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Iat 202 lecture 02

Iat 202 lecture 02. s usan clements-vivian. Final video. All final projects will be shown in room SUR 2600. The date for the final show is Monday April 15 10:30 - 2:30.

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Iat 202 lecture 02

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  1. Iat 202 lecture 02 • susanclements-vivian

  2. Final video All final projects will be shown in room SUR 2600. The date for the final show is Monday April 15 10:30 - 2:30. If you cannot make this time you may request to show your project during the final lecture on April 08. There is a limited number of projects we will be able to show on April 08.

  3. today • Sound properties • Elements of a soundtrack • Sound Mix

  4. Exercise 2 • Apply the concepts in this lecture to exercise two, using terminology used. • Create a spotting log

  5. Components of a sound "Music components": • Pitch • Timbre • Loudness "Sound envelope components": • Attack • Sustain • Decay

  6. Sound as practice • There are several questions that you ask to determine the properties of the sound. • They can be described as both the subjective and the objective experience of sound. • Or the scientific and the phenomenological.

  7. Pitch Subjective Pitch High or low sounds Objective Frequency Hertz (how often per second)

  8. Loudness Loudness becomes meaningful only if we are able to compare it with something. Subjective: loudness Scientific: Amplitude (how big)

  9. Timber & Harmonics Timbre: The texture or "feel" of a sound. Also called colour, brightness or tone. Harmonics: It is an object's ability to vibrate and set up harmonics that determines the  pleasantness of the resultant sound

  10. Envelope of Sound 1) Attack Sound begins at A and reaches its peak at level B. (2) Sustain It drops slightly in level and remains steady until C. (3) Decay When the sound source is removed at C, the sound decays to a point of silence

  11. Component sounds What sound  will match ...  the roaring power? the loudness or the attack? the inordinately long sustain and decay?

  12. Function of sound – what does it tell the audience? Loudness, timbre, and pitch are manipulated constantly in a film. This is done to give both subjective and objective information.

  13. Functions of Sound • In film and video, sound has three main functions: • Narrative Information • Spatial Information (objective) • Psychological Information (subjective) **note sounds often meet more then one criteria.

  14. Narrative Information Communicates specific information verbally Dialogue is conversation between two or more people Direct address is one sided conversation between performer and viewer Narration can be on- or off-camera. It provides additional information and canbridge gaps in continuity

  15. Space & time information Space – sound can be used to convey the location of an event, an environment or an off-screen space Time – sound can convey the time of day or year

  16. Spatial Dimension • Source-connected sounds reflect the visual • Source-disconnected sounds are heard from outside the screen • Add elements to the physical space • Reaction to something you don’t have to shoot

  17. Feelings and emotion of a scene Inner orientation describes: Mood Internal Conditiona character’s emotions Energy Structureusing sound or music to establish rhythmic structureof an on-screen event

  18. Good sound design “Stretching Sound to Help the Mind See” -- Walter Murch

  19. Elements of a soundtrack

  20. Sound is either… • If the source of the sound is a character or object in the story space of the film, we called the sound diegetic. • If the sound is represented as coming from a source outside story space we called the sound nondiegetic.

  21. Elements of a Soundtrack Dialogue: Interviews, Narration, Scratch Track Effects/ Noise: Ambience, Cut Effects, Foley, Production Sound, Visual Cues, Archival Material Music: Diegetic, Nondiegetic

  22. Sound mix Figure-groundwhich sounds are emphasized, while others stay in the background? Sound perspectivedo the audio and visual perspectives differ or match? Do close-up shots match close-up sounds? Sound continuityare sounds consistent in volume, quality and presence from shot to shot?

  23. Sound Perspective • Sound perspective refers to the apparent distance of a sound. • volume of the sound • balance with other sounds, • frequency range (high frequencies may be lost at a distance), • amount of echo and reverberation. Sound clips: Near DistantThe Grey Fox

  24. Sound Bridge (continuity editing) http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv

  25. Continuity Editing: Dialogue Overlap Dialogue overlap is often used to smooth over transitions. Cut on the “telling word” or question posed to see the reaction Dialogue overlap is often used to smooth over transitions. Cut on the “telling word” or question posed to see the reaction. Dialogue overlap is often used to smooth over transitions. Cut on the “telling word” or question posed to see the reaction.

  26. Sound and Time • Synchronous sound (dialogue, event) • Asynchronous sound (sonic flashback or forward) http://classes.yale.edu/film/videos/SonicFlashback-NoRegrets.wmv http://classes.yale.edu/film/videos/SoundBridge-YiYi.wmv

  27. Sound mix • Usually sound mix contains both diegetic and non diegetic sounds • Audio elements have relative volumes and qualities based on overall sound design

  28. Audio/Visual Symmetry What we hear is often influenced by what we see, and vice versa. The brain interprets meaning based on multiple streams of data. Consider the parts of the audiovisual world that don't overlap: mute objects and invisible sounds. Sound, in particular, provides us with an expanded field of perception. We hear through walls, around corners, and in the darkness...

  29. Summary of sound considerations • Mix = Diegetic and non-diegetic • Information, spatial, psychological • Sound perspective – close, near, far (doesn’t always match distance of object). • Sound and time (sound and image often do not occupy the same time).

  30. Sound spotting log

  31. Eraserhead (1976) --reverse spotting log activity

  32. Gerry, Gus Van Sant, 2002

  33. Drop- in office hour with Susan Location: Blenz in the Mezzanine or getting set-up in the Lecture room I am around .5 hour before my lectures. Come by with your quick questions or just to chat Or Location: 14-365 (need to buzz) Wednesday 2:30 – 3:30 Book office hour via Email: sclement@sfu.ca

  34. Widescreen Test Pattern (16:9) Aspect Ratio Test (Should appear circular) 4x3 16x9

  35. Iat 100 lecture 01 fin

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