Sound Production: Crash Course Film Production #5
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Date: 2022-04-04
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Comments and reviews: 10
Piotr
Awesome Video but I have one amendment. Timecode slates [digital slates] dont work by sending a signal to camera when it claps [i have one if you would like to see! ]. It actually works very similar to a normal slate. The instant a slate closes it either lights up, freezes the timecode or shows some other information. What makes timecode slates useful is the clock that is ticking away inside and on the lcd. This number is called timecode and that number exactly matches the timecode on the sound recorder and often the camera unless it is shooting at a higher than normal framerate. And this is where the slate is super useful. Often when the camera shoots off speed and timecode isnt going to camera then seeing the exact timecode on camera [through the slate] can help precisely sync the audio to the changed framerate of the camera, if the editor chooses to use a off speed take and bring it back to the normal framerate. And I am sure you will cover this in the editing part of this but having audio and camera footage marked with timecode in the metadata is what the editor uses to automate the syncing process! Also one of the key roles of boom ops is being the onset eyes, ears and audio management for the recordist because often the recordist is off set maybe near video village or not in reach. I have had many a converstations with the boom op as they describe how they think they will gather the audio in a scene and had discussions about what i need in my recordings when there is particular coverage that i am after. Anyway I always love these videos and they are a great and fantastic resource for so many amazing topics including this one and me writing this is in no way discrediting the amazing stuff that should be listened to and trusted on this topic. I am just a sound recordist who has to much time on my hands! DFTBA!
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Awesome Video but I have one amendment. Timecode slates [digital slates] dont work by sending a signal to camera when it claps [i have one if you would like to see! ]. It actually works very similar to a normal slate. The instant a slate closes it either lights up, freezes the timecode or shows some other information. What makes timecode slates useful is the clock that is ticking away inside and on the lcd. This number is called timecode and that number exactly matches the timecode on the sound recorder and often the camera unless it is shooting at a higher than normal framerate. And this is where the slate is super useful. Often when the camera shoots off speed and timecode isnt going to camera then seeing the exact timecode on camera [through the slate] can help precisely sync the audio to the changed framerate of the camera, if the editor chooses to use a off speed take and bring it back to the normal framerate. And I am sure you will cover this in the editing part of this but having audio and camera footage marked with timecode in the metadata is what the editor uses to automate the syncing process! Also one of the key roles of boom ops is being the onset eyes, ears and audio management for the recordist because often the recordist is off set maybe near video village or not in reach. I have had many a converstations with the boom op as they describe how they think they will gather the audio in a scene and had discussions about what i need in my recordings when there is particular coverage that i am after. Anyway I always love these videos and they are a great and fantastic resource for so many amazing topics including this one and me writing this is in no way discrediting the amazing stuff that should be listened to and trusted on this topic. I am just a sound recordist who has to much time on my hands! DFTBA!
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Bob
Not entirely correct.
First, it should be mentioned that the production sound team is also responsible for all production communications - walkie-talkies, bull horns, etc. as well as sending a rough sound mix (including headphones and sound distribution) to the director, DP and the video village. Also, the only sound with which the production sound team is concerned is the production dialog and dialog wilds plus capturing room tone. Except for the smallest low/no/mini/micro budget projects all other sounds are created and added during audio post production.
When it comes to audio post the dialog (DX) editor puts together the entire DX track, which includes incorporating the ADR sent by the ADR mixer(s. The Foley team (artists/walkers and mixer) is responsible for all character made sounds such as footsteps, kisses, punches and props handling and sometimes smaller -soft- sound effects. The Foley editor will select the best takes and correct Foley sync, if needed. The sound effects editors are responsible for -hard- effects such as gunshots/explosions, vehicles, ambient sound, creatures and the like, although Foley may enhance sound effects and vice versa. The music editor does just that, edits the score and source music. You also neglected to mention the Supervising Sound Editor, who is responsible for coordinating the entire audio post team, and the Sound Designer, who is responsible for the sonic palette of the film. The Supervising Sound Editor and Sound Designer can sometimes be the same person. You also neglected the rerecording mixer(s) who combine all of the sonic elements onto a cohesive whole to create a believable sonic world. It is not unusual for the Supervising Sound Editor and/or the Sound Designer to be a member of the rerecording team.
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Not entirely correct.
First, it should be mentioned that the production sound team is also responsible for all production communications - walkie-talkies, bull horns, etc. as well as sending a rough sound mix (including headphones and sound distribution) to the director, DP and the video village. Also, the only sound with which the production sound team is concerned is the production dialog and dialog wilds plus capturing room tone. Except for the smallest low/no/mini/micro budget projects all other sounds are created and added during audio post production.
When it comes to audio post the dialog (DX) editor puts together the entire DX track, which includes incorporating the ADR sent by the ADR mixer(s. The Foley team (artists/walkers and mixer) is responsible for all character made sounds such as footsteps, kisses, punches and props handling and sometimes smaller -soft- sound effects. The Foley editor will select the best takes and correct Foley sync, if needed. The sound effects editors are responsible for -hard- effects such as gunshots/explosions, vehicles, ambient sound, creatures and the like, although Foley may enhance sound effects and vice versa. The music editor does just that, edits the score and source music. You also neglected to mention the Supervising Sound Editor, who is responsible for coordinating the entire audio post team, and the Sound Designer, who is responsible for the sonic palette of the film. The Supervising Sound Editor and Sound Designer can sometimes be the same person. You also neglected the rerecording mixer(s) who combine all of the sonic elements onto a cohesive whole to create a believable sonic world. It is not unusual for the Supervising Sound Editor and/or the Sound Designer to be a member of the rerecording team.
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Jurij
The episodes with this woman should not have followed the guy. They are way lower quality and more boring to watch. While the guy was super interesting because he actually told a full story and also because what he said was history, This is just technical and very amateurish explanations of how a movie is made. And much of this is specific to only some kind of movie productions.
Honestly, you would be better off just watching a documentary about a movie production. This is just silly. You want to show us how to make a movie by talking about it? I don't think so.
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The episodes with this woman should not have followed the guy. They are way lower quality and more boring to watch. While the guy was super interesting because he actually told a full story and also because what he said was history, This is just technical and very amateurish explanations of how a movie is made. And much of this is specific to only some kind of movie productions.
Honestly, you would be better off just watching a documentary about a movie production. This is just silly. You want to show us how to make a movie by talking about it? I don't think so.
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Theo
You're right about sound production: if it's good, then you don't notice it. But if it's bad, it can pull you out of immersion or destroy your suspension of disbelief. This reminds me recently when I was watching a tv show, and a character was reading a book and turned a page and it sounded like somoene waving a magazine around. It didn't sound remotely like turning one thin page and so it took me out of the story.
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You're right about sound production: if it's good, then you don't notice it. But if it's bad, it can pull you out of immersion or destroy your suspension of disbelief. This reminds me recently when I was watching a tv show, and a character was reading a book and turned a page and it sounded like somoene waving a magazine around. It didn't sound remotely like turning one thin page and so it took me out of the story.
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Andile
I'm actually curious how it works with movies like Baby Driver where the action during production needs to be synched with the movie's soundtrack ever before editing. I always imagined that there was someone off set holding up a boombox so the actors know when to move - then the sound guy would just remove it in post - but there's probably a more professional way than that.
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I'm actually curious how it works with movies like Baby Driver where the action during production needs to be synched with the movie's soundtrack ever before editing. I always imagined that there was someone off set holding up a boombox so the actors know when to move - then the sound guy would just remove it in post - but there's probably a more professional way than that.
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Amanda
Syncing audio coming in from the mic isn't really a problem. In class we usually hook the boom mic to the camera and the camera does the rest. However, if the sound's to quiet and can't be fixed with the audio gain, or if we want to change a line (but usually the first one)we usually retake, or do a voice over or a sound effect, depending on what needs to be fixed.
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Syncing audio coming in from the mic isn't really a problem. In class we usually hook the boom mic to the camera and the camera does the rest. However, if the sound's to quiet and can't be fixed with the audio gain, or if we want to change a line (but usually the first one)we usually retake, or do a voice over or a sound effect, depending on what needs to be fixed.
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education
Again, I know Crash Course has been purchased by PBS, but come on! The original crash courses were full of energy. Well, HANK is full of energy. But PBS has -PBS'd- the videos. It is so much slower and the energy is sloooow. For example, this host has no energy. Cutting from one info to another is not energy.
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Again, I know Crash Course has been purchased by PBS, but come on! The original crash courses were full of energy. Well, HANK is full of energy. But PBS has -PBS'd- the videos. It is so much slower and the energy is sloooow. For example, this host has no energy. Cutting from one info to another is not energy.
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William
-0: 48. No, E. T. phoned home COLLECT. His -folks- paid roaming charges.
Where were you on about half-a-dozen indie productions I engaged with that could have -rilly, rilly- used your help in explaining simple ideas to weird directors?
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-0: 48. No, E. T. phoned home COLLECT. His -folks- paid roaming charges.
Where were you on about half-a-dozen indie productions I engaged with that could have -rilly, rilly- used your help in explaining simple ideas to weird directors?
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Jason
So. We're not going to talk about the fact that an innocent ice cream vender was just killed? The kid didn't even care. The mom was just there like. -Well that happened-.
Also. Wilhelm ice cream, and no Wilhelm scream upon death! Shame.
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So. We're not going to talk about the fact that an innocent ice cream vender was just killed? The kid didn't even care. The mom was just there like. -Well that happened-.
Also. Wilhelm ice cream, and no Wilhelm scream upon death! Shame.
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ChillsAhoy
One of my friends works in sound production (freelance) and this episode in particular has really helped me understand the breadth of work he could be expected to carry out on a typical day. It is so complex and underappreciated!
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One of my friends works in sound production (freelance) and this episode in particular has really helped me understand the breadth of work he could be expected to carry out on a typical day. It is so complex and underappreciated!
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