1. Location Sound I “Sound has a great power but it is a conditional power. It places the image in a physical and emotional context, helping us to decide how to take the image and how it integrates itself into everything else.” -Walter Murch

2. a word from Anthony

3. Reputation of Indie Film Sound “As an audio post guy working on primarily indie projects most of my work is fixing truly horrendous production sound.” “Most directors don’t take sound seriously enough to use it the way it should be used.” –Randy Thom, Academy Award Winner “An extra five minutes given to your sound mixer on set can save you an extra five hours in audio post.” – Yours Truly

4. Semester Goal: Get Good Sound! Main Focus Learn basic principles of audio –Physical properties of sound (frequency, amplitude, reverb) –Psychoacoustics (humans hear sound differently than microphones do!) Record sound with confidence -Learn how to use equipment, understand how to troubleshoot Secondary Focus Introduction to audio post process including sound editing and sound design.

5. Class policies Attendance Assignments MOS Sound Design Presentations Website: soundess.wordpress.comsoundess.wordpress.com

6. DM&E “stems” (Dialogue, Music & Effects) MOS will have Effects only, no music or dialogue What you will record: –Wild Sound –Synch Sound What you use in Post –Wild Sound –Possibly Sync Sound Role of Sound in MOS

7. What is a Location Sound Recordist? Responsibilities: Record Dialogue and Sound Effects (sometimes music) on set Understand not only principles of sound recording, but other departments as well The Sound Crew Mixer Boom Operator Utility Sound Tech/Cable Person and sometimes… sfx recordist

8. Production Sound Recording on big budget features:

9. A Location Sound Recordist’s Toys Recorder (702T) Microphones (and boom pole) Slate Mixer Headphones

10. Deliverables Audio! - DVDs, Hard Drive transfers Sound Reports

11. What to do Two main concepts: Isolate the desired sound Eliminate (minimize) the undesired sound

12. What to listen for Hearing distortion (recording TOO HOT) –If your audio is over-modulated, there’s not much you can do to salvage it Recording too low (introduces hissssssssssssss ) –If your audio is recorded too low, you can salvage it but will introduce hiss. This can be helped with in post, but will take time and $.

13. and now… The Sleek, Sexy, Solid State Recorder AKA… The 702T By Sound Devices -no moving parts (solid-state) -records broadcast.wav -easy file transfer via firewire

14. 702T 2-channel recorder Format Compact Flash Cards 2 GB will give you about 3hrs of 2-track recording.

15. 702T 2-channel recorder Side Panel Time CodeDigital inputs Firewire C-link Menu Navigation/Digital outputs word clock DC power Headphone Monitor select

16. 702T 2-channel recorder Side Panel Input SelectsLine outsHeadphone jack (mini) XLR inputsTape out (unbalanced) headphone volume

17. 702T 2-channel recorder Record settings Rec: Sample Rate - 48kHz (suggested) Rec: Bit Depth - 24bit (suggested- the pre-amps perform 24 bit conversion)

18. 702T 2-channel recorder Inputs & Tracks Inputs: Mic vs. Line Called 1 & 2 You can actually see them on the outisde. You feed a sound source into the inputs. Tracks: There are two of them, you record onto them. Called A & B Think of them being “inside” the 702T.

19. 702T 2-channel recorder Input Settings 18) Input 1: 48 V Phantom Turn on after plugging in mics, if needed. Gain Control Rotary knobs on the front

20. 702T 2-channel recorder Meters Ideally, the meters will average between: -30dB and -12 (yellow) with peaks in the red

21. 702T 2-channel recorder Headphone Monitoring Levels …and the 702T can playback VERY LOUDLY, so please be careful.

22. Manipulating your audience with sound- use sound to tell them what to feel. Create a mood, set up tension, trigger release. Give sound design some thought while writing your script. [NCfOM script] Sound Design begins at your film’s conception [script]

23. This is your chance to let the audience know what your characters are hearing “In recent years there has been a trend, which may be in insidious influence of bad television, toward non- stop dialog in films” -Randy Thom (1999) Role of Sound in MOS

24. For next week Assignment #1: Listening Due Friday, Sept 17 via email (.pdf) Mini sound design presentations Attendence