# data[].attributes.body
https://drive.google.com/file/d/1qiH4As42e5WwbCBKyiw4S9QsrdJQCRwm/view?usp=sharing

# data[].attributes.body
https://drive.google.com/file/d/1g5Q8pjBXy8-Xkkb070VJWlDoCBHjH71h/view?usp=sharing

# data[].attributes.body
https://drive.google.com/file/d/1flRe_u-MqUi6tfpgJ6HHTPHdTQrhtj7M/view?usp=sharing

# data[].attributes.body
https://drive.google.com/file/d/1timqwzULSCLjFwg_1Hm0AG0fGpQoAy7W/view?usp=sharing

# data[].attributes.body
Watch "The Beautiful Lies of Sound Design" and write your thoughts and reflections below.

# data[].attributes.attachment_link.title
The Beautiful Lies of Sound Design | Tasos Fratzolas | TEDxAthens

# data[].attributes.attachment_link.description
From gunshots in a canyon to underwater submarine engines, this audio-rich talk explores the role of sound design in modern storytelling. Soundsnap.com founder Tasos Frantzolas looks at a variety of multimedia examples to show the ways that sound designers 'lie' in creating the sonic palette of film, television and interactive media.

# data[].attributes.body
https://www.youtube.com/watch?v=0IPxIvbc_cs

# data[].attributes.body
https://www.youtube.com/watch?v=r5-cO_cFRwg

# data[].attributes.headline
Beautiful lies. What does a T-Rex even sound like? 

# data[].attributes.subject
Beautiful lies. What does a T-Rex even sound like? 

# data[].attributes.attachment_link.title
Jurassic Park T-Rex sound design explained by Gary Rydstrom

# data[].attributes.body
Jack Harrington

Sound design is an aspect of film which often gets overlooked in comparison to the more immediately obvious components of a movie, such as acting and cinematography. Due to the subtlety of its effect on the viewer, many don’t realize the enormity of its impact on a scene’s tone.

In “The Beautiful Lies of Sound Design,” a TED Talk by Tasos Fratzolas, we are shown through many examples how deep the impact of sound design goes.  Many of the sounds which we hear in film are not what they appear to be: the sound of rain is often mimicked by recording bacon sizzling in a frying pan for example, and punches are often simulated by stabbing a head of lettuce or cabbage.  While much of this is for the ease of recording and manipulating a sound, since recording the sound of a real punch up-close would be impractical, the real core component of sound design is the same as that of any art: human emotion.  For example, silence is one of the most utilized tools of sound design: it can create feelings of tension, intimacy, or contemplation.  The sound of birds chirping can create a feeling of normalcy, since this is a sound humans have woken up to for as long as we’ve existed.

While sound design often exists to recreate the common sounds of everyday life, in many other films, sound design exists to invent new sounds for universes purely of the imagination.  If laser guns were real, what would they sound like? Or rather, in the context of creating a new cinematic universe, what should they sound like? According to Ben Burtt, the acclaimed sound designer behind films such as Star Wars and Wall-E, it should sound something like the striking of a stretched out slinky: the now world-famous “pew-pew” sound.  Scientifically accurate or not, this is how the sound of lasers is now heard in the minds of millions.

Whether it’s in music, film, advertising, or any other context, understanding sound design opens up a whole new world of creative opportunity.  Between its capacity to alter human emotions, and the possibilities of imagining new worlds, sound design should be understood to be one of the most important components to any work of media.

# data[].attributes.headline
Here's my example of sound design in film: (Jack Harrington)

# data[].attributes.subject
Here's my example of sound design in film: (Jack Harrington)

# data[].attributes.body
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DM0iSCfmIdqg&d=DwMFAw&c=2tStSn3Yyb7CMXxZW9nuG-Sh-vz6mhnySBmFi7HdCsM&r=wWlqXsDrEEVe45oYWPlGzF313q0LXq0upSxL1CFcGIg&m=1qHknLLJNwv8F6N-mSI1efxAm8f6cNz9SvTrHuKv-xo&s=4rVjFwQowq7O5JKR_-ddaLFKutEDwbwfehotQHlRtQo&e=

# data[].attributes.attachment_link.title
Jurassic Park T-Rex sound design explained by Gary Rydstrom

# data[].attributes.headline
Rojae Creary "The Beautiful Lies of Sound Design"

# data[].attributes.subject
Rojae Creary "The Beautiful Lies of Sound Design"

# data[].attributes.body
https://youtube.com/shorts/QtvvI3_IJE0?feature=share

# data[].attributes.attachment_link.title
How The Sound Effects In 'A Quiet Place' Were Made | Movies Insider

# data[].attributes.attachment_link.title
SoundWorks Collection - The Sound and Music of The Last of Us

# data[].attributes.headline
The Beautiful Lie of Sound Design : Flora White

# data[].attributes.subject
The Beautiful Lie of Sound Design : Flora White

# data[].attributes.body
https://drive.google.com/file/d/1jeKk_lIYOgpLqu8kYrgh_KyfcbFXncyk/view?usp=sharing

Acting as music supervisor, you will source and import audio files of the music you choose to accompany each scene. You may, for the purposes of this exercise, rip music from youtube if you'd like. That wouldn't be acceptable for a real music supervision job for a number of reasons, but for educational purposes it works just fine. For each track you choose please research the record label & publisher. This would be the first necessary step towards contacting the rights owners in order to obtain the licenses necessary to use somebody else's intellectual property in your own work.

# data[].attributes.body
Here is a link to a live Orchestra making sounds for a Tom & Jerry episode.

https://youtu.be/19piJKYvBFU

# data[].attributes.body
Audio is working when downloaded

# data[].attributes.body
Music Supervisor Project

"Get Down Tonight" KC and the Sunshine Band
Label | TK
Songwriter(s) | Harry Wayne Casey Richard Finch
Producer(s) | Harry Wayne Casey Richard Finch

"Stagger Lee" Nick Cave and the Bad Seeds
Label | Reprise Records
Songwriter(s) | Nick Cave
Producer(s) | Nick Cave & the Bad Seeds, Tony Choen, Victor Van Vugt

"Night Rider" Dick Dale and the Del-Tones
Label | Capitol Records
Songwriter(s) | Dick Dale
Producer(s) | Dick Dale, Jim Economides, Jim Monsour

"Sabotage" Beastie Boys
Label | Grand Royal
Songwriter(s) | Michael Diamond, Adam Horovitz, Adam Yauch
Producer(s) | Beastie Boys Mario Caldato Jr.

"World of Pain" Cream
Label | Reaction Records
Songwriter(s) | Felix Pappalardi, Collins

Producer(s) | Felix Pappalardi

"Hungry Eyes " Eric Carmen
Label | RCA Arista
Songwriter(s) | John DeNicola Franke Previte

Producer(s) | Eric Carmen

"Blinding Lights " The Weekend
Label | XO Republic

Songwriter(s) | Abel Tesfaye Ahmad Balshe Jason Quenneville Max Martin Oscar Holter

Producer(s) | Max Martin Oscar Holter The Weeknd

"Lost Myself " Longpigs
Label | Mother Records

Songwriter(s) | Crispin Hunt

Producer(s)
| Kevin Bacon, Jonathan Quarmby

# data[].attributes.headline
Ryan Romero “THE BEAUTIFUL LIES OF SOUND DESIGN” HUX112

# data[].attributes.subject
Ryan Romero “THE BEAUTIFUL LIES OF SOUND DESIGN” HUX112

# data[].attributes.body
That video was cool though no lie

# data[].attributes.body
https://drive.google.com/file/d/1KR8b0PTeVQYblvROR8HJgctnCoEtmx1P/view?usp=sharing

# data[].attributes.headline
Elias Perez Music Supervisor Project Song Info

# data[].attributes.subject
Elias Perez Music Supervisor Project Song Info

# data[].attributes.body
It's kind of hard to get this detail of information when you don't know where to look.

# data[].attributes.headline
Ryan Romero HUX112 Music Supervisor Project 

# data[].attributes.subject
Ryan Romero HUX112 Music Supervisor Project 

# data[].attributes.body
Emanuel Outar

https://drive.google.com/file/d/1Nt8tlmwPc3tdE6mcPno81MhHBnntUBRL/view?usp=sharing

Billie Eilish Ocean eyes
Label |Darkroom Interscope
Songwriter(s) | Finneas O'Connell

Producer(s) Finneas O'Connell

Elvis presley Jailhouse Rock
Label | RCA Victor
Songwriter(s) | Jerry Leiber

Producer(s) Jeff Alexander

Roddy Ricch "The Box"
Label | Atlantic Bird Vision
Songwriter(s) | Rodrick Moore, Jr. Samuel Gloade Adarius Moragne Aqeel Tate

Producer(s) Datboisqueeze Zentachi

Sean Paul "Temperature"
Label | Atlantic VP
Songwriter(s) |  Sean Paul Henriques Adrian "IZES" Marshall Rohan Fuller

Producer(s) Rohan "Snowcone" Fuller

Pop Smoke Gangster
Label | Victor Victor Republic
Songwriter(s) |  Bashar Jackson Alex Petit Ellis Newton

Producer(s)  CashMoneyAP Swirv

Smooth Criminal Micheal Jackson
Label | EPIC
Songwriter(s) |  Micheal Jackson
Producer(s) Quincy Jones Michael Jackson (co.)

# data[].attributes.headline
Please post your room tone and ambience recordings below. 

# data[].attributes.subject
Please post your room tone and ambience recordings below. 

# data[].attributes.body
RT outside

# data[].attributes.body
Basement Room Tone

# data[].attributes.body
I want you to find a 2-3 minute video clip to work on one of the following.

Sound Design
Foley
ADR / Dialogue
Score / Original music

Submit a youtube link of the scene you want to work on for approval. Describe which aspect of the sound you'd like to work on. Listen carefully to see what could present challenges and how you think you might approach certain sounds. Write a paragraph or two about how you plan to achieve the appropriate sound for the clip.

# data[].attributes.headline
Fritz the Cat (1972) (please excuse the thumbnail, this movie is a satirical cartoon that's not meant to glorify any of the characters)

# data[].attributes.subject
Fritz the Cat (1972) (please excuse the thumbnail, this movie is a satirical cartoon that's not meant to glorify any of the characters)

# data[].attributes.body
I would like to replace the foley sounds and the score of this clip.  Much of the challenge in this will be in making the music fit in with the setting and themes of this movie (late 60s/early 70s counterculture).  Of course, as with any film score, there is always the challenge of making sure the music syncs up well with what is going on visually.  Another challenge to this will be the foley, since I have never made recordings of this kind before.  However, most of the sounds are common sounds that will be relatively easy to make or find, except for the cartoon “gling” sound that signifies the sparkling of the syringe.  Since this is a cartoon, however, and since this isn’t an actual realistic sound anyway, there will be a lot of creative potential in what sort of sound I choose to use in that instance.

# data[].attributes.body
I think this clip presents a great opportunity to write some original score music while also performing some small ADR and sound design parts. It just seems like a good mix of each one. It might be hard to dub some of the dialogue for the parts not spoken on screen or to match the music to the scene.

# data[].attributes.body
Slides from lecture

# data[].attributes.body
https://tubitv.com/movies/510689/score-a-film-music-documentary?start=true

Watch Score: A Film Music Documentary and take notes to prepare for a discussion in class next week. Post a video example of music in a film or show that you enjoy. Please keep examples classroom appropriate. (No nudity, offensive language or symbols).

# data[].attributes.attachment_link.description
Film music’s most celebrated names offer a candid look into how composers have developed some of the most iconic scores in the history of cinema.

# data[].attributes.body
the score in this movie gave the slower pace so much weight and atmosphere

# data[].attributes.body
I would like to replace foley for this clip!

# data[].attributes.attachment_link.title
Amélie | ‘The Phone Booth’ (HD) - Audrey Tautou, Maurice Bénichou | MIRAMAX

# data[].attributes.body
One of my favorite film scores, "Man of Steel", absolutely sets the tone for the entire movie. It reminds viewers they are witnessing gods among men and truly gives light to how powerful the protagonist and antagonist are. While this is a Superman movie, it is an origin story and you hear how the score emphasizes the struggles that the characters face at a point in time. The scene I linked above is a good example in the movie where the score just takes the script to a whole new level. (Spoiler-Warning if you watch the video)

# data[].attributes.attachment_link.title
Kal-El vs General Zod [PART 2] | Man of Steel

# data[].attributes.body
https://www.youtube.com/watch?v=SWxdW9jlHqM

I want to replace the foley and do a little sound design for this. Absolutely one of my favorite movies of all time.

# data[].attributes.attachment_link.title
Night of the Living Dead (2/10) Movie CLIP - Safe House (1968) HD

# data[].attributes.headline
Lake Zebrowski "The Shinning" Film Score

# data[].attributes.subject
Lake Zebrowski "The Shinning" Film Score

# data[].attributes.body
https://www.youtube.com/watch?v=kiV3J_e977Q

There is something so powerfully ominous about this opening score that  I have always adored. The score is actually from a 13th century Latin hymn that depicts the “Day of Wrath,” the Judgment Day. Those who are worth of God's grace will ascend into heaven while the remaining sinners are cast into eternal damnation. How incredibly ominous a choice for the opening for this dark film, especially against the backdrop of the majestic Rocky Mountains.

# data[].attributes.body
I'd like to add a film score to this short horror animation

# data[].attributes.attachment_link.title
Mirror Child – Cannes Palme d'Or nominated horror animation

# data[].attributes.body
The more and more we discuss ADR, foley, scoring and all the other sound processes that go into creating a film, the more appreciation I have for sound design. Visually and conceptually this film created by the great Tim Burton, has always appealed to me. But what would it be without the mood created by the scoring and the multitude of effects and sounds used to really envelope the viewer.

# data[].attributes.body
https://www.youtube.com/watch?v=qGgG6t7Re_0&ab_channel=MovieCarChasesHD

The more I pay attention to sound accompanied by video, I am paying more attention to the sound design, and music that isn't a billboard top 10 song. I can appreciate the the job in which the music for a scene to help present it and bring forward what is happening visually. In this scene I chose you can begin to understand how the tense more edgy music accompanies the actions of what is being shown.

# data[].attributes.attachment_link.title
FAST and FURIOUS 4 - Beginning, Gas Scene (Grand National GNX vs Gas Truck) #1080HD

# data[].attributes.body
Your options for your final project will to do a sound for picture project, or a written paper analyzing the sound of a film or television show.

# data[].attributes.body
https://drive.google.com/file/d/1dI2OZAJrIhMr_iyvewWoCSOr4rFUgoIr/view?usp=sharing

You can choose to do a mixdown of this either as your final project or as optional extra credit. It requires a fair amount of noise reduction, organization and labelling before you can get to the mix.

# data[].attributes.body
Interstellar is one of my favorite by Christopher Nolan i will be doing Sound Design, Foley ADR /Dialogue and Score / Original music. This scene doesn't have much foley. I don't think this scene will provide much of a change for me. My friend who is a producer will be helping me with the scoring, But overall I think this will be a fun project.
https://www.youtube.com/watch?v=TMxJnoPOFkg&t=145s

# data[].attributes.body
One of my favorite shows but the music especially this song being the end song literally incapsulates the whole show as I interpret it as the main character's mother (who is dead) singing to her son. This song is played by bits and pieces through the show till you finally understand why it's there and I think it makes the reveals way better.

# data[].attributes.attachment_link.title
Steven Universe Ending Theme - Full Edit (COMPLETE/August 2016) - Love Like You/Love Me Like You

# data[].attributes.body
https://www.ryancoltlevy.com

# data[].attributes.attachment_link.readable_text
Raised by bohemian wolves in NY who allowed me to play with every ounce of curiosity & ferocity, my obsession with film, storytelling, painting, music & performance as a whole became all consuming before I remember being able to walk.

My adolesence was spent digging up dinosaur bones, epic space battles & endless hours of movies & video games... for proper balance.

By the time I scrappily found my way around a guitar at 12 the next fifteen + years would be the theater & band life. Recording studios became playgrounds, Tour vans became second homes & Stages a platform of communication. My new extended family was a similar pack of scrappy wolves along for the mad, mad ride into the great unknown.

In 2015 we scrappy wolves found our way to Los Angeles & fought the good fight. In the strange turn of events life tends to bring us all, each of us found new, stronger opportunities pulling our time & energy further away from each other. And so, we broke up the band, to save the family.

I've been incredibly fortunate & grateful to have quickly found a career soon after in Acting, most specifically Voice Acting.

Thanks to the extraordinary community of actors, directors, producers, engineers, developers, casting directors & more who have given me a chance to have a voice.

Let's do this ♥

CONVENTIONS / PRINT SIGNING

You can now officially book me for Conventions / Digital Conventions & Print Signings via Conventions Etc!

CREDITS

Animation / Interactive / Anime

# data[].attributes.attachment_link.title
Ryan Colt Levy - Actor / Voice Actor / Musician / Artist

# data[].attributes.attachment_link.description
Raised by bohemian wolves in NY who allowed me to play with every ounce of curiosity & ferocity, my obsession with film, storytelling, painting, music & performance as a whole became all consuming before I remember being able to walk. My adolesence was spent digging up dinosaur bones, epic space battles & endless hours of movies & video games...

# data[].attributes.body
https://twitter.com/ryancoltlevy

# data[].attributes.attachment_link.embed_code
Tweets by ryancoltlevy

# data[].attributes.body
The Sound of Hacksaw Ridge

http://soundworkscollection.com/videos/the-sound-of-hacksaw-ridge
(Links to an external site.)

The Sound of Interstellar

http://soundworkscollection.com/videos/the-sound-of-interstellar
(Links to an external site.)

The Sound of ARGO

http://soundworkscollection.com/videos/argo
(Links to an external site.)

The Sound of Dark Knight

http://soundworkscollection.com/videos/thedarkknight
(Links to an external site.)

The Sound of Inception

http://soundworkscollection.com/videos/inception
(Links to an external site.)

The Sound and Music of The Girl with the Dragon Tattoo

http://soundworkscollection.com/videos/dragontattoo
(Links to an external site.)

The Sound and Music of The Dark Knight Rises

http://soundworkscollection.com/videos/darkknightrises
(Links to an external site.)

The Sound of The Favourite with Johnnie Burn (SFX, Environment & Sound Design)

https://soundworkscollection.com/post/the-sound-of-the-favourite-with-johnnie-burn
(Links to an external site.)

The Sound of The Revenant (Environment & Sound Design)

http://soundworkscollection.com/videos/the-sound-of-the-revenant
(Links to an external site.)

The Sound of Godzilla

http://soundworkscollection.com/videos/the-sound-of-godzilla
(Links to an external site.)

The Sound of The Maze Runner: Scorch Trials

http://soundworkscollection.com/videos/the-sound-of-the-maze-runner-scorch-trials
(Links to an external site.)

The Sound of Captain America: Civil War

http://soundworkscollection.com/videos/the-sound-of-captain-america-civil-war
(Links to an external site.)

The Sound of Zero Dark Thirty (good mixing info)

http://soundworkscollection.com/videos/zerodarkthirty
(Links to an external site.)

The Sound of Gravity (surround mixing)

https://soundworkscollection.com/post/gravity

# data[].attributes.body
https://music.apple.com/us/playlist/0-sae-scores/pl.u-AkAmv19iR1W47

# data[].attributes.body
I am working on writing an arrangement and re-recording the vocals/room tones

# data[].attributes.body
I'm doing this short film that I collaborate with another film student as my final project. I will need to add roomtone and mess with the levels, add effects.

# data[].attributes.body
QUESTION 1

If audio recorded on set is damaged due to wind noise or other uncontrollable factors, what process needs to happen in the studio to assure that you have well recorded dialogue for the mixer to work with?  This term means "to overdub dialogue in the studio"

|  | Sound Design
|  | ADR
|  | Foley
|  | Editing

QUESTION 2

If I am creating an original sound that resembles a spaceship or laser beam using a synthesizer , this process would fall under the category of:

|  | Sound Design
|  | Mixing
|  | Foley
|  | All of the above

QUESTION 3

Air conditioning, electrical noise such as 60 cycle hum, wind, rain and birds chirping in the backround all qualify as:

|  | Foley
|  | Dialogue
|  | Environmental ambience
|  | Room Tone

QUESTION 4

The audio engineer in charge of processing and balancing the final mix of a film or show is called the:

|  | Production Sound Mixer
|  | Re-Recording Mixer
|  | Dialogue Editor
|  | Boom operator

QUESTION 5

This entry level position requires strength and stamina, as your job is to handle the production sound microphones for long periods of time in a variety of challenging positions while keeping them out of the shot.

|  | Re-Recording Mixer
|  | Boom Operator
|  | Foley Recordist
|  | Director

QUESTION 6
When audio sources are competing in a similar frequency range, what common processor can you use?

|  | EQ
|  | Reverb
|  | Compressor
|  | Gate

10 points

QUESTION 7

1. This type of small microphone is used individually on each actor to capture their dialogue discreetly (seperately) :

|  | Shotgun
|  | Condensor
|  | Lavalier
|  | PZM

10 points

QUESTION 8

1. If a clock radio awakens a character in a film with a song, that sound is considered:

|  | non-diagetic
|  | sound design
|  | diagetic
|  | dynamic

10 points

QUESTION 9

1. In a scene where a character enters a crowded bar, many conversations being had by patrons will have a tendency to blend together resulting in:

|  | Reverb
|  | Walla
|  | Dizzyness
|  | Noise

10 points

QUESTION 10

1. In order to assure that your audio work will remain on a relevant time line, and to avoid having to do extra unexpected work due to the shifting of said timeline, it is very important that video is ____________  before you begin mixing it.

|  | Color corrected
|  | picture locked
|  | sound designed
|  | edited

10 points

QUESTION 11

1. Who has the final say in the creative vision of the film?

|  | The Producer
|  | The Director
|  | The Lead Actor/Actress
|  | The Movie Studio

10 points

QUESTION 12

1. This type of processing is used often to make something sound further away, or as if it's in different type of space, such as a cave or a church.

|  | Compression
|  | EQ
|  | Reverb
|  | Delay

10 points

QUESTION 13

1. When recording dialogue, it's important to record at a level that will ensure that you have ample headroom.  What is a safe level that also happens to be close to what most audio equipment is calibrated to receive?

|  | -18dB
|  | -6dB
|  | -3dB
|  | 0dB

10 points

QUESTION 14

1. If you hear a Drake song in a movie that is part of the:

|  | Musical Score
|  | Soundtrack
|  | Sound Design
|  | Ambience

10 points

QUESTION 15

1. Digital signals metering over 0dB in your DAW will cause:

|  | Compression
|  | Digital Distortion
|  | Hearing Loss
|  | Depression

10 points

QUESTION 16

1. This type of filter can be used to remove truck rumble or 60 cycle hum

|  | Low Pass Filter
|  | High Pass Filter
|  | Notch Filter
|  | All of the above

10 points

QUESTION 17

1. Doing sound design can be easier and more convenient with access to a comprehensive :

|  | software
|  | video archive
|  | foley recordist
|  | Sound library

10 points

QUESTION 18

1. What does FPS stand for?

|  | Feet Per Second
|  | Frames Per Second
|  | Fuzzy Peach Schnapps
|  | Frames Per Snapshot

10 points

QUESTION 19

1. What type of sound is often used to prompt a performance from a voice actor during an ADR session?

|  | 1k Triangle Wave
|  | White noise
|  | Pink Noise
|  | 1k Sine Wave

10 points

QUESTION 20

1. The boom operator, production sound mixer and the production sound assistant are part of the:

|  | production sound crew
|  | post production sound crew
|  | crafts and services
|  | actor's union

10 points

QUESTION 21

1. Sound designer, re-recording mixer, adr recordist , music editor and foley artist are all examples of:

|  | production sound roles
|  | post production sound roles
|  | audio engineers
|  | none of the above

10 points

QUESTION 22

1. Post Production sound, generally speaking, occurs in what part of the film making process?

|  | Before the movie is shot.
|  | After the film is finished being edited and picture locked
|  | after the film is mixed
|  | As the film is being shot

10 points

QUESTION 23

1. The last part of visual production which involves coloring each frame of the film individually.  This usually occurs during or after post production sound.

|  | Editing
|  | Color Correction
|  | Shooting
|  | Scoring

10 points

QUESTION 24

1. A composer working on music for a film is creating the:

|  | Sound track
|  | Musical Score
|  | ambience
|  | All of the above

10 points

QUESTION 25

1. This type of microphone is very directional and can pick up sound accurately from a distance while also effectively rejecting noise and distractions outside of it's polar pattern.

|  | Lavalier
|  | Figure 8
|  | Shotgun
|  | Ribbon mic

10 points

QUESTION 26

1. You may use a de-esser to tame this when it is too loud and distracting.  This can be the result of a dialogue recording that has too much high end or upper midrange.

|  | EQ
|  | Splosives
|  | Sibilance
|  | Noise

10 points

QUESTION 27

1. Placing a glass onto a table and recording the impact with a microphone in sync with picture is an example of:

|  | sound design
|  | Production audio
|  | Foley
|  | an overdub

10 points

QUESTION 28

1. Since animated films and tv shows are not "shot"  they do not have production sound.  As a result all dialogue is done during this type of session in the recording studio:

|  | Overdub
|  | Scoring session
|  | Spotting Session
|  | ADR

10 points

QUESTION 29

1. If you do not use a pop filter when recording dialogue, you may hear popping due to a rush of air during hard consonants such as "p" and "t".  These are called:

|  | Sibilance
|  | Splosives
|  | Clipping
|  | Artifacts

10 points

QUESTION 30

1. This is the standard sample rate and bit depth when working on sound for picture:

|  | 44.1khz 16bit
|  | 44.1khz 24bit
|  | 48khz 24bit
|  | 48khz16 bit

# data[].attributes.attachment_link.title
Jungle (2017) End Scene (the most emotional scene ever)

# data[].attributes.body
Very early version. I am throwing eerie sound against the wall hoping to find something that is going to stick. I still need to add all of my foley and likely proper score over this.

# data[].attributes.attachment_link.readable_text
About Google

Privacy

Terms

Help

# data[].attributes.attachment_link.description
Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

# data[].attributes.body
I decided to try and incorporate a little bit of all the areas of Post Production

https://drive.google.com/file/d/1MepKQ4xrqRIPj7f0172yhU4oI2y0MmXZ/view?usp=sharing

# data[].attributes.body
https://drive.google.com/file/d/1wePz92wmErico0D38any5zyTb67iVhSK/view?usp=sharing

# data[].attributes.body
added some natural mouth sounds and adjusted levels

# data[].attributes.attachment_link.description
Get access to files anywhere through secure cloud storage and file backup for your photos, videos, files and more with Google Drive.

# data[].attributes.body
https://drive.google.com/file/d/1dyX_TX11qNOlx8RVtJWksn_i6Z1BRMg9/view?usp=sharing

# data[].attributes.body
I won’t even lie.
I just had a stressful time trying to be on top of school so this is the best I could do with my paper. This one means a lot to me, thank you Professor, for everything.