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APP 1-3
Audio Post Production
| Question | Answer |
|---|---|
| What is Audio Post? | The art of creating a soundtrack to any visual media, broadcasts, films. The art of editing sound for non-visual media, Audio Books, radio broadcast. |
| Audio-post can sometimes start up to a year after ______ ________ starts, esp. in animation. | Principal Photography |
| Audio-post is a part of the _______ process. | Filmmaking |
| Spotting | The first part of our process to determine sound elements needed, how much time needs to be devoted to sounds, how much money can be charged. Involves watching clip carefully, taking note of areas of rough dialogue, sfx, music. |
| Sound Supervisor | Supervises the entire sound team, aka Supervising Sound Editor. Hired by the Producers/Director/or Picture Editor. Responsible for choosing the sound team, oversees Editorial & Mix processes, bridges gap btwn film and sound depts. |
| Sound Designer | Responsible for unique sound creation, very creative sound editor, often times is the Supervising Sound Editor |
| Sound Editor | Responsible for cutting/assembling of sound to synch to picture. Can be one person or many diff positions: SMFX, BGFX, BG, Foley |
| Assistant Sound Editor | Essential in “sprockted” world of film. Responsible for workflow btwn Picture and Sound Editor. Collects most production sound material together. Logs converted/exported material from Picture Editor. |
| Dialogue Supervisor | Responsible for all Production Rercorded Dialogue, finds cleanest takes, smoothes production, prepares track for ADR, aka Dialogue Editor. |
| ADR Supervisor | Responsible for all re-recorded dialogue. Works with Production team and Dialogue Editor. Creates list of lines needed to be redone or added. |
| ADR Recordist/Engineer | Responsible for capturing actor’s performances in the studio. Sets up mics, and recording equipment. Positions the actor best matched to fit the feel of original recording, hired by Sound Supervisor. |
| Foley Supervisor | Responsible for covering holes in Production audio caused by ADR lines, Drastic omission of action or movement. Compiles “wish list” from Sound Supervisor and Editor for sounds not recorded or not in sound library. |
| Foley Walker | Part of a specialized team of performance artists, performing actors movements, and prop sounds. |
| Foley Recordist/Engineer | Responsible for recording Foley Walker(s), sets up mics and recording equipment. Makes technical considerations, documentation and track layout. “Directs” best performance from walker. |
| Foley Editor | Makes sure all recorded Foley is synched with picture. Creates the best impact form performances. |
| Music Editor | Responsible for temp. and finished source music tracks. Works with Music supervisor and /or Director. Ususally is hired separately from the sound team. Creates the “sonic link” btwn Director and Composer. Called Picture Editor on small budgets. |
| Re-Recording Mixer | Responsible for the blend of all recorded and edited sound. Generally works for the studio hired by Sound Supervisor. Works closely with Director/Producers/Sound Supervisor |
| Mix Recordist | Responsible for the logging of mix workflows used, changes in the hardware/software settings throughout the mix. Generally an aspiring junior Re-Recording Mix Engineer. |
| Intern /General Assistant (G. A.) | Entry-level position working for studio, responsible for logging all transferred data, archiving sound materials used, generalized studio tasks, being quiet, watching and learning. |
| Executive Producer (Owner) | Responsible for the major funding for the project, also provides the name to back and get the funds. |
| Producer (CEO) | Responsible for hiring the actors, production, and post-production crew, distribution of working funds and back end point structure. Heads the overall project, while keeping within the budget. May possibly be an investor themselves. |
| Director | Person ultimately responsible for creating the movie. Creating the producer’s, writers, and their own vision a reality, Possible that the project is based on their own screenplay/script. |
| Director's 3 Focuses: | 1. Guides the actors, 2. Guides the “look” of the production, 3. Understands the power that sound can bring to a production. |
| Director of Photography (DP) | Responsible specifically for the overall look of the picture, aka Cinematographer. Not necessarily the person operating the camera. |
| Post-Production Supervisor | Supervises everything visual after principal photography: Picture Editor, Graphics, Final output and deliverables. Can even work hand in hand with the Sound Supervisor. |
| Picture Editor | Responsible for capturing and assembling all visual aspects of the project, telling the story the most efficient way possible. Provides the pacing of the story, works for the post-production supervisor. |
| Production Audio | Team responsible for providing production audio material. Our only audio connection on set, mostly team of two: sound mixer and boom operator. |
| Sync I/O | Provides matser clock source for all connected hardware, audio/video interfaces. Word clock , loop sync, 9-pin, and video generator. Hardware connections: XLR (Analog/Digital), BNC, MIDI, D-Sub, and 9-Pin. |
| When importing video, Pro Tools will support _____ ______. | Will support Quicktime Movie or variants: HR64, Apple intermediate codec, DV. MPEG 2 only supported with MPEG 2 Playback codec. |
| Pro Tools will support ______ _______ media. | Will support Avid compatible media, Quicktime generated by Avid product, uncompressed best viewed through exteranal hardware, (Avid V10, Avid Mojo) |
| How to Import Video and Video Import Options | Import: Mac: SHFT+OPT+CMND+I, PC: SHFT+CTRL+ALT+I. Video Import Options: Main video track, New track, or Regions list. |
| Import video to Main Video Track | Imports to video track currently online and steals existing online track’s position. This option is N/A whenthere are no video tracks in session. |
| Import video to New track | Imports to newly created video track; file is placed on track with location options. |
| Pro Tools does not by default ______ video to _________ ______ ________. Leaves video where it was and ______ _____ ____. Have to copy it _____ and ______ or Save Copy-In with video files checked. | Pro Tools does not by default copy video to existing work session. Leaves video where it was and pints to it. Have to copy it manually and repoint or Save Copy-In with video files checked. |
| How to view video | Mac: CMD+9, PC: CTRL+9. Right click, then “Send to firewire device” |
| Which Avid Hardware do we use in Suite Labs? Mix Palace? | Suite: AVoption V-10, Mix Palace: Avid Mojo. |
| Video Sync Offset | Under “Setup”, compensates for video monitoring delays btwn Quicktime and Video Peripheral. Set in Quarter Frames (17-18). |
| I/O Setup | Under “Setup”, User definable way to connect hardware to software. A routing matrix that can assign inputs, outputs, busses, and inserts. |
| Path | Grouping of multiple inputs, outputs or buses, aka Main Path. Can have multiple paths assigned to the same hadware I/O or a bus |
| Sub-Path | A signal path within a main path (Subset) Can have multiple assigned to the same path. |
| Output Page | Assigns layout of track outputs to interface. Treated as “external buses”. |
| Bus Page | Assigns and routes audio signal from rack outputs and sends to other track inputs and plug-in side-chains. Internally and externally when mapped to output. |
| Mapping Outputs | Under Bus Page, allows definition btwn internal and external bus assignments. Must check box to assign this to output. |
| Audition Path | Assignable to any available output or bus (main or sub-path), to preview audio regions in regions list, files in Digibase browsers, Audiosuite processing. |
| 192 I/O | Hardware. 16 simultaneous channels, 8 analog channel I/Os (D-sub connector, XLR or TRS), 8 digital channel I/Os (AES/EBU, TDIF, ADAT, or S/PDIF, ADAT can be all 16 ch.) Supports sample rate up to 192 kHz. Connects via Digilink cable, not firewire. |
| ICON (Integrated Console Environment) | 1. Tactile work surface, 2. DSP Mixing/Processing Cores, 3. Analog/Digital I/O. D-Control: Digidesign’s largest format work-surface, expandable ctrl surface w/ main and fader modules, 16 faders+main. |
| ICON (Integrated Console Environment) Sections: | Sections: Main, Monitoring, Window MGMT, soft Keys Functions, Navigation/Transport/Keyboard. |
| Mackie Onyx ______. How many mic inputs? Line inputs? Inserts? Aux Sends? Group outputs? | 1640. 16 Mic inputs, 16 Line inputs, 16 Inserts, 6 Aux Sends, 4 Group outputs. |
| Production Mics: 5 Different Types? | 1. Sennheiser MKH 50, 2. Sennheiser MKH 60, 3. Sennheiser MKH 70, 4. Countryman B6, 5. Sanken Cub-01 |
| Name the two types of Lectrosonics transmitters. | Lectrosonics UM400A belt-pack, Lectrosonics H187 plug-on. |
| Name the two types of Lectrosonics receivers. | Lectrosonics UCR411A compact, Lectrosonics R400A digital hybrid. |
| Name the Comtek wireless transmitter/receiver combo. | Comtek M-216 Wireless Transmitter, Comtek PR-216 Wireless Receiver. |
| Session Setup Window (Quick Key) | CMND/CTRL + 2 (Numeric) |
| Session Setup Window: Session Start Time | Allows start point of session to be sent in time code. |
| Session Setup Window: Time code Rate | Set to intended Frame Rate of video. Changes grid lines in Pro Tools, not audio speed. Two time code timelines are allowed. |
| Project Setup Workflow: Reels | Picture Editor splits up feature into smaller edits, allows theatrical release, last minute changes in story, first/last reel normally last to be locked. Derived from 1000ft. rolls of Film Stock. |
| Each reel has its own ______. | Hour. |
| Project Setup Workflow: Burn-In | The process of embedding time code into picture. So that every dept. can reference a particular point in time. Alows checking for “frame dropping”. |
| Academy Leader | Used to count down to First Frame of Action (FFOA) in seconds. Last 2 seconds up to FFOA are left blank. |
| 2 Pop vs. Tailpop | 1kHZ Sine wave tones that are created to audibly match visual synch cues in picture, lasting 1 frame and -20dB. 2 Pop is placed on 2 of the academy Leader, 2 secs before FFOA. Tailpop is placed on a visual cue at the end of the picture, 2 secs after LFOA. |
| Constraining Regions? | Moving a region vertically without moving horizontally, or snapping a region to a particular point in the timeline, use modifier tool and the Grabber Tool. |
| Creating Tracks for Dialogue Editing. | Named Dial (with either letter/number). Mono from original recording, main working track for characters. May be in banks of two (may be form stereo micing) Can be 1-12 or A-L. |
| Work Track | Temporarily blank, mono/stereo, Safe area to open files and do complex edits. |
| Junk Tracks | Temporarily blank, usually mono, used for files you want to reference and not delete. |
| PFX Tracks | Temporarily blank, mono, used for production effects separated from dialogue, International Version or better Mix control |
| ADR Tracks | Mono (from in-studio session), Best to keep separate from all other tracks. |
| Dial X, Y, Z | Temporarily blank, Mono, “X-Tracks” will hold removed lines from dialogue. Replace with matching “fill” to fit scene around ADR lines |
| Futz Track | Temporarily blank, Mono, For sections of “lip-less” dialogue: over-the-shoulder, off-screen, phone, processed dialogue. |
| Guide Track | Basic reference track made by bouncing all edited dialogue. Given to various members of the sound dept. , even composer/music dept. |
| Name 10 things good Sound Reports contain: | 1. Shoot Date, 2. Sample Rate, 3. Frame 4. Bit Depth, 5. Recordist name, 6. Boom Ops name, 7. Scene, 8. Take, 9. Roll Take, 10. Description. |
Created by:
la.maricha
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