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APP 8-9

Audio Post Production

Advantages of Surround Enhances movie exp., envelopes the audience in the sound scape, more realness, and creativity
Disadvantages of Surround Various formats to consider, needs specialized equip. to produce and listen/playback
Media that Benefits from Surround? Media that does NOT Benefit from Surround? Does: Action films, Specialized documentaries, Planetarium shows, Theme Park, Specialized Corporate presentations. NOT: Most Web based media, Music media, Non-action/short and feature films, Reality TV, News.
Fantasound Disney's Fantasia 1941, First true surround sound movie: 3 Front Ch. and 2 Rear Ch. (Rear was recorded on separate reels of film, steered in when needed.)
Cinemascope The Robe 1953, Used 4 Ch. magnetic audio tracks: 3 ch. across front, 1 surround ch. in back (known as the "FX Ch.")
Dolby Stereo Star Wars 1977, Used 4 Ch. optically printed audio tracks (included noise reduction). 3 Ch. across front and 1 surround Ch. Had better frequency response and quality than magnetic tracks.
Dolby Stereo Surround Apocalypse Now 1979, Used 6 Ch. magnetic audio tracks. 3 Ch. across front, 2 Surround Ch. (Stereo surround), 1 LFE (sub-woofer)
Dolby Digital Surround Batman Returns 1992, Used 6 CH. AC-3 Digital Stream (optically on film). 3 CH. across font: L, C, & R. 2 Surround Ch. Ls & Rs, 1 LFE Ch.
DTS Jurassic Park 1993, Used 6 Ch format, audio not on film-stock, just a time-coded leader. Audio stored on separate CD-ROM. LED Reader read time code data. DTS Processor synchronizes the audio with the film.
SDDS (Sony Dynamic Digital Sound) Last Action Hero 1993, 8 ch format, 7.1 optically printed audio. 5 front ch: L, Lc, C, Rc, R. 2 rear surround ch: Ls, Rs. I LFE ch.
Dolby EX Star Wars: The Phantom Menace 1999, 7 Ch Format, 6.1 optically printed audio. 3 front ch: L, C, R. 3 rear surround ch: Ls, C,s, Rs. I LFE ch
Where is DIALOGUE placed in Surround sound? Center.
Where is FOLEY placed in Surround sound? Placed across Front channels L, C, R. Most of signal goes to L and R and is dipped in the center to leave room for Dialogue.
Channel Assignments: FIlm? L, C, R, Ls, Rs, LFE. Default for Pro Tools onscreen meters. Default layout for Pro Tools Multi channel regions. Default monitoring setting for D-Control/D-Command, Control 24 (New version)
Channel Assignments: SMPTE/ITU L, R, C, LFE, Ls, Rs. Default monitoring setting for Control 24 (older versions)
Channel Assignments: DTS L, R, Ls, Rs, C, LFE. Default monitoring setting for Pro Control.
Surround in Pro Tools: Multichannel Tracks Pro Tool s can have up to 8 Ch. Track output is dependent on the Main Path Setup. No Multichannel Main Path = No Multichannel outputs.
Surround in Pro Tools: Multichannel Buses Pro Tools can have Busses with up to 8 channels. Buses are also dependent on Main Path setup.
Surround in Pro Tools: Tracks for Surround Tracks do not need to be surround. The output will be surround instead. Surround (multichannel) tracks can be created later, to hold surround mixed regions.
Multichannel Panner Linking Only for stereo tracks with multichannel outputs. Provides separate L/R multich. panners. Pan Linkage Contrls: Link (links L/R), Front Inverse, Rear Inverse, Front/Rear Inverse
Pan Modes: X/Y Mode Allows Joystick style panning on the X/Y Grid, the position of the Pan Location Cursor determines pan position. Note: Clicking on Speaker Icon snaps cursor directly to speaker.
Pan Modes: 3 Knob Panning Allows Panning In Straight Lines. Panning discretely between pairs of speakers.
Pan Modes: Position Controls 3 Controls that determine the pan cursor position: Front, Rear, F/R
Pan Modes: Divergence 3 Controls that determine bleed between speakers: Front, Rear, F/R. controlled by a scale percentage level: 100% = No Bleed (point source) to 0% = Widest Spread.
Pan Modes: Center Percentage Determines Discrete or Phantom Center, dependent on Divergence. Controlled by a scaled percentage level 0% = Phantom Center - 100% = Discrete Center.
LFE Controls: LFE Fader Controls the amount of Direct Signal sent through the LFE Ch, Not filtered. Present on all tracks assigned to output paths 5.1, 6.1, 7.1.
LFE Controls: LFE Enable Button that lets you enable or bypass processing of the LFE Ch. Avail on some Multichannel or Multi-mono Plug-Ins.
Sub is not ________. Not LFE. This is only the Playback device.
What is a Mix? A cohesive blend of sound. Elements should be clearly audible. Dialogue should always be heard. Effects have their own dynamics, don't make everything loud.
In a Multi track DAW, Sub-mixing from multiple tracks down to 2 or 6 tracks is the process of ___________________. Summing to the outputs. Ease of providing multiple mixes of the same project.
In a Multi track DAW, ____ & ____ can still be overloaded. Not as forgiving as the Analog system, watch meters Outputs and converters can still be overloaded.
______ is the most important element to hear consistently. Dialogue.
In film, ______ EQing is preferred. Subtractive EQing. Removing/subduing unwanted frequencies. notching out frequency. Or attenuate gain on a particular frequncy.
Sweeping for Frequency Raise Gain on particular frequency band. Narrow Q on this band, move freq. back and forth to search. Lower gain when frequency is found.
De-Essing Band specific frequency suppression, affects dynamics (EQ/compression). Greater for suppressing Sibilance. Sibilant frequencies vary person to person. Use EQ to find sibilant frequency first.
Dialogue Leveling -6dB
When mixing movies, make sure session is in ________. Post-fader Metering. For D-control Meter Bridge and Metering Plug-Ins.
Sub-grouping Elements Splitting off the categories into their own sub Mix. Rerouting tracks to an Aux track. Gives another level of fine-tuning. Allows for mass processing of elements with less plugins
Sub-Group Master Destination Aux Track of source Sub-Group Elements. This can contain Plugins to process group
Multi-Band Compressor/Expander/Limiter Level out the problem areas by their frequency range. They must have processors for you mix. Ex: Waves C4, T. C. Electronics MD3
Try to use different _____ for each _____. Pan each slightly differently. Adds greater space and imaging. Set up each Reverb on its own Aux Track, bus sub-group to it from Sub-master aux. Try to use different REVERBS for each SUB-GROUP.
Automation Enable Window: Write Enable CMND + 4: Controls all parameter ability to write in real time. Parameter is enabled when lit. does not affect reading back automation or graphical automation.
Automation Enable Window: Auto-Suspend completely disables reading and writing of all real-time automation globally. Does not affect writing of graphical automation. Affects reading.
Touch Mode Is like Read mode until a fader is moved. Once fader is released, it moves back to the previously automated position.
Auto Match Time The amount of time it takes for a fader to return to its Null Point. After the fader is released, user set preference in Mixing section. 0-5000 msec.
Latch Mode Once the fader is moved and released, it stays at that position until playback is stopped. Good for Pan and Plug-In automation.
Touch/Latch Mode Track volume control remains in Touch Mode. All other Tracks parameters placed in Latch Mode.
Trim Modes are avail in Pro Tools ____ only. Pro Tools HD only. Works in combination with all other automation modes. N/A for pn, mute and Plug-In.
Volume and Send Level Trim 2 Extra Playlists. Mirroring regular Volume or Send Level playlists. But shows Relative changes to existing automation. Relative Change = Delta Value (dB)
Read Trim Used just for auditioning a Fader move. No trim automation is written.
Touch Trim Only affects Volume & Send Level Faders. No trim automation is written for the other parameters (They behave normally as if in Touch Mode).
Latch Trim Only affects Volume and Send Level Faders. No Trim automation is written for other parameters (Behaves normally as if in Latch Mode).
Touch/Latch Trim Only affects Volume and Send Level faders. Volume fader follows Touch Trim behavior, Send Level fader follows Latch Trim behavior. No Trim automation is written for other parameters.
Write Trim Stops over-writing of automation data on other playlists. Only affects volume and send level faders. No automation is written for other parameters (behave like Touch mode).
Trimming automation: Graphical only Using the Trim to do relative changes to existing automation. #38: LEFT: Shows actual level in dB. RIGHT: Shows relative change, Delta Value in dB (inside Brackets).
Coalescing Committing Trim Automation to the main automation playlist. Redrawing to match existing Volume/Send Volume Playlist: Automatically after every pass (Preferences), or Manually (Right-click on the Track Name).
Plug In Automation Every plug-in parameter can be automated. Once enabled, plug-in parameter shows up as a new playlist.
Snapshot Automation Writing data values for multiple parameters in a single step: TO a selection in the timeline or to a cursor location. Plugin parameters have to be enabled.
Surround: AutoGlide Time Designed for surround panning. specifies how quickly Pro Tools transitions (glides) from one automation value to another. This is not to be confused with AutoMatch
Created by: la.maricha