Commission
Scenario – You have been commissioned to create a soundtrack for a moving image project. A crime drama called “Bangers & Mash”. You and your team must plan and create the sound track for the project including theme music, background and atmospheric music as well as any sound effects required.
Task 1:
Be able to devise a soundtrack for a moving image
project
Professional practice: working with a
director; working to a brief; working with a studio crew; working with a
location crew; meeting audience requirements in relation to issues of taste and
decency
Components: dialogue;
recorded music; pre-recorded music; SFX, eg pre-recorded, public domain,
licensed, own; library, eg, audio CD, CD ROM, internet, public domain,
licensed material
Planning: capabilities of the
available locations; recording equipment; software; recognition of various
audio formats and their compatibility; copyrights; documentation
Intellectual property: public domain;
internet downloading; licensed music; licensed SFX; Mechanical Copyright
Protection Society-Performing Rights Society Alliance (MCPS-PRS)
Task 2:
Be able to record audio for moving image
Environments: studio and
location sound formats; mixing live sound; acoustic interference
Equipment: selection; configuration
and operation (studio, inside, outside, on location); video; digital; from
single sources; from multiple sources
Microphones: selection;
handling; positioning for different environments (indoor, outdoor and studio)
Connecting audio: awareness of
talk-back; headphones; recognising and applying cabling connections
Monitor and control: monitoring and
controlling of recording levels via peak program meters (PPMs) and volume units
meters (VUMs); fundamentals of decibels (dBs)
Synchronisation: timecode use;
SMPTE
Content: dialogue, eg individuals,
groups, crowds; music, eg solo, ensemble, vocal, instrumental; location, eg
background animate, background inanimate, wildtrack; SFX
Documentation and storage:
marking; storing and archiving of all types of sound recording media; logging
tracks and timing; log soundtracks from video and audio rushes using time-code
and control track
Task 3:
Be able to produce a soundtrack for a moving image
project
Professional practice: working with a
director; requirements of client; requirements of audience
Creativity: using audio
track to complement the visual content of a production (speech, music, ambient
sound, SFX)
Edit sound to picture: locking sound
and vision (synchronisation); lip synchronising; split edits; use of timecode; adding music or background
atmosphere; laying off and laying back tracks;
Mixing and dubbing sound sources: level setting; equalisation; mixing dialogue; music and effects; using
appropriate compression
ALL MISSING AREAS CAN BE FOUND IN PREVIOUS ASSIGNMENTS.
Professional practice:
Working with a director:
Working with the director simply consists of following the demands of the director and consulting with them to provide and sort audio in production and more extensively post-production.
Working with the director simply consists of following the demands of the director and consulting with them to provide and sort audio in production and more extensively post-production.
Working to a brief:
Working to a brief allows each individual to understand the production plan layout, increasing efficiency, saving time and gives a clear vision on the projects outcome.
Working to a brief allows each individual to understand the production plan layout, increasing efficiency, saving time and gives a clear vision on the projects outcome.
Working with a studio crew:
Working with a crew correctly can very much help understanding in production and increase efficiency, this is given by good communication in order to achieve the desired outcome, e.g being a scene, getting the correct camera angles and audio levels.
Working with a crew correctly can very much help understanding in production and increase efficiency, this is given by good communication in order to achieve the desired outcome, e.g being a scene, getting the correct camera angles and audio levels.
Working with a location crew:
This is again down to communication, this area of the team can provide information on the best areas for the scene based on its narrative.
This is again down to communication, this area of the team can provide information on the best areas for the scene based on its narrative.
Meeting audience requirements in relation to issues of taste and decency:
During production the set guidelines and narrative should not stray from that as set, this could stray the intended target audience away from the content and given the target audience age, the content must not break any of the BBFC classifications of the age group. An example being if the target audience was that of children, gore is not going to be included in the content.
Intellectual property:
Public domain:
Any published product will further be sent into the public domain for consumers to purchase.
Any published product will further be sent into the public domain for consumers to purchase.
Internet downloading:
Downloading files from the internet means transferring the intended data from one internet/digital storage area onto your personal storage area for consumer use.
Downloading files from the internet means transferring the intended data from one internet/digital storage area onto your personal storage area for consumer use.
Licensed music:
When you create a piece of music for the public domain, licensing it is a choice, given you do so if this product is used in any other project or factor of new products the owner has right to strip them of using their product or choose to gain profits and royalties having their track associated with these new products.
If the product is licensed anyone with intentions to use it will have to purchase the product for personal use, however buy the rights to use it in commercial use.
When you create a piece of music for the public domain, licensing it is a choice, given you do so if this product is used in any other project or factor of new products the owner has right to strip them of using their product or choose to gain profits and royalties having their track associated with these new products.
If the product is licensed anyone with intentions to use it will have to purchase the product for personal use, however buy the rights to use it in commercial use.
Environments:
Studio and location sound formats:
In both studio and location the sound files consist of very similar formats, a very popular format being WAV based on its quality, especially in high quality productions.
Of course both Studio and Location recording are different, Location sound is the capturing of natural sound and ambience on the, example of a film set, set to later be used in post-production and in most cases a foundation of the footage. Studio recording offering a much cleaner audio outcome, this is used to capture any audio/speech etc that could not clearly be achieved at location.
In both studio and location the sound files consist of very similar formats, a very popular format being WAV based on its quality, especially in high quality productions.
Of course both Studio and Location recording are different, Location sound is the capturing of natural sound and ambience on the, example of a film set, set to later be used in post-production and in most cases a foundation of the footage. Studio recording offering a much cleaner audio outcome, this is used to capture any audio/speech etc that could not clearly be achieved at location.
Mixing live sound:
Mixing live sound is the process of mixing any audio/sound sources being input on a live basis, such as at the set of a film this can be used to give an insight into how the audio will sound and if it suits the look of the scene/shot before the footage gets passed onto the post-production stage, ultimately ensuring further quality.
This also applies to live gigs, the sound must be mixed to suit the given environment and effecting factors such as the people to ensure the best quality.
Acoustic interference:
Acoustic interference must be heavily considered especially in cases of recording at a location, if two waves of the same type and frequency cross paths with one another it creates interference in the audio recording which will further have to be controlled or replaced in post-production as the interference creates areas of maxima and minima in the audio.
Microphones:
Selection:
Selecting the right microphone for each given situation is important, especially when trying to capture audio at a high professional standard. It can ensure the best possible outcome on the intended audio given all the affecting factors, an example being capturing speech outside a dynamic microphone with a dead cat would suit given its situation and accessories to ensure the audio quality is high and there is no unwanted noise.
Handling:
Microphones of a high standard are not cheap, when handling them you must ensure you handle them correctly and carefully to reduce any chance of damage to the microphone, it could further affect the mics ability and quality or simply break the mic given it is handled wrong. Especially when recording on location, only a limited amount of equipment will be taken for efficiency, if the mic is broken, filming/recording can not go ahead.
Positioning for different environments (indoor, outdoor and studio):
The mics position will be altered ti best achieve the intended audio, based on the situation. An example being an AS live recording, the microphones will be positioned to face the instruments it intends to pick up, trying to simply capture the intended instruments and stop the bleeding from unwanted noise.
Connecting audio:
Awareness of talk-back:
Talk-back gives you easy access to communicate with those in the live room, given you are in the control room, this allows you to discuss any problems or ways of improvement to achieve the bets outcome and increasing efficiency.
Talk-back gives you easy access to communicate with those in the live room, given you are in the control room, this allows you to discuss any problems or ways of improvement to achieve the bets outcome and increasing efficiency.
Headphones:
Feeding the captured/capturing audio through the headphones helps the artist/s being recorded to ensure their timing and gives them an insight, this also cancels out any chance of the already recorded audio interfering with the audio being recorded.
Feeding the captured/capturing audio through the headphones helps the artist/s being recorded to ensure their timing and gives them an insight, this also cancels out any chance of the already recorded audio interfering with the audio being recorded.
Monitor and control:
Monitoring and controlling of recording levels via peak program meters (PPMs) and volume units meters (VUMs):
PPM's are used to see the level of the audio signal, this is to see whether the signal is to strong or even to weak in comparison to the intentions or other recordings. VUM's display the signal level from the audio equipment.
This must be monitored and controlled to ensure its balance on the overall multi track recording. An example of this would be recording both a drum kit and a guitar, the drum kits input is usually a lot louder than that of the guitars, this can be controlled (as shown by the signals) using both VUM's and PPM's.
PPM's are used to see the level of the audio signal, this is to see whether the signal is to strong or even to weak in comparison to the intentions or other recordings. VUM's display the signal level from the audio equipment.
This must be monitored and controlled to ensure its balance on the overall multi track recording. An example of this would be recording both a drum kit and a guitar, the drum kits input is usually a lot louder than that of the guitars, this can be controlled (as shown by the signals) using both VUM's and PPM's.
Fundamentals of decibels (dBs):
Sound is measured in decibels, this measurement allows you too see how intense the sound is. This must be considered when recording to ensure the sound is sustained and not too high as it will distort the audio and potentially harm listeners.
Sound is measured in decibels, this measurement allows you too see how intense the sound is. This must be considered when recording to ensure the sound is sustained and not too high as it will distort the audio and potentially harm listeners.
Synchronisation:
Timecode use:
Timecode is a sequence of codes generated by synchronisation systems at specific intervals. This can be very important in areas such as post-production as it allows you see where a recorded material has begun or ended helping with synching, especially in areas such as speech and to match the content in which it is being synched too.
Timecode is a sequence of codes generated by synchronisation systems at specific intervals. This can be very important in areas such as post-production as it allows you see where a recorded material has begun or ended helping with synching, especially in areas such as speech and to match the content in which it is being synched too.
SMPTE:
SMPTE is a specific type of time code used in both visual and audio production which can further be coded into different formats such as Linear, Vertical interval time codes and MIDI.
SMPTE is a specific type of time code used in both visual and audio production which can further be coded into different formats such as Linear, Vertical interval time codes and MIDI.
Content:
Dialogue, eg individuals, groups, crowds:
Dialogue is a massive factor of content as it is able to portray information or connect that of the content being shot to the audience.
In a case as such as our 'Bangers & Mash' production, the character Mash is a very serious character, the chosen dialogue must match his personality therefore portraying the character in a set way and adding realism.
Dialogue is a massive factor of content as it is able to portray information or connect that of the content being shot to the audience.
In a case as such as our 'Bangers & Mash' production, the character Mash is a very serious character, the chosen dialogue must match his personality therefore portraying the character in a set way and adding realism.
Music, eg solo, ensemble, vocal, instrumental:
The recorded music, being diegetic or non must match that of the content, it helps create an intended feeling on the content. It helps in essence to allow the audience to infer that of the nature of the content.
However using pre-recorded music you must have rights to use them being on a commerical basis.
The recorded music, being diegetic or non must match that of the content, it helps create an intended feeling on the content. It helps in essence to allow the audience to infer that of the nature of the content.
However using pre-recorded music you must have rights to use them being on a commerical basis.
SFX:
SFX meaning sound effects are used to exaggerate and support that of the content being displayed, putting a certain effect on the audience, ranging from realism to humour.
Sound effects can be sourced from a a range of different areas, being pre-recorded, public domained, licensed and those created by yourself. By creating your own you avoid any means of copyright, this is similar to that of public domain material. However licensed material must be of an agreement with he creator to use in the newly produced product/material.
SFX meaning sound effects are used to exaggerate and support that of the content being displayed, putting a certain effect on the audience, ranging from realism to humour.
Sound effects can be sourced from a a range of different areas, being pre-recorded, public domained, licensed and those created by yourself. By creating your own you avoid any means of copyright, this is similar to that of public domain material. However licensed material must be of an agreement with he creator to use in the newly produced product/material.
Documentation and storage:
Marking:
Marking allows everybody involved in the production of the product to clearly see any changes made to that of the original plan.
Marking allows everybody involved in the production of the product to clearly see any changes made to that of the original plan.
Storing and archiving of all types of sound recording media:
Storing and backing up any recorded material is important as it may be required for later use, any mistakes of deleting content can then be avoided and it saves time using an already recorded source that can achieve the same effect rather than making an entirely new source.
Storing and backing up any recorded material is important as it may be required for later use, any mistakes of deleting content can then be avoided and it saves time using an already recorded source that can achieve the same effect rather than making an entirely new source.
Logging tracks and timing:
Logging tracks is by the means of keeping note of which tracks are what and which have been used in the project, logging timings is to keep note of when the audio you intended to capture ends and starts and when any effects may have been added. This allows understanding and easy access to those who require the intentional content and establish what they have to do, example being passing on all the content to the workers in post-production.
Logging tracks is by the means of keeping note of which tracks are what and which have been used in the project, logging timings is to keep note of when the audio you intended to capture ends and starts and when any effects may have been added. This allows understanding and easy access to those who require the intentional content and establish what they have to do, example being passing on all the content to the workers in post-production.
Log soundtracks from video and audio rushes using time-code and control track:
A control track runs along a tape with visuals/video on it, the control track sends out frameby frame pulses corresponding to the time code of the captured recording, allowing the videotape to then easily be synchronize.
A control track runs along a tape with visuals/video on it, the control track sends out frameby frame pulses corresponding to the time code of the captured recording, allowing the videotape to then easily be synchronize.
Professional practice:
Working with a director:
In terms of soundtracks, working with the director allows you to ensure the desired audio for the scene to help set the tone of the content/scene.
Requirements of client:
Every client has requirements, the creators of the soundtrack need to make sure the final product fits into these requirements, an example being a request of no profanity in the production, the crew must ensure the content does not consists of any.
Every client has requirements, the creators of the soundtrack need to make sure the final product fits into these requirements, an example being a request of no profanity in the production, the crew must ensure the content does not consists of any.
Requirements of audience:
The audience also expect from the production, the genre must be clear and content must fit into this to ensure the audience is happy/enjoy the production. This includes the soundtracks used, they must suit the genre, to increase effectiveness and diffuse any confusion.
The audience also expect from the production, the genre must be clear and content must fit into this to ensure the audience is happy/enjoy the production. This includes the soundtracks used, they must suit the genre, to increase effectiveness and diffuse any confusion.
Creativity:
Using audio track to complement the visual content of a production (speech, music, ambient sound, SFX):
Again it is very important that the audio complements the visual content, it must fit the genre/mature of the content. This can be easily achieved by working with the director. You can ensure all audio supports the content, making it effective in result to the audience.
Again it is very important that the audio complements the visual content, it must fit the genre/mature of the content. This can be easily achieved by working with the director. You can ensure all audio supports the content, making it effective in result to the audience.
Edit sound to picture:
Synchronisation - Synchronisation is a key for effectiveness, to ensure all the content makes sense and is effective the audio must sync to the content creating in result a coherent and pleasing effect on the audience from the production.
Lip Synchronisation - In a lot of cases the content is filmed and the dialogue/relative speech is recorded in a studio for a cleaner outcome, especially when the content is filmed at a location. The audio/speech must match the content for a professional look on the production.
Split edits:
A split edit is when two different shots/scene are bridged together using sound, an example being if a soundtrack was playing at the end of one scene and continues playing in the next scene in a different format usually, such as a non-diegetic soundtrack further being played in the next shot on a radio/CD player etc.
Adding music or background atmosphere;
Adding music or background atmosphere can be used for more than setting the tone/nature of the content, it can be used to fill silences and create a flow in the content. An example would be if you can visually see the characters walking into shot from a distance, dynamics typically show that you should not be able to hear them for realism, to cover this music/underscore can be played to bridge the gap until they are in a realistic range in which you could hear the characters.
Laying off and laying back tracks;
When a scene/piece of content requires music to be played, this can be done in post production an example being if a radio is being played in the scene, the audio file captured will be lined up with the video file based again on the time codes and markers set.
Synchronisation - Synchronisation is a key for effectiveness, to ensure all the content makes sense and is effective the audio must sync to the content creating in result a coherent and pleasing effect on the audience from the production.
Lip Synchronisation - In a lot of cases the content is filmed and the dialogue/relative speech is recorded in a studio for a cleaner outcome, especially when the content is filmed at a location. The audio/speech must match the content for a professional look on the production.
Split edits:
A split edit is when two different shots/scene are bridged together using sound, an example being if a soundtrack was playing at the end of one scene and continues playing in the next scene in a different format usually, such as a non-diegetic soundtrack further being played in the next shot on a radio/CD player etc.
Adding music or background atmosphere;
Adding music or background atmosphere can be used for more than setting the tone/nature of the content, it can be used to fill silences and create a flow in the content. An example would be if you can visually see the characters walking into shot from a distance, dynamics typically show that you should not be able to hear them for realism, to cover this music/underscore can be played to bridge the gap until they are in a realistic range in which you could hear the characters.
When a scene/piece of content requires music to be played, this can be done in post production an example being if a radio is being played in the scene, the audio file captured will be lined up with the video file based again on the time codes and markers set.
Use of digital effect generators or
synthesisers:
Synthesisers or digtal effect can be used as prior to live instruments to achieve a completely different effect on the content, most cases those that can not be achieved of live instruments, it allows variety and easy access to it. An example being such as a Sci-fi production using these generators to create surreal noises and effects to suit the nature of the content.
Mixing and dubbing sound sources:
Level setting;
Setting the sound level is useful to ensure balance and consistency in all of the sound used for the final project.
Equalisation;
This is often used in cases such as ours to balance out the sound of the captured audio, an example being the captured dialogue is too quiet then they can use EQ to boost it to the frequency sustained in the other captured audio.
Mixing dialogue;
Mixing dialogue is highly important as it must be clear in which the character is trying to inform the audience with. You must ensure the dialogue is clearly heard over the other sources of sound, this can be achieved using level settings and EQ.
When adding in these external elements you must ensure they can be heard for their intentional effect however not too overpower the importance of the scene, being the dialogue.
Using appropriate compression:
Compression makes quieter sound louder and louder sound quieter, this can be used if say for example the microphone could not pick the dialogue up at a sustainable rate. However this must not be overused as the final quality of the audio may be poor after being too loud or too quiet.
FINAL PRODUCT:
Using the first scene from our 'Bangers & Mash' Production, we edited the sound of the final edit, adding in multiple sound effects, appropriate ambience and backing underscores, all mixed and mastered to suit.
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