| A | B |
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| Wavelength | This determines the frequency of a sound; how close each wave of sound is to the next determines if the sound is a high frequency or a low frequency. |
| Amplitude | This is a measure of how loud or quiet a sound is; we mix levels in film to -20dB (decibels) and -12dB for television |
| Pitch | This is another word to describe the frequency of a sound; a sound is either high _______ or low ______. |
| Timbre | When a sound has a specific quality such as dull or bright that distinction is how we decipher the difference between the sources of the sound. |
| Reverb | When a sound is heard (or plays), it is produced in a physical space, which creates an echo of some type. The sound reacts in the room. This is how to describe that interaction with the physical space. |
| MIrophone PIckup Patterns | MIcrophones capture sound in different ways. Some microphones are more sensitive directly in front while others may be sensitive along each side. This is referred to as the _____________________. |
| Parabolic | A type of microphone that has a boom microphone inside it with a plastic dish around it to help capture sounds that are across a field. These are meant to capture long-range sounds, clearly. |
| Hyper-Cardioid | A type of micriphone that is short and skinny, capturing sound only from the tip of the mic itself. This type of microphone is used on top of a broadcast camera to capture sounds about 6-feet away. |
| Super-Cardioid | A type of microphone that is long and skinny, capturing sound only from the tip of the mic itself. This type of microphone is used to capture small sounds or voices on a television or film set directly above or below the sound source. |
| Cardioid | A type of microphone that picks up sound in a heart-shaped pattern around the microphone itself. This means that the sound is most sensitive right above and off to one side. The lower part of the microphoen where it is held in the hand or clipped to a shirt is less sensitive so as not to pick up extra noise. |
| Omni-Directional | A type of microphone that picks up sound from all sides (almost) equally. This may be a lavelier microphone (worn on a tie or shirt for an interview) as it will consistently pick up sound regardless of the direction the microphone is pointing. It is a reliable workhorse. |
| Analog | An organic sound wave that comes from a physical instrument in a physical space. There is a natural curve that the instrument creates. |
| Digital | A type of conversion of an organic sound wave into a binary code of 1s and 0s. This information is reproduced using numbers rarther than organic sound waves. |
| Ditigal Audio File Formats | A digital file is shared using a specific format (or wrapper). The format is what software codes and decodes to read the hidden (packaged) messages. |
| Wav | This is a digital sound file format that is uncompressed and high quailty. These files are usually quite large in file size because they include a lot of sound information. |
| MP3 | This is a digital sound file format that is compressed and is low quality. These files are usually quite small in file size because they throw out a lot of sound information. This file type is one used for digital music sharing because you can fit many sound files on one small device. |
| Compression | When recording any type of video or audio, this is what happens when the recorder codes the message to save space. This procss means that there is information tossed out and left out of the final exported file. A file that is "uncompressed" is one that has all the original information from the recording process. |
| Sample Rate | Analog sounds are organic sound waves that go up and down with varying wavelengths and with different amplitudes. The process of converting analog sounds (in a recording studio) into digital sound files is to sample those waves at specific intervals. The higher the rate of sampling the more precise a digital recording will match the analog original. |
| Bit Rate | The sample rate determines the interval at which an analog sound wave is measured (how many times per second), but this second setting determines how accurate each sample is at that determined sample rate. This determines how much information is captured (and how accurately) at each sample. |
| Sound Recording | The process of using an audio recorder to capture sounds on location and/or in a studio setting for editing in post-production. |
| Synchronous Sounds | These are sounds that are recorded with the camera using either a single recording system (video and audio together in one device) or double recording system with use of a slate. |
| Wild Sounds | Recorded sounds that occur in and around the locaiton where you're filming; they are NOT recorded in sync with any visual elements. For example, if a scene is recorded with someone slamming a door then after the visuals wrap, the sound recordist will go back to try and capture clean sound of just the door to layer in. They woud say, "Wild sound: door opening and closing Take 1" |
| Sound Effects | These are sounds that are created and layered in to a sound design in post-production. |
| Foley | The art of creating original sound effects in time to the visuals of a video, television, or film project. |
| Voiceover | This is a type of audio recording that is captured seperate from the production camera and/or audio recorder on location. This typically includes thoughts from a character within a scene, explaining his or her thoughts as the action plays out. This is typically recorded in a studio during post-production. |
| Narration | This is a type of audio recording that is captured seperate from the production camera and/or audio recorder on location. This typically includes an explanation of what is happening in a film, overseeing the entire story and sharing more backstory and details with viewers as the film or television show plays out. There is quesiton about whether this person/voice can be a character in the film overall or if they must be a new, unseen member of the cast. |
| Score | When scenes play there is often a need for a music accompanyment, which often comes in the form of a __________. This element in a film or video project should coincide (reinforce) the emotional moment or journey of the characters in the scene. |
| Diagetic Sound | These are sounds that come from within the world of the film or television show, meaning that if you had added sounds of wind in your sound design that would be physically coming from a source naturally coccuring or linked to the scene. |
| Nondiagetic Sound | These are sounds that come from outside the world of the film or television show, meaning that if you have a metallic blade slice but there are no knives scene in the scene then this sound effect is coming from outside the world of the film to add emotinoal weight or tonal shift for viewers. |
| Dynamic MIcrophone | This type of microphone build includes a coil inside to catch the vibration of a sound and to generate a sound wave. This type of microphone is used in many different scenarios where there are a variety of conditions; a rugged mic with many uses; does not require additional power to run. |
| Condensor Microphone | This type of microphone build includes many sensitive parts inside the microphone itself. This is a more delicate microphone that is best used in a studio or controlled remote shooting environment. THis type of mirophone requires additional power (Phanotm Power +48v) to operate. |
| Ribbon Microphone | This is a very delicate microphone used in music and sound recording studios; there is a ribbon inside the microphone that picks up delicate variations and differences in the analog sound waves generated in the room. |
