Term
| Properly emphasized, the lower parts of which octave would be used to improve speech intelligibility |
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Definition
|
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Term
| What is the Bacilar Membrane? |
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Definition
| Contains little hairs of different lengths that correspond to different freq |
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Term
| What is the Stapedus Reflex and why is it important |
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Definition
| Thin layer protects from loud sustained sounds |
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Term
| What are the four static cues for human localization |
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Definition
1. Pinna Response
2. Shoulder echo
3. ITD (Interaural time difference)
4. IID (Interaural Intensity Difference) |
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Term
| The shorter the sound the _________ the sound needs to be |
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Definition
|
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Term
| What are the parts of the ear |
|
Definition
basilar membrane
Cochies
Oval Window |
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Term
| Which octave range is said to give a tinny sound |
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Definition
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Term
| Brought up on the console from tape or DAW to be mixed |
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Definition
| Principal production dialogue |
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Term
| Sub band coding with linear production |
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Definition
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Term
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Definition
| Programming the behavior and creating location into the game |
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Term
| Four plus one channel predub |
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Definition
| four tracks wide that feeds four tracks called "corners" |
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Term
| Wha The three Principal cues for determing or simulating distance |
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Definition
High Frequency Presence
Reverb
intensity |
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Term
| What would u find in the middle ear |
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Definition
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Term
| Who writes the score music for a film |
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Definition
|
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Term
| what is reducing sound transmission |
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Definition
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Term
| If i place a fade in in the left channel of a stereo track and a fade on the right channel. |
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Definition
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Term
| The steps made by non principal character that need to be panned |
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Definition
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Term
| what is the mono track that feeds the center channel |
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Definition
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Term
| what term describes the crowning of a wavefront around a moving sound source |
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Definition
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|
Term
| what term describes the crowning of a wavefront around a moving sound source |
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Definition
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Term
| Which static cue is most effective when frequency content is between 270 HZ and 500 Hz |
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Definition
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Term
| Who is responsible for all the routing |
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Definition
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Term
| occurs when the mixer pans the dialoge to match the perspective on the screen |
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Definition
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Term
| in terms of post production what is the importance of understanding the coctail effect on a piece of audio |
|
Definition
so the audience doesnt loose attention on the main picture
automates long delays of high frequency content |
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Term
| what is the difference between intensity and loudness |
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Definition
Loudness= perceptual
Intensity= Mesurable |
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Term
| what are the three main cues with regards to the basics of psycoacustics |
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Definition
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Term
| what are the three delivery formats the film editor has available to edit with |
|
Definition
| cutting on film, cutting digitaly |
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Term
| When cutting on film which takes are transferred to mono mag stock |
|
Definition
|
|
Term
|
Definition
| film backing with magnetic oxicide |
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Term
| List the three types of mag stock available, and what they will be used for |
|
Definition
| Mag Strip, Mag 3 strip, full coat mag |
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Term
|
Definition
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|
Term
| when cutting digitally what does the film editor recieve from the film lab |
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Definition
| Digi Beta with no sound only all footage |
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Term
| What is the purpose of cutting digitally with film to conform |
|
Definition
|
|
Term
| with regards to omf why is it very important to make sure everything is properly named |
|
Definition
|
|
Term
| what is the standard reference tone for the film industry |
|
Definition
1k at -20 db
1k at ovu tape |
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Term
| when doing a digital audio transfer for film, what level should your regerence tones to be set to |
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Definition
|
|
Term
| What are the nine things you need to be sure when doing a video transfer |
|
Definition
| 29.97ND Framerate. Time code channel 2 and production audio on channel 1 |
|
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Term
| how many fields are there in each frame of video |
|
Definition
|
|
Term
| List three common terms to describe how fast the media is moving |
|
Definition
|
|
Term
| List three common terms to describe how fast the media is moving |
|
Definition
|
|
Term
| List three common terms to describe how fast the media is moving |
|
Definition
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|
Term
|
Definition
| it is the first step in the art of telling a story of a film through sound. |
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Term
| In your own words, describe the technical aspect of spotting? |
|
Definition
| Idea, what sfx we can use, what music to use , how much money and time is bneeded to be spent on making the movie |
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|
Term
| What is the first rule of sound for motion pictures |
|
Definition
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|
Term
| in your own words describe what a concious sound is and give three examples of conscious sounds |
|
Definition
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|
Term
| what is considered to be the content, and drives the story of the motion picture |
|
Definition
|
|
Term
| what is considered to be the content, and drives the story of the motion picture |
|
Definition
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|
Term
| what is said to add the realism to a motion picture soundtrack |
|
Definition
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|
Term
| What are the three things you can do in lab to ensure you dont lose audio files |
|
Definition
| save session copy, offline drive, proper label, back up , documentation |
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Term
| who has the responsibility of loading the production sound from film editor into the editing system and phase up the dats to the film edited sound |
|
Definition
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Term
| who is responsible for splitting the dialogue to different tracks in a logical format so the mixer can blend it back togeather |
|
Definition
|
|
Term
| at what level is dialogue most intelligible |
|
Definition
|
|
Term
| what is important about the frequency range between 1khz-3.1khz |
|
Definition
| most prominent frequencies of the human voice |
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|
Term
| In the world of dialogue what is important about 600hz |
|
Definition
| distribution of spectral content. consonants are above 600hz vowels are below 600 |
|
|
Term
| what are the fundamental frequencies of the human voice |
|
Definition
males 80hz-240
females- 140-500 |
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Term
| how much space is between each line of animation dialogue when they are laid back to dat |
|
Definition
| 10 frames between each line |
|
|
Term
| who is responsible for splitting the dialogue to different tracks in a logical format so the mixer can blend it back togeather |
|
Definition
|
|
Term
| what track would i split the dialogue to if the characters were sharing the same space |
|
Definition
|
|
Term
| Which octives are said to give intensity |
|
Definition
|
|
Term
| which person is responsible for levels going to tape during a foley session |
|
Definition
|
|
Term
| What would foley replace, that would be missing from the M&E mix |
|
Definition
|
|
Term
| What are the benifits of using a large cap microphone for foley |
|
Definition
| wider pickup of room tone |
|
|
Term
| What are the benifits of using a large cap microphone for foley |
|
Definition
| wider pickup of room tone |
|
|
Term
| what could u use to subsitue hardwood floor |
|
Definition
|
|
Term
| what are the three types of sound effects editors and what are their hierachy |
|
Definition
| backround editor, design fx editor, hard fx editor |
|
|
Term
| what are three ways to concepturlize a sound effect |
|
Definition
| original sound source, analgus visualization, sounds with out visual concruents |
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Term
| what would be a good definition for re recording |
|
Definition
| blending of all the edited sound elements into one continuous sound track |
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Term
| What is an M&E and why is it important |
|
Definition
| music and effects mix gives life and realism |
|
|
Term
| where is the only place i would be most likely to find audio on a digital rerecording stage |
|
Definition
|
|
Term
| What would you find at either end of the console on a re recording stage and why are they there |
|
Definition
| superviser desk and sound effects to change, take notes, communicate to mix |
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|
Term
| How would you explain pinking the room to a friend who had no studio experience |
|
Definition
| use pink noise to tune the levels of our speakers. |
|
|
Term
| what would i find in the control room of an average re recording stage |
|
Definition
| recording machines, dsp core, and converters |
|
|
Term
| what term would describe the precess of blending source material into smaller stereo sub-mixes |
|
Definition
|
|
Term
| how many channels would panned dialogue or general walla be sent to |
|
Definition
|
|
Term
| how many channels is a panned foley predub |
|
Definition
|
|
Term
| which channel would you send all principal characters dialogue |
|
Definition
|
|
Term
| how many channels is a small sound effects predub |
|
Definition
|
|
Term
| which channels would you be most likely to send your large sound effects to when creating a large sound effects predub |
|
Definition
|
|
Term
| what is mixed to create a printmaster |
|
Definition
|
|
Term
| who mixes on a re recording stage |
|
Definition
|
|
Term
| what is the purpose of the chain |
|
Definition
| clean up production dialogue |
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