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Voice-over (also known as off-camera or off-stage commentary) is a production technique used in radio, television, filmmaking, theatre, and other media in which a descriptive or expository voice that is not part of the narrative (i.e., non-diegetic) accompanies the pictured or on-site presentation of events. [1]
The first is the so-called "voiceover" dubbing, typical of the Bulgarian television market, in which the voice-over is based on the back-camera technology of the 1970s, with the voice superimposed on the original phonogram. This inexpensive way of voice-over is preferred only because of its low cost.
Voice-over translation is an audiovisual translation [1] technique in which, unlike in dubbing, actor voices are recorded over the original audio track which can be heard in the background. This method of translation is most often used in documentaries and news reports to translate words of foreign-language interviewees in countries where ...
A home speaker provides audio while a concert is displayed on a flat screen television. Audiovisual (AV) is electronic media possessing both a sound and a visual component, such as slide-tape presentations, [1] films, television programs, corporate conferencing, church services, and live theater productions.
SOT is an acronym for the phrase sound on tape.It refers to any audio recorded on analog or digital video formats. It is used in scriptwriting for television productions and filmmaking to indicate the portions of the production that will use room tone or other audio from the time of recording, as opposed to audio recorded later (studio voice-over, Foley, etc.).
Sound-on-film is a class of sound film processes where the sound accompanying a picture is recorded on photographic film, usually, but not always, the same strip of film carrying the picture. Sound-on-film processes can either record an analog sound track or digital sound track, and may record the signal either optically or magnetically .
The Criterion Collection introduced audio commentary on the LaserDisc format, which was able to accommodate multiple audio tracks.The first commentary track, for the 1933 film King Kong, was recorded by Ronald Haver, a curator at the Los Angeles County Museum of Art, and was inspired by the stories Haver told while supervising the film-to-video transfer process. [1]
Sound design for video games requires proficient knowledge of audio recording and editing using a digital audio workstation, and an understanding of game audio integration using audio engine software, audio authoring tools, or middleware to integrate audio into the game engine. Audio middleware is a third-party toolset that sits between the ...