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Most other aspects of audio for moving pictures occur during the post-production phase, everything is done after filming. This also may include sound design or the creation of sound effects, which can occur during pre-production, production, or post-production. This applies to television, cinema and commercials.
Single system audio is the system of recording sound on film or SOF. There are two methods of recording, the older method, optical and the later method, magnetic. SOF was primarily used for news film prior to the advent of portable videotape recording, but was used until recently for documentary film recording. [1]
An in-camera effect is any special effect in a video or movie that is created solely by using techniques in and on the camera and/or its parts. The in-camera effect is defined by the fact that the effect exists on the original camera negative or video recording before it is sent to a lab or modified.
MOS is a standard filmmaking jargon acronym used in production reports to indicate an associated film segment has no synchronous audio track.. Omitting sound recording from a particular shot can save time and relieve the film crew of certain requirements, such as remaining silent during a take, and thus MOS takes are common on contemporary film shoots, mostly when the subjects of the take are ...
A cable conducts the sync pulse from camera to sound recorder. The sync pulse is typically a sine wave of 50 or 60 Hz with an RMS amplitude of approximately 1 volt. [4] This double-system audio recording could then be transferred or "resolved" to sprocketed magnetic film, with sprocket holes that match one to one with the original camera film.
Double-system recording is the standard procedure on motion pictures that are originally photographed on film. Recording sound-on-film directly at the time of photography has several technical limitations, and no professional motion picture camera supports this option, so all production sound is recorded on a separate recorder. This procedure ...
Non-diegetic sound is represented as coming from a source outside the story space, i.e. its source is neither visible on the screen, nor has been implied to be present in the action. Also called "non-literal sound" or "commentary sound". Examples include: Narrator's commentary; Sound effects added for dramatic effect; Mood music; Film score
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