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Post Production Flashcards

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1
Q

Frame rate for NTSC colour video

A

29.97 fps

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2
Q

USA colour video rate

A

59.94 fields per second

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3
Q

CRT meaning

A

Cathode Ray Tube

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4
Q

PAL video frame rate

A

25 fps

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5
Q

Film’s width to height ratio is called

A

Aspect Ratio

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6
Q

4:3 is also known as

A

1.33:1

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7
Q

What does ‘i’ stand for in 480i?

A

Interlaced or Interleaved

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8
Q

What does ‘p’ stand for in 480p?

A

Progressive

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9
Q

‘High Definition’ is used to describe video quality ____ and higher

A

1280x720

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10
Q

Wordclocks clock sample rate. What do black burst and tri-level sync clock?

A

Frame rates

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11
Q

Black burst & tri-level sync

A

Video references because they are well-clocked analogue video signals

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12
Q

Luminance

A

Varying brightness of the screen of the CRT and is determined by amount of voltage sent to the electron gun

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13
Q

Vertical retrace

A

0V dropout rate signals that are the clocking pulses for video that happen at 29.97 fps or 59.94 fields per second

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14
Q

How is tri-level sync more accurate than black burst?

A

It adds one voltage level to the black + retrace equation

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15
Q

Sync word

A

Identical information message that lets the synchroniser know ‘you have reached the end of the frame, start reading the next,’ similar to a period at the end of a sentence

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16
Q

Synchroniser

A

A device that reads the timecode playing from two or more tape machines, compares the codes, and adjusts the machines’ tape positions and speeds to match them

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17
Q

Cables affect on clocking

A

No matter how good your clock source, the cable used can greatly affect its timing

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18
Q

Cable normally used for clocking

A

75Ω coaxial cable

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19
Q

T-connectors are used for

A

Parallel distribution; connecting devices to function like a parallel circuit

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20
Q

Serial clock distribution

A

Uses the ‘thru’ port and connects devices in series

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21
Q

Signal degradation

A

As signal is passed from one device to another, quality can degrade further down the chain

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22
Q

Clock Skew

A

In some cases, signal may not split directly from the input to the output, and may first go thru additional circuitry - and this can cause small delay to the output signal. As this happens from device to device, the clock edge may become progressively misaligned, potentially introducing clocking errors

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23
Q

Audio arriving ____ ms early is within noticeable threshold of ‘subconscious disturbance’

A

20 - 40 ms

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24
Q

Subconscious disturbance

A

The point at which the audience notices audio out of sync

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25
Q

Tri-level sync is a _______ reference

A

Pace

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26
Q

Blackburst is a ______ reference

A

Speed

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27
Q

Timecode is a _______ reference

A

Position

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28
Q

Wordclock is used to control ______

A

Audio sample rate

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29
Q

What must be used on the last device in the chain when configuring a serial or parallel clock distribution?

A

A terminator

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30
Q

Dialogue (DX)

A

Recordings of voices. Humans, robots, cats, anything with a voice is dialogue, including breathing, laughing, coughing, and other sounds related to the mouth

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31
Q

Music (MX)

A

Used to guide the viewer’s experience throughout the film. In some cases, music is chosen and licensed, while in others, original music is written and performed in sync with picture

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32
Q

Sound Effects (SFX)

A

Almost everything that isn’t dialogue or music is likely to be considered a sound effect: explosions, laser blasts, background sounds like wind through a field, urban streets in a city. These sounds are either purchased and licensed or captured during field recording or sound design.

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33
Q

Foley

A

AKA. Sync Effect Acting: the process of performing sound effects in sync with, and while watching the picture, and recording them to be used in the soundtrack. Footsteps, clothing rustles, typing, and other sounds with specific timing and velocity

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34
Q

The biggest difference between SFX and Foley

A

Foley is performed and recorded in sync with picture, while SFX are gathered/created and edited after the fact

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35
Q

2-Pop

A

A 1kHz tone, one frame in duration which occurs in the audio track, coinciding with visual cue in the picture.

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36
Q

What is 2-Pop used for?

A

It is used to create a sync point between the sound mix delivered as audio-only, and the picture itself.

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37
Q

When does 2-Pop typically occur?

A

It usually occurs two seconds prior to picture start, thus the name 2-Pop

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38
Q

Flash frame

A

The visual sync point that 2-Pop aligns with, which is one frame of white screen followed by two full seconds of black screen

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39
Q

3:2 Pull Down

A

When converting 24 fps to interlaced 29.97 fps, each odd frame of film is copied to two video fields, while each even frame is copied to three video fields. This produces 60 fields of video (30 frames) from 24 film frames

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40
Q

AAF

A

Advanced Authoring Format

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41
Q

What is AAF

A

Originally designed to be an alternative to OMF, it is a universal file format used to transfer projects between different DAWs and NLEs

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42
Q

What does AAF store?

A

File track names, clip definitions and references to media files, volume, panning automation, and clip gain.

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43
Q

ADR

A

Alternative Dialogue Recording
or
Automated Dialogue Replacement

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44
Q

What is ADR?

A

The process of recording dialogue while lip-syncing with previously recorded video. It is used to replace problematic (noisy, roomy, distorted, etc.) production sound recordings, or to introduce new dialogue that didn’t exist during the original shoot

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45
Q

ADR Stage

A

Studio designed specifically for recording ADR and are acoustically treated to be very dead and free of reverberations or resonances

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46
Q

Aspect Ratio

A

Width-to-height ratio of an image, motion picture, or screen

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47
Q

What does aspect ratio affect when scaling up or down?

A

Program material can be scaled to different resolutions without stretching or distorting the image
Ex. 1920x1080 res can scale perfectly down to 1280x720

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48
Q

B-Roll

A

A term used to describe alternate footage, shot to intercut with the primary shots used in a program

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49
Q

How is B-Roll often shot?

A

MOS - shooting picture without audio

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50
Q

Backgrounds

A

AKA. ambience
Sound effects which recreate the background noise of the space seen on screen. Usually several different layers fill the surrounds and screen channels.

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51
Q

Room Tone

A

Recording ambient noise in a shooting location, used to fill in gaps in the dialogue track. Room tone is often mono, and is capture with the same boom mic used to record dialogue

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52
Q

Black Burst

A

AKA. House sync, video sync, video reference

Synchronisation pulse that matches the refresh rates (frame rates) of different video devices and platforms

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53
Q

Blimp

A

AKA. Zeppelin
A large pill-shaped basket whose surfaces are a grill of light plastic, lined internally with foam. It provides diffusion for microphones

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54
Q

BNC

A

AKA. Bayonet Nut Connector
A professional connector for wide-bandwidth coax cable and is the standard connector type for SDI video, and is used for component and composite video in professional applications.

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55
Q

Standard connector type for cables carrying clocking signals such as wordclock, Black Burst, and tri-level sync

A

BNC

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56
Q

BWAV

A

AKA. Broadcast Wave File (BWF)
An extension of the WAV file format that includes additional metadata such as timecode, scene, shot and take number, and other useful production information

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57
Q

Cueing

A

Documenting the specific timecode start and end times when a dialogue line, Foley element, piece of music, or any specific clip of audio needs to be placed in the soundtrack. This is done using slugs

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58
Q

Slugs

A

Blank clips created and used in Pro Tools to cue when dialogue, Foley, music, or any specific clip of audio needs to be placed in the soundtrack

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59
Q

Cue Sheet

A

A document that identifies at what specific timecode start and end time that each sound will, or currently does happen. They are sometimes displayed as vertical columns, per track, with events arrayed chronologically from the top of the page to the bottom

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60
Q

Dailies

A

AKA. Rushes
Refers to the workflow when shooting film in which the reels are sent to the lab at the end of each shooting day, developed overnight, and returned to the set for review in the morning - daily

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61
Q

DCP (Digital Cinema Package)

A

A set of the final data-compressed files including picture, sound, subtitles and other metadata, packaged on a hard-drive for playback in a digital theatre

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62
Q

Digital equivalent of a ‘release print’

A

DCP

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63
Q

Release Print

A

The final copy of a film to be played in theatres

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64
Q

DCI (Digital Cinema Initiatives)

A

Sets guidelines to ensure compatibility with all digital cinemas

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65
Q

Dead Cat

A

AKA. Wind jammer, wind sock

An artificial fur covering that wraps around a blimp or foam microphone windscreen to add extra wind diffusion

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66
Q

Decca Tree

A

A T-shaped microphone bracket designed to suspend three widely-spaced omni-directional microphones over a large musical ensemble or orchestra. The mics are arrayed in an obtuse, isosceles triangle, with the two mics at the base typically being 2 meters apart, and the 3rd mic extending out 1 meter from the centre of the base

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67
Q

Deliverables

A

The final audio files that will be returned to the production company, studio or network. The recipient will usually dictate their required channel layout for multichannel mixes as well as requirements for alternate dubs, down-mixes, and stems

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68
Q

Diegetic Music

A

AKA. Source music
Music that seems to be audible within the environment pictured on screen. In other words, it is part of the characters’ experience, not just part of the viewers’ experience.

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69
Q

Drop Frame Timecode

A

A type of timecode that selectively skips over specific frame numbers (not the frames themselves)

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70
Q

Dub Stage

A

A control room for mixing films and tv programs which is built to mimic the condition of an actual movie theatre

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71
Q

Dub

A

A mix of a film soundtrack

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72
Q

EDL (Edit Decision List)

A

A document that is generate by an NLE which contains documentation regarding every clip in a particular sequence’s timeline. It usually includes the timecode start and end time of each clip’s current timeline position

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73
Q

Edit Bays

A

Small office-sized rooms designed to house non-linear editing systems for video and audio. Acoustically treated and have high quality monitoring; typically tied to the facility’s data network so files can be quickly sent to any of the stages

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74
Q

Foley Stage

A

Studio designed specifically for recording Foley. Typically large rooms that look like a warehouse full of props. Part of the floor will house “Foley pits” which are compartments containing different surfaces, such as sand, gravel, cement, grass, wood, tile, etc.

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75
Q

Frame

A

A single image in a motion picture sequence. On film, it is literally a single image on the reel. In progressive scan video, it is a single capture or rendered image. In interlaced video, it is one complete scanning cycle containing both fields

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76
Q

Frame Rate

A

In video: the number of frames that are captured or played within one second
In timecode: the number of frame numbers that a whole real-time second is divided into

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77
Q

Futz

A

Processing audio to make it sound like it is playing out of a device or object, such as a cell phone, walkie talkie, boom box, etc.

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78
Q

Gaffer

A

The head of the electrical department on a film set

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79
Q

Grip

A

A skilled person who is part of the team that provides, sets up, adjusts and tears down the majority of the tech equipment on a film set. Deals with lighting, camera mounting, rigging, etc.

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80
Q

Group Walla

A

AKA. walla

Audio that is used to recreate background conversation of a group of people

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81
Q

Hard Sound Effect

A

A sound effect that is edited to synchronies with a specific event that in seen on screen

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82
Q

Head Pop

A

a 2-Pop which occurs two seconds before the first frame of the picture

83
Q

Interlaced Video

A

AKA. interleaved video
A method of capturing or playing video in which each frame is split into 2 ‘fields.’ One field is comprised of the odd rows of pixels (scan lines in analogue) and the other of even rows

84
Q

Jam Sync

A

A technique used to synchronise a timecode generator to another running timecode, by momentarily connecting the two together

85
Q

Keyframe

A

The video-editing equivalent of an automation break-point in a DAW. Can be used to automate effects, colour, contrast, audio volume, and other parameters

86
Q

Lavalier Mic

A

AKA. lav or lapel mic
A miniature condenser mic that can either be clipped onto the talent’s wardrobe visibly, or concealed within their wardrobe using a variety of techniques

87
Q

Layback

A

Adding a sound dub or print master to picture so that it can be review or released

88
Q

Line Up Tones

A

Reference tones recorded for level matching and calibration. Typically 1 kHz sine waves representing the level of a known calibration (0 dBVU in analogue/ -20 dBFS in digital)

89
Q

LTC

A

AKA. longitudinal timecode or linear timecode

SMPTE timecode information encoded in binary coded decimal (BCD) and stored on a standard audio track

90
Q

M&E’s (Music & Effects)

A

An alternate dub which contains all of the audio from the print master MINUS any dialogue elements

91
Q

What are M&E’s typically used for?

A

Used to ‘revoice’ a soundtrack, meaning to re-record the ADR in another language

92
Q

Master Use Licence

A

Licence(s) required from copyright owners of BOTH the music and and original recording of that music

93
Q

Metadata

A

Additional data about a media file that is stored inside of that file
Ex. mp3: song title, artist name
BWAV: timecode, scene and take numbers, etc.

94
Q

MOS

A

Shooting picture without capturing audio. Also slang for any instance of missing or muted audio.

95
Q

MPEG (Moving Picture Experts Group)

A

An organisation dedicated to standardising digital multimedia

96
Q

MTC (MIDI Timecode)

A

Equivalent to SMPTE timecode, but transmitted thru a MIDI cable within the MIDI protocol

97
Q

Music Supervisor

A

The person in charge of all the music elements in a film, including diegetic music as well as original score. Ultimately responsible for making sure all licensing is obtained

98
Q

Nat Sound

A

A slang term meaning ‘natural sound’

99
Q

NLE (Non-Linear Editor)

A

Generally refers to software for video editing - think DAW for audio

100
Q

NTSC (National Television Systems Committee)

A

One of 3 major analogue television systems (with PAL and SECAM) widely used throughout the world.
Uses 59.94 fields per second (29.97 fps)

101
Q

OMF (Open Media Framework Interchange)

A

Designed to be a universal file format that could carry projects between different DAWs and NLEs

102
Q

Optical Sound

A

Audio waveforms printed on the edge of a film print which can be played by a system that shines light through them and measures the variations

103
Q

PAL (Phase Alternating Lines)

A

One of 3 major analogue television systems (with NTSC and SECAM) widely used throughout the world.
Uses 50 field per second (25 fps)

104
Q

Picture Lock

A

A verbal agreement between the director, editor, and producers that the current edit of the film will not change in terms of timing

105
Q

PFX (Production Sound Effects)

A

Any potentially usable non-dialogue sound from the production sound that doesn’t overlap with any dialogue in the production sound is cut out of the dialogue tracks and moved to PFX tracks

106
Q

Poly WAV

A

Multi-channel, interleaved broadcast WAV (BWAV) files containing mono channels of audio that have likely been recorded with different mics on set

107
Q

Pre-Dub

A

A time when rerecording mixers assemble all of the edited elements and prepare for the supervised final dubbing sessions that will follow - done on the dub stage

108
Q

Print Master

A

The final dub of all sound and music for a project, ready to be laid back to picture

109
Q

Production Sound

A

AKA. Production audio

The audio recorded on the set or location, in sync with the picture while filming

110
Q

Render

A

AKA. Bake in
To create a new file which permanently represents the current state, including effects and transitions, of selected piece of media

111
Q

Rerecording Mixer

A

A member of the team of typically two or three mixers who prepare the final dub of a film or TV show on the dub stage

112
Q

Reshape

A

To correct the rise time of a SMPTE timecode signal

113
Q

Resolution

A

Image res refers to the number of pixels of an image, and is expressed in terms of width and height
Ex. 1920 x 1080

114
Q

Ripple Edit

A

The NLE equivalent of ‘shuffle’ mode in Pro Tools. If anything is cute or removed from the timeline, all clips will slide left to fill in the space

115
Q

Roll Edit

A

A type of NLE edit that adjusts the position of a cut between two clips without affecting the rest of the overall timeline

116
Q

Scene

A

A collection of shot which are all set in a common time and location

117
Q

Score

A

Music specifically written and performed to coincide with a particular piece of visual media. Non-diegetic: only part of the viewer’s experience, and is not heard by the characters

118
Q

Shot

A

A designation given to any piece of footage which is captured using a particular setup and covering the same portion of the script

119
Q

Slate

A

Capturing information about a recording onto the visual and/or audio medium itself, making it easier to label and organise the files at a later time

120
Q

Information typically included on a clapperboard slate

A

Scene, shot, take number

121
Q

Slide Edit

A

An edit, usually in an NLE in which an entire clip is moved, along with the edit points on its left and right

122
Q

Slug

A

A clip in a DAW or NLE that contains no video or audio, and is a ‘blank’ clip that is used as a placeholder, maker, or cue

123
Q

Spotting Session

A

A meeting attended by the director and the supervising sound editor during which each locked reel of the project is watched and sound is discussed in great detail

124
Q

Stem

A

AKA. Splits
A submix that contains certain layers of a finished mix
Ex. a submix of dialogue, or of the music, or the sound effects, etc

125
Q

Supervising Sound Editor

A

The person in charge of all of the elements of audio in a film, except for the music

126
Q

Sync Licence

A

Licence for a song or piece of music to be performed and included in a soundtrack, synchronised to a piece of visual media. This only covers the SONG to be used, and would need a cover to be done. To use the Sound Recording, a Master Use Licence is needed

127
Q

Synchroniser

A

A device that compared timecode from multiple machines and by taking over their clocking and transport control, maintains accurate synchronisation across their timecode positions

128
Q

Take

A

Sometimes refers to a single performance, but on a technical level it generally means whatever happens between starting and stoping the equipment one time

129
Q

Tail Pop

A

A 2-Pop which occurs two seconds after the last frame of picture

130
Q

Telecine

A

The process, or a machine that performs the process, of transferring film to video

131
Q

Temp Dub

A

A rough mix to support a picture edit that is not yet locked. Used during the editing, screening, and approval process to smooth out the audio

132
Q

Tri-Level Sync

A

A timing reference for synchronising the refresh rate of multiple HD video devices. Pulses operate at a higher frequency than Black Burst and considered more accurate

133
Q

Wild Tracks

A

Audio that is recorded independently from picture, and could refer to sound effects and dialogue lines recorded on set when cameras are not rolling

134
Q

Wordclock

A

An extremely stable clocking pulse that is used to distribute an accurate representation of the digital audio sample rate between multiple devices in a system, ensuring digital audio to be perfectly aligned and free of errors and jitter

135
Q

Primary objective in ADR session

A

Re-record portions of the dialogue that was not useable from the production recordings on the sound stage of film set. Actors would perform to picture in a recording studio

136
Q

Pro Tools: Option to create alternate takes on the same audio track is known as

A

Playlist

137
Q

Term for an empty clip created in an ADR session in Pro Tools

A

Cue/Slug

138
Q

Cue sheets are _____________

A

Vertical time-based track sheets

139
Q

Audio the actor needs in their headphone mix to perform properly in the ADR session

A

Cueing beeps and the production audio

140
Q

Device that generates a 29.97 frame rate speed reference to all audio devices in Studio C

A

Blackburst Generator

141
Q

Microphone used on an ADR session

A

Shotgun

142
Q

Visual references the actor needs to perform on an ADR session

A

Streamers and video playback

143
Q

3 reasons why it’s beneficial to have a separate video playback system on a different computer than the DAW

A
  1. Modifications to the video can be done without having to affect the audio recording
  2. Optimises the CPU for the system that is recording audio
  3. Video software may use CPU power that could cause overload errors
144
Q

T/F: Are cue sheets created in an ADR session?

A

False: Cue sheets would have been created in a spotting session and then sent with other documents to the recording studio for reference

145
Q

T/F: Do audio post production studios use templates for ADR in their DAWs?

A

True: Template increase efficiency

146
Q

T/F: Group Walla is recorded during the ADR session

A

True: This is considered a dialogue element

147
Q

T/F: The Video Slave 4 software can create cueing beeps, streamers, and other audio and visual references for post production session

A

True: Video Slave 4’s main objective is to allow the studio or user to create cueing references for any post production audio recording session

148
Q

4 audio elements in Post Production

A
  1. Dialogue
  2. Foley
  3. Music
  4. SFX
149
Q

Where Cue Sheets are created

A

Spotting Session

150
Q

Where the final audio mix for a film is completed

A

Dub stage

151
Q

ADR

A

Automated Dialogue Replacement

152
Q

EDL

A

Edit Decision List

153
Q

SFX

A

Sound Effects

154
Q

Audio that is recorded out of sync with the picture on a film set

A

Production sound effects

155
Q

Audio that is recorded on the film set in sync with the picture or film

A

Production audio

156
Q

Sync Effects Actors are __________

A

Foley Artists

157
Q

Frame rate for film

A

24 fps

158
Q

Frame rate for American Colour TV

A

29.97 fps

159
Q

Frame rate for Broadcast TV

A

29.97 drop fps

160
Q

Frame rate for Europe

A

25 fps

161
Q

Frame rate for B&W TV

A

30 fps

162
Q

Amount of fields of video for one frame of film

A

2

163
Q

Process of converting film to video

A

Telecine

164
Q

Process of merging the final audio mix to film or picture

A

Layback

165
Q

If you had 300 frames of film and converted these into video fields - how many video fields will you have?

A

600

166
Q

Blackburst is ____________

A

Standard Def Video Reference

167
Q

What is wordclock?

A

Digital Sample Rate Synchronisation Reference

168
Q

Person responsible for how the orchestra is arranged on the Scoring Stage

A

Conductor

169
Q

The process of applying an effect to audio/video and creating a stored file

A

Render

170
Q

Dialogue corrections or overdubs are recorded on a ______________

A

ADR stage

171
Q

Starting a timecode generator from an already running timecode

A

Jam Sync

172
Q

Most common sample rate used in Post Production audio recording

A

48 kHz

173
Q

Best placement for microphone when recording dialogue for film

A

Above the actor

174
Q

Best microphone is best for recording dialogue on a film set

A

Shotgun

175
Q

Most widely used polar pattern for recording with a “Decca Tree” configuration

A

Omnidirectional

176
Q

Where the orchestra is recorded for film

A

Scoring Stage

177
Q

Person in charge of recording the audio on set and hiring the sound team

A

Sound Mixer

178
Q

A set of criteria for finished film and audio elements for delivery to the production company

A

Delivery Requirments

179
Q

Submixing tracks of audio and recording them into an audio file

A

Stems

180
Q

Title of the person who is in charge of the audio in post production

A

Sound or Post Production Supervisor

181
Q

Tri Level Sync

A

High Definition Video Reference

182
Q

Reasons why a boom operator still use a windscreen indoors for recording

A
  1. Handling noise
  2. Plosives
  3. Wind noise
183
Q

MOS meaning

A

Minus Optical Sound

184
Q

A multi-channel audio file that can hold unique meta data for Post Production is called _________

A

Poly WAV file

185
Q

Creator of the THX audio calibration standard for Film Theatres

A

Tomlinson Holman

186
Q

What does the Sync I/O generate from an external video references to all connected interfaces?

A

Wordclock

187
Q

2 EQ curves used in Cinema for reducing unwanted frequencies in movie theatres

A
  1. X Curve

2. Academy Curve

188
Q

4 unique information that can be stored on a Poly Wav for production audio

A
  1. Scene
  2. Shot
  3. Take
  4. Camera
189
Q

Final audio mix that will be merged with the final film or video

A

Print Master

190
Q

First film with audio including dialogue

A

The Jazz Singer

191
Q

First film with Stereophonic sound

A

Fantasia

192
Q

Recording the audio and video with the same device is _________

A

A single sound system

193
Q

The final mix for a film or TV show is performed in a studio called a _______, which could be described as ______________________

A

Dub stage

Movie theatre with a large mixing console in it

194
Q

The process of marrying a completed soundtrack to the finished picture

A

Layback

195
Q

2-Pop

A

A 1 kHz tone, one frame in duration which occurs in the audio track, coinciding with a visual cue in the picture

196
Q

A technique used to sync a time code generator to another running time code

A

Jam Sync

197
Q

After the shoot of a scene is complete, we continue to record extra door slams in that same location, without shooting picture. What are these recordings called?

A

Wild Tracks

198
Q

Audio that is recorded on set, in sync with the picture being shot

A

Production sound

199
Q

Microphones frequently used for recording audio on film sets other than boom mics

A

Wireless lavalier mics

200
Q

Interleaved Broadcast Wave files containing multiple mono channels of audio with metadata identifying the channels

A

Poly WAV

201
Q

Position title of the person who oversees all of the audio post departments

A

Supervising Sound Editor

202
Q

Type of session the director is least likely to attend

A

Foley Recording Session

203
Q

T/F: Post production audio work cannot begin until the final visual effects for a film are completed

A

False

Music Production (16 decks)

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