involves re-recording dialogue, often in another language.
- Sound effects, motifs, and bridges help tell the story through meaningful or sustained sounds that enhance scenes. Music can also provide character themes to represent characters even when they're not on screen.
- Together, sounds and music work to establish tone and real
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.
TV Drama - Sound
The document discusses the different types of sounds used in TV drama, including diegetic sounds that come from within the world of the story and non-diegetic sounds that are added later for mood or emotion. It explains that dialogue, sound effects, and music make up the sound track and help create balance between the realism of the story world and the drama. Proper use of these sounds through techniques like stings, incidental music, and ambient noise can manipulate audiences' emotions and signal upcoming events to enhance dramas.
Sound
This document defines and provides examples of different types of sounds that can be used in films, including the soundscape, ambient sounds, diegetic and non-diegetic sounds, sound bridging, sound effects, voiceovers, dialogue, and direct address. Specifically, it explains that a soundscape includes all ambient sounds in a scene, ambient sounds provide background noise relevant to the setting, diegetic sounds can be heard by characters while non-diegetic sounds are only for the audience, and sound bridging uses music across scenes to maintain mood.
Sound note sheet
Film sound is carefully designed and mixed in post-production to emphasize important sounds and create the right atmosphere for scenes. Sound can be either diegetic, coming from visible or implied sources within the film, or non-diegetic, coming from outside the film world, like voiceovers or musical scores. Effective film sound uses techniques like selective sound to highlight key audio elements, ambient sound to set a scene's location or mood, and sound bridges to smoothly transition between sequences.
Sound in Film
This document discusses different types of sound that can be used in films, including diegetic sound that comes from within the film's world and non-diegetic sound added in post-production. It explains that diegetic sound helps set the environment and pace of a scene, while scripted dialogue moves the story and develops characters. Non-diegetic music and voiceovers are also used to interpret emotions, enhance understanding of characters, and influence the audience's perspective. The document outlines various techniques for manipulating elements of non-diegetic music like volume, tempo, and arrangement to parallel or contrast visuals and guide the audience's experience.
TV Drama - Sound Analysis
This document provides an overview of how sound is used in TV dramas to create meaning for viewers. It discusses using sound to represent characters, establish genre, and set scenes. Specific types of sound are defined, including diegetic/non-diegetic, internal diegetic, parallel, contrapuntal, asynchronous, voiceover, and silence. The lesson aims to help students analyze how sound conveys emotions, atmosphere, realism, and mood. It concludes with a task to deconstruct gender representation through sound editing in a Dr. Who scene.
Sound in short film
This document discusses the effective use of sound in short films. It explains that sound is as important as video and audiences are more bothered by poor sound than poor cinematography. The three essential sound elements are dialogue, sound effects, and music. Dialogue conveys character and story. Synchronous sounds match the visuals while asynchronous sounds add emotion. Background music provides tone and links scenes. Sound corresponds to emotions and scenes to effectively tell the story and engage audiences. Pre-production planning considers how music will build suspense or show emotion by increasing or decreasing at certain points.
Sound effects
Sound effects are artificially created or altered sounds used in movies and television to emphasize action or set a mood. They make what is happening on screen seem more realistic and impactful. Films include subtle background sounds like chatter to create a sense of realism and place scenes in a busy setting. A technique called Foley reproduction adds everyday ambient sounds in post-production to further enhance realism, such as using cellophane to mimic the sound of a crackling fire. When creating a movie trailer, effective sound effects will be included to make the world of the trailer seem more real through modification and ambient sounds recognizable to the target audience.
Film Studie - Sound
This document provides an introduction to sound terminology and techniques used in film. It defines key terms like diegetic and non-diegetic sound, and external and internal diegetic sound. It also covers concepts like voiceover, sound bridges, pleonastic sound, and contrapuntal sound. Examples are given to illustrate different types of sound, including a detailed breakdown of a scene from the film The Last King of Scotland. Students are assigned homework to create a film sequence using the sound techniques and also to select a film sequence for coursework analysis.
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.
What's hot (20)
Similar to Sound terminology
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.
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.
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.
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.
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.
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 sheet
Film sound is carefully designed and mixed in post-production to emphasize important sounds and set the atmosphere. There are two main types of sound: diegetic sounds that exist within the film's world, and non-diegetic sounds from outside it, like music and effects. Sound can also be synchronous, matching visuals, or asynchronous like musical scores. Elements of sound design include selective sounds, ambient atmosphere, sound bridges between scenes, effects, voiceovers, theme music, and silence to build tension. In Sherlock Holmes, the asynchronous musical score plays for most scenes, and characters have distinct music - Sherlock's is heroic while his nemesis Lord Blackwood's is menacing.
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.
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 research
This document defines various types of sound used in films, including foley tracks, incidental music, sound tracks, and theme music. It also defines ambient sound, melodic, rhythmic, dissonant, and atonal sounds. The document notes that for a film opening sequence, both diegetic (sounds the characters can hear) and non-diegetic sounds (sounds the characters cannot hear) will be used. Non-diegetic sounds will include news report theme music and background music to create tension. Diegetic sounds will include laughter, conversation, rustling trees, footsteps, and screams.
Sound in media
The document discusses different types of sound used in media, including diegetic sound (sounds from visible sources), non-diegetic sound (sounds from invisible sources), synchronous sound (matched to movements), asynchronous sound (out of sync), sound effects, sound motifs (recurring sounds associated with themes), sound bridges (carry visual transitions), dialogue, voiceovers, direct address (actors addressing audience), sound mixing, scores (orchestral music for scenes), incidental music (ambient sounds enhancing scenes), themes (iconic music representing films), stings (short recurring sounds), and ambient sound (background noise complimenting scenes).
Sound in media
The document discusses different types of sound used in media, including diegetic sound (sounds from visible sources), non-diegetic sound (sounds from invisible sources), synchronous sound (matched to movement), asynchronous sound (out of sync), sound effects, sound motifs (recurring sounds associated with themes), sound bridges (carry visual transitions), dialogue, voiceovers, direct address (actors addressing audience), sound mixing, scores (orchestral music for scenes), incidental music (ambient sounds enhancing scenes), themes (iconic music representing films), stings (short recurring sounds), and ambient sound (background noise complimenting scenes).
Sound in media
The document discusses different types of sound used in media, including diegetic sound (sounds from visible sources), non-diegetic sound (sounds from invisible sources), synchronous sound (matched to movement), asynchronous sound (out of sync), sound effects, sound motifs (recurring sounds associated with themes), sound bridges (carry visual transitions), dialogue, voiceovers, direct address (actors addressing audience), sound mixing, scores (orchestral music for scenes), incidental music (ambient sounds enhancing scenes), themes (iconic music representing films), stings (short recurring sounds), and ambient sound (background noise complimenting scenes).
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.
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.
Sound
This document discusses different types of sound design techniques used in film and TV production. It identifies selective sound and ambient sound as two techniques used to emphasize key sounds and set atmospheric tones. It also outlines other sound elements like sound bridges, sound effects, diegetic sounds originating from visible on-screen sources, non-diegetic added sounds, synchronous sounds matching actions, and asynchronous soundtrack music. The document notes voiceovers can be used to inform audiences or misdirect narratives, and that theme music and musical scores are employed to develop characters and set moods, while strategic use of silence can provoke viewer reaction.
Sound definitions
This document defines various types of sound that can be used in films and other media. It distinguishes between diegetic sounds that are part of the on-screen action and non-diegetic sounds that are not visible sources. It also describes synchronous and asynchronous sounds and how they relate visually. Additionally, it defines common sound elements like sound effects, motifs, bridges, dialogue, voiceovers, and score or incidental music.
Media sound
The document analyzes sound elements and mise-en-scene in a Sherlock Holmes film clip. It identifies various diegetic and non-diegetic sounds heard in the scene such as horse carriages, gunshots, music, and dialogue. It also describes how sound can be used to create atmosphere, emphasize important elements, or help transitions. Regarding mise-en-scene, details are provided about the London setting, 1800s costumes, props like guns and knives, and low-key candle lighting. A variety of shots are used including long shots, close-ups, aerial views, and angles from low and high perspectives.
Glossary sound and_music_in_film
This document defines essential terminology related to sound and music in film. It provides concise definitions for over 50 key terms, including diegetic and non-diegetic sound, sound effects, Foley, voice-overs, soundtracks, and more. The definitions explain how these elements are used to enhance meaning, direct audience understanding, set atmosphere, and engage viewers in the story. Sound is shown to play an integral role in film by enriching images and narratives through both expressive and informative functions.
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.
Similar to Sound terminology (20)
More from Connorevansmedia
Evaluation question 4 (notes)
The document summarizes the use of various media technologies across the different stages of an A2 media course project. In the research stage, online resources like Google, YouTube, and Wikipedia were used to research short film theory and conventions. Microsoft PowerPoint and a projector were used in the planning stage to pitch ideas to the class. Adobe Premiere, Canon cameras, microphones, and USB sticks supported the construction of the short film. Adobe InDesign, Photoshop, and guidelines features were utilized to create an accompanying film magazine article and poster. Microsoft Word and PowerPoint were employed for evaluations, while a camera and YouTube provided alternative evaluation formats.
Question 1 complete
The document discusses a student's A2 media coursework which involved creating a short film, film poster, and magazine article. The student chose to create a 10-minute dystopian short film called "The Unfortunate Life of James Flint" about a man who wakes up in modern times after falling into a coma in the 1930s. The student analyzes how each work meets conventions of their respective mediums like using only two main characters in the short film, including twists, and employing synergy between the magazine and social media. The poster uses a full bleed image of the main actor to promote the film.
nThe unfortunate life of james flint script
James Flint wakes up in modern day after being poisoned in 1934. He discovers it is now 2015 through a calendar. Confused and distraught, James encounters a man who looks like his friend from 1934 but is ignored. James finds an old case and photo of his family from 1934 in the backyard, overwhelmed with losing his family and being displaced in time. James commits suicide by overdosing on pills and drinking vodka, lying down in the same spot he woke up originally, lost in time between eras.
Influences of short film genre
Short films are easier and cheaper to create than feature-length films, which has several effects on the film industry. The lower costs of short films means more people are willing to create them, leading to a proliferation of new films, directors, and production companies. This growth in turn injects more money into the industry through production funding and profits. Additionally, short films allow for more creative risks and original ideas compared to large-budget feature films.
Meaning making moments in my short film for media
The document discusses meaning making moments in the author's short film by analyzing it through various theoretical lenses of media including narrative, genre, audience, media language, and representation. For narrative theory, the author analyzes their film using Propp's character archetypes and Todorov's narrative structure. For genre, their film follows Chandler's conventions of German Expressionist cinema. For audience and media language, the film uses ambiguous camerawork and body language analyzed through Sassure's semiotics. For representation, the film portrays the protagonist as a lonely outsider following theories of hegemony.
freCommunity presentation
Community is an American sitcom that aired for 5 seasons from 2009-2015. It was created by Dan Harmon and filmed in Los Angeles. The show and its characters conform to typical high school stereotypes. Jeff is the confident main character and Britta is the stereotypical blonde female interest. Abed is the nerd of the group and Pierce is the comically out-of-touch old man. Several episodes feature prominent postmodern elements like direct references to movies like Die Hard and The Breakfast Club through character costumes and dialogue. Audiences have mixed opinions on postmodernism, with some finding it entertaining and thought-provoking while others dislike references that parody media they enjoy.
Media mock discussion
The document discusses the progression of the author's digital technology and creativity skills from their AS level to A2 level coursework. At AS level, the author struggled using Adobe InDesign and had to conduct basic research on magazine structure and distribution for their music magazine project. They relied heavily on tutorials to develop their skills. By A2, the author had gained experience using Adobe Premiere for their short film project and conducted deeper research by analyzing previous coursework. They applied theories by Propp on narrative structure and Hall on audience perception and the uses and gratifications of media texts. The author recognizes increased skills and understanding of research and software between AS and A2 coursework.
Research and planning
The document discusses research and planning tasks completed for media studies courses. It details 3 tasks, including researching existing magazines to understand concepts like purpose and representation. 5 different programs were used including Prezi and Adobe InDesign. While initial research was brief, it evolved into deeper lessons on magazine concepts and theories. Practice with different technologies improved skills over time.
Filming schedule 29th november
The document outlines the filming schedule and props needed for the opening credits of a short film. On November 29th, various props from the 1930s era, including a typewriter, suitcase, wallpaper, and posters will be filmed individually for 3 seconds each to be used in the opening credits. Scenes to also film include an overhead shot of a guide opening a suitcase and a close-up shot of someone writing with a pen and paper. All filming must be completed by Sunday.
rtFilming schedule 20th november
The filming schedule for Thursday 20th November includes shooting two scenes at Eastcote House grounds - a 1930's park scene and a modern day scene. Props like hats, umbrellas and headphones are needed, as well as 1930's and modern costumes. The 1930's scene involves Dylan entering the park and greeting Tom on a bench, then leaving. The modern scene has a worried Dylan running up to headphone-wearing Tom for help, who ignores him at first. Filming is scheduled from 2:00-2:15pm for the first scene and 2:50-3:10pm for the second after a break.
Only got a minute presentation
This document provides a summary of postmodern theorist Jean Baudrillard. It begins with a brief introduction to postmodernism, explaining that it comes after modernism and breaks down modernist standards in art, media, literature and architecture. The document then provides biographical facts about Baudrillard, including his nationality, dates of birth and death, region and university of study. It concludes with definitions of several key terms in postmodernism and from postmodern theorists, such as pastiche, parody, and simulacra.
Theorist research fredric jameson
Fredric Jameson is an American postmodern theorist born in 1934. He studied Western philosophy at Haverford College and traveled extensively in Europe. Jameson developed postmodern theories with Jean Baudrillard based on his studies in Western philosophy. His work had significant influence in China. Some of Jameson's main theories include the breakdown of distinctions between high and low culture through pastiche in modern media. He also theorized about postmodern architecture as being constructed without clear purpose or focus. Jameson has been influential but also received some criticism.
Dichotomy
The document contrasts modern and postmodern perspectives, noting that modern views present facts objectively and individual ideas as absolute truths, emphasize originality and avoid controversy, while postmodernism focuses more on feelings, opinions and imagination, questions the truth and promotes group thinking, reuse of ideas, and lack of boundaries.
Postmodernity in film
Postmodernity in film is well suited to integrating postmodern concepts to entertain, inform, and promote ideas. Films can be postmodern in several ways: by lacking originality through being a prequel, sequel or remake; through subtle or overt product placement advertising; or by pastiche and mocking past events or people. What audiences gain from postmodern films is entertainment through alternative narratives, as well as knowledge and awareness of products that can create desire.
Genre
Genre refers to categorizing a media text based on its content and style. It can be applied to films, music, and literature. Film genres are determined by conventions and include genres like horror, romance, and action. Music genres are based on sound, tempo, lyrics, and videos, and include classical, rock, pop, and hip hop. Literature genres focus on content and include genres like horror, comedy, biography and fiction. There are many genre theorists who have studied and analyzed genre in different ways.
Theorist research jean baulliard
Jean Baudrillard was a French philosopher known for his theories on postmodernity and media culture. Some of his key ideas included hyperreality, where reality and fiction are blended without distinction; consumer society, where people are driven to consume by advertising; and simulacra, where copies become their own original works. Baudrillard believed that postmodern media culture has led society to lose the distinction between reality and non-reality. The music video for "Virtual Insanity" by Jamiroquai is an example of these concepts through its blending of reality and surreal elements.
Theorist research jean baulliard
Jean Baudrillard was a French philosopher known for his theories on postmodernity and media culture. Some of his key ideas included hyperreality, where reality and fiction are blended without distinction; consumer society, where people are driven to consume by advertising; and simulacra, where copies become their own original works. Baudrillard believed that postmodern media culture has led society to lose the distinction between reality and non-reality. The music video for "Virtual Insanity" by Jamiroquai is an example of these concepts through its blending of reality and surreal elements.
Audience research
The document discusses the target audience for a short film blending German expressionist cinema and film noir genres. The target audience includes both male and female film lovers aged 16-30 who appreciate the aesthetics and storytelling styles of these classic genres, as well as working class individuals who could afford to see the film at festivals or small cinemas. Fans of German expressionism and film noir specifically are also identified as part of the target audience since the film will incorporate conventions of these genres.
Equipment list and research
This document provides an equipment list and descriptions for filming a short film. The list includes a Canon SLR camera, steady cam, Rode mic, boom microphone, tripod, and zoom lens. Descriptions are given for each item, noting their purposes and benefits. For example, the Canon SLR camera provides good quality pictures, the steady cam helps maintain a stable grasp while filming, and the tripod keeps the camera steady and allows panning and adjusting angles. Overall, the document outlines the key equipment needed and their functions for a video production.
Film festivals
The document provides information on several short film festivals around the world, including the Sundance Film Festival, Cannes Film Festival, Sydney Film Festival, Toronto International Film Festival, and the London Film Festival. It discusses details like the year founded, number of film submissions, location, notable films that premiered there, and average attendance. The festivals showcase a variety of short, documentary and feature-length films from both new and established directors internationally.
More from Connorevansmedia (20)
Sound terminology
- 2. Glossary: Diegetic - Sound whose source is visible on the screen or whose source is implied to be present by the action of the film. For example a person speaking. Non Diegetic – Sounds whose source isn’t visible on the screen. For example a dog barking in the distance. Sound effects – Sounds which exaggerate action. .i.e A punch may be exaggerated with a sound effect to suggest a level of pain Voiceover – Where someone (Usually the narrator) talks over the scene to involve the audience more. Dialogue – The sound of people speaking to one another. Sound bridge – Where a sound from a previous scene carries into the next. Synchronous sound – A sound made to match exactly what is happening in a scene. For example a gunshot sound as a gun is fired. Asynchronous sound – A sound that doesn’t exactly match actions. This can be due to concentration of one thing. For example, if a gun is fired in the background of a scene, but the main focus is a fight between two people, then the gunshot may not be in time as it isn’t important. Sound mixing – Changing the dynamics, tones and other things related to sound. For example, if two people are talking whilst a fight is going on, the sound of fighting will be lowered so the dialogue can be heard. Sound perspective - A sound’s position in space as perceived by the viewer given by volume, timbre, and pitch. Soundtrack – A group of songs that are used diegetically in a film. Theme – A distinctive song or tune which is used in the opening and closing credits of a show. For example Eastenders. Ambient sound – Also known as background noise. It can set the tone of a scene and can build suspense. Incidental music - Music used in a film or play as a background to create or enhance a particular atmosphere.