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Sound for Visual Media > Midterm Exam > Flashcards

Midterm Exam Flashcards

1
Q

What is an AAF?

A

Advanced Authoring Format - format used to translate files between different digital audio/video software programs and are cross-platform complaint.

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2
Q

What is an Act?

A

Television is broken up into acts, in which to divide the show up into sections, or from the beginning, middle, and end.

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3
Q

Define B- Roll

A

is supplemental or alternate footage intercut with the main shot

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4
Q

Define Black burst

A

a generator that dictates the accuracy of the video playback system (sometimes also called Video Reference or VID REF).

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5
Q

Define BWF

A

” Similar to the wave format but has extended information into the header allowing it to contain Metadata.
“ Compatible with WAV compatible players
“ Uses the extension.WAV
“ The is the standard uncompressed audio file format

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6
Q

What is a Bumper/Teases?

A

in Television, Bumper can be described as brief announcement put at the beginning and ends of acts before after commercial break

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7
Q

What is the difference between Copy and Consolidate media in ProTools?

A

” Copy from source media - Copies edit version as well as original media

Consolidate from source media
“ Copies audio from the source project to the ProTools session, while removing all unused areas in the copies. Consolidate audio saves a great deal of disk space.

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8
Q

Define Digitize.

A

Getting the media - usually video - into the video editing system. Term originated as material used to be shot on analog video and then was “digitized” (via analog-to-digital conversion) into the digital video system.

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9
Q

What is Dual Mono?

A

Unlike stereo, “Dual mono” indicates two completely separate, independent, unrelated channels

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10
Q

What is EDL stand for?

A

Edit Decision List - This is a list of TIMING INFORMATION and SOURCE INFORMATION for each edit in a cut.

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11
Q

Define FFOA and LFOA.

A

” First Frame of Action; The official start of a program (or film reel) not including technical things like countdown or slate.
“ Last Frame of Action - The official end of a program (or film reel) not including technical things like lead out.

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12
Q

What are Filled Effects?

A

Refers to a music and effects tracks that has been augmented to match a film’s original language compatible track minus the dialogue.

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13
Q

What is a Handle?

A

Allows us to extend a clip in your session beyond what the clip is in the sequence, either at the beginning the of the “edited version” (where you cut the audio and where it ends) or the end so you’re not stuck with the original edit and can adjust to make it better if needed.

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14
Q

Define Ingest.

A

Similar to digitizing (video/audio/graphics) getting the media into the video editing system. We have to ingest the media.

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15
Q

What is Lossless Encoding?

A

Allows for the quality of the uncompressed format but with a reduced file size.
“ Requires time to analyze and encode information (plus extra time to decode the information - which can delay playback).
“ Think of an audio .zip file.
Lossless Audio Formats include:
o Apple Lossless
o FLAC (Free Lossless Audio Codec)
o WMA (Window Media Audio) - can be lossless.
o WavPack

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16
Q

What Lossy Encoding?

A

A type of audio format that analyzes the sonic make up of a piece audio and applies algorithms using psychoacoustic modeling, often called “Perceptual Coding” to determine which portions of the frequency spectrum can be altered.
“ The result is a smaller file size that yields less required disk space and faster data transmission (streaming).
“ The tradeoff is reduced fidelity. However, the quality of lossy audio compression codecs has increased exponentially over the past couple of years.
“ Think of Pi. Most folks use 3.14 instead of 3.141592653… Size is reduced, but accuracy is compromised.
Lossy Audio Format Examples include:
o AAC
o M4p
o Management (DRM)
o Ra (Real Audio)
o WMA (Windows Media Audio)

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17
Q

What does LTC stand for?

Think analog timecode

A

Longitudinal (or Linear) Timecode; When the SMPTE TC info is encoded as an audio and recorded on a dedicated audio track

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18
Q

Define M and E.

A

contains all the music and effects from a film that are considered 100% or “fully” filled. M and E tracks a created for foreign dubbing, and need to have all the effects, ambiences, and music as heard in the original tracks. Foreign actors then re-record the dialog in their own language, and this is then mixed with the filled M & E to create a complete foreign composite.

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19
Q

What is Metadata?

A

” Translates to data about data.
“ Provides information about the “data” portion of the file (the sound file itself for audio files).
“ In a picture, this could the date, time, file name, focal length).
“ This info is nor pertinent to the actual picture but provides additional information.
“ For audio files, this information can be similar.
“ For a sound recording, such as audio recorded on a film set, information such as record date, time code user presets and text information can also be entered (take number, etc.)
“ For music downloads (a song off iTunes for example) this could contain album name, track index, writers, genre, cover art, etc.

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20
Q

What is Nats?

A

Natural Sound of an actual source.
Natural sounds are unadorned production sounds. In film and television, many natural sounds do not meet everyone’s expectations. When this happens, they are either replaced with more suitable sounds or the natural sound is layered (other sounds are added) to make it more desirable.

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21
Q

What is NTSC stand for?

A

National Television Systems Committee, introduced in 1941.
“ This standard calls for 525 lines of horizontal resolution displayed 30 times a second using a 2:1 interleave or “interlace”.
“ The aspect ratio was 4:3 - since this was the same as 16mm film and classic 35 mm film.
“ This is how black and white TV was broadcast.
“ NTSC stand rad was modified in 1953 in order to add a color component yet still be compatible with B&W TV sets.

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22
Q

Explain Nudge Value.

A

Nudging regions or selections, or moving them left or right by a predetermined amount, is a fundamental part of the editing process

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23
Q

What is OMF/OMFI?

A

Open Media Framework Interchange - format used to translate files between different digital audio/video software programs and are cross-platform complaint

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24
Q

Define Pull Up/Pull Down.

A

Pull Up -
“ Opposite of an audio pull-down.
“ When the sound element, operating at NTSC video SPEED (59.94 Hz) needs to be relayed (or tied to) an element running at film SPEED (60 Hz).
Pull Down -
“ A Change in playback speed applied to the sound element of a project when it needs to be converted to a format running at a different speed.
“ The phrase is usually associated with transferring film sound to a video medium due to the different speed reference (FILM @ 30 fps 60Hz, NTSC video @ 29.97 fps 59.94 Hz).
“ This represents a speed difference of 0.1%.
“ Room Tone - Subtle low-volume sound present in every room, used to fill in the silence.

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25
Q

Define ACE

A

Amercian Cinema Editors

honorary society of film editors that are voted in based on the qualities of professional achievements, their education of others, and their dedication to editing.

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26
Q

Define CAS

A

Cinema Audio Society

To provide the motion picture & television industry with a progressive society of master craftsmen specialized in the art of creative cinematic sound recording.

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27
Q

Define MPSE

A

Motion Picture and Sound Editors

an honorary society of motion picture sound editors

28
Q

Define Room Tone

A

means the subtle, low-volume sounds present in every room, normally recorded in every room used in a film.

29
Q

2-Pop

A

2 seconds before on hour frame begins so that audio will be in sync

30
Q

Automation Modes

A

Auto-Read - This mode will simply play Automation back that was recorded to the track.

Auto-Write - This mode is an “absolute write” mode: it records the position of all write-enabled controllers from the time that playback starts, to when it stops. It erases any previously recorded automation on the track for the duration of the automation pass.

Auto-Touch -this mode will duplicate all curves you created. Once you touch the fader, new automation will be written for the duration of the time you have your finger on the fader. Once you release the fader, the automation will revert to previously written automation curves.

Auto-Latch- This mode behaves just like auto touch but, instead of moving to the previous automation curve when you release the fader, it will stay where you last left it “latching” to the volume level.

31
Q

dB
dBFS
dBSPL
dBu

A

db- decibels
dBFS - decibel Full Scale
dBSPL - decibel Soune Pressure Level
dBu - decibel in reference to voltage

32
Q

Interlace vs Progressive Frames

A

Film is a progressive format (p).
• Each frame is a full, regular picture.
• For film, there are 24 pictures, or frames, shown each second (24 fps).

With interlace, instead of full pictures, the image is split into two fields.
• The odd lines (field 1) reproduce half of the picture every 1/60th of a second.
• The even lines (field 2) reproduce the second half of the picture every 1/60th of a second.

33
Q

Jam Sync

A

is a mode of device synchronization using SMPTE time code in which a slave device can furnish its own timing during the time that a master device is temporarily unstable.

34
Q

LKFS / LUFS

A

LKFS and LUFS are identical units.
LKFS (Loudness, K-weighted, relative to Full Scale) takes into account the full program content (as opposed to just dialogue) – and has been improved from earlier versions.

Chosen as a standard measurement for the CALM Act.

35
Q

QC

A

“Quality Control”

36
Q

What is a frankenbite?

A

frankenbite allows editors to manufacture “story” (see definition below) efficiently and dramatically by extracting the salient elements of a lengthy, nuanced interview or exchange into a seemingly blunt, revealing confession or argument.

37
Q

What is a frankenbite?

A

frankenbite allows editors to manufacture “story” (see definition below) efficiently and dramatically by extracting the salient elements of a lengthy, nuanced interview or exchange into a seemingly blunt, revealing confession or argument.

38
Q

What is a Production Company?

A

is a creative company that will create programming and tries to sell it to networks (funding happens in various ways).
• They can also be hired by a network/ distributor to create a specific type of programming.

39
Q

Undipped

A

“Undipped”
translates into “at a constant level,” meaning that there
are no volume adjustments, up or down, regardless of what the
other stems may be doing.

40
Q

Uncompressed Audio

A

Pulse Code Modulation (PCM) files are the main uncompressed audio type.
• Sometimes referred to as RAW files since there is no header information – just the data.
• RAW files are unreadable by audio programs. However, you can find PCM as a file type in some systems such as the AVID video editing system.

41
Q

Bit Rate

A

(Aka) Data Rate
The amount of data, or bits, processed within a set amount of time.
• Usually measured in kilobits/second (kbps) or Megabits/second (Mbps).

42
Q

True Peak

A

Since Peak meters are tied to sample values, they can’t accurately display levels that occur between samples – which can be higher than those at specific samples.

43
Q

M

A

Music

Original music that is scored for the project
• Music that is canned or comes from music libraries.

44
Q

VO

A

Voiceover

Narration track, typically separated from Dialogue to firther ease international distribution

45
Q

VO

A

Voiceover

Narration track, typically separated from Dialogue to further ease international distribution

46
Q

Scripted Program

A

These are productions that, as the name implies, contain a script.
• The story is broken up into “scenes.

47
Q

Unscripted Program

A

These are productions that, unlike scripted programs, do not follow a predetermined script.
• Documentaries are great examples. The director doesn’t know what is going to be said or displayed. They may have an IDEA of what may unfold, but they aren’t sure.
• With unscripted programming, the storyline comes together during post producKon (picture editing).

48
Q

Cut

A

This is what the picture editor (and producers, directors) call a version of a program.
• A program goes through various iterations to get to the “Final Cut.”

49
Q

Cut

A

This is what the picture editor (and producers, directors) call a version of a program.
• A program goes through various iterations to get to the “Final Cut.”

50
Q

OMF and AAF

A

Both are INTERCHANGE formats used to translate files between different digital audio/video software programs and are cross5 platform compliant.
The most vital components are: The MEDIA
and the EDL.

• The MEDIA is the actual audio or video files
(think Pro Tools Audio Files folder)
• The EDL (Edit Decision List) tells those files where to go (think Pro Tools Session file)
• additional components also translate (volume info, pan info, file names, etc.)

51
Q

Level relates to a dB reading on VU meters based upon a sine wave reference

A

(usually @ 1 kHz).

52
Q

Often referenced as such: -20 dBFS

A

= 0 VU.

53
Q

Meaning that when a 1 kHz tone reads at -20 dBFS on your digital meters,

A

it will read at 0 on the VU meters.

54
Q

0 VU =

A

-20 dBFS is the standard reference in the US.

55
Q

Loudness

A

In an effort to address audience concerns of some movies being “too loud,” Dolby came up with a means of measuring what we perceive as LOUDNESS, creating meter (Dolby 737) to provide value to the “loudness” of the program.

56
Q

Measurement Displays

A

MOMENTARY: Displays LKFS value over the past 400 ms.

SHORT TERM: Analyzes LKFS values over a selectable 2-10 second-time range. Generally, 3 seconds is the value used – though some networks may specify a different value (such as 2 seconds).

INFINITE (aka Long Term): Displays the LKFS value of the whole program from start to finish.

57
Q

Pre-Production

A

All of the scheduling, casting, and planning associated with getting a project ready for production.

58
Q

Production

A

The actual on set or on location recording/filming.

59
Q

Post-Production

A

The portions that do not take place on set or on

location.

60
Q

Production Audio

A

Refers to all of the sound recorded during the production of the program.

61
Q

Produc7on Sound Mixer

A

Must record any item that is tied to a visual element* – plus additional sound that they believe may be helpful for the post-production process (recording ambience/ room tone, etc.)

62
Q

Boom Operator

A

the person responsible for handling the shotgun microphone (held on a stand called a boom). Must be very conscious of the script so that the correct actor s voice is picked up. Must also keep the mic out of frame (not in the shot).

63
Q

Automated Dialogue Replacement)

A

Lines recorded after the scene was shot that are meant to replace some of those specific lines that were recorded on set.

64
Q

SPMTE Timecode

A

Timecode provides a specific POSITIONAL REFERENCE (where is something’s position relative to something else) – a “Time Stamp”

65
Q

Dialogue Editor

A

Responsible for LIP SYNCHRONIZATION (SYNC).

66
Q

Sound Effects Editor

A

A very involved position, the Sound Effects Editor (or Sound Effects Supervisor) reviews the project with the Director and (others) decides, on top of obvious effect replacements, what sound design will be required for the project.

67
Q

Stem

A

In audio production, a stem is a discrete or grouped collection of audio sources mixed together, usually by one person, to be dealt with downstream as a composite mix.

Sound for Visual Media (1 decks)

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