Difference between revisions of "Sound (Discussion)"
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#As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning. | #As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning. | ||
#Think back to the ''Chevrolet'' commercial that we broke down and the shot of Mother, salesman, Father, son in the car. As a group, pretend you're doing ADR (and what is ADR?) for this shot and write dialogue that illustrates how sound editors can manipulate sound perspective to alter our understanding of a scene (somewhat like the sound editor of ''Ugly Betty'' did in [http://tvcrit.com/find/uglybetty the textbook example], but do not copy it). | #Think back to the ''Chevrolet'' commercial that we broke down and the shot of Mother, salesman, Father, son in the car. As a group, pretend you're doing ADR (and what is ADR?) for this shot and write dialogue that illustrates how sound editors can manipulate sound perspective to alter our understanding of a scene (somewhat like the sound editor of ''Ugly Betty'' did in [http://tvcrit.com/find/uglybetty the textbook example], but do not copy it). | ||
| − | |||
#*Illustrate how sound and time could be manipulated in this shot with some other dialogue (as in [http://tvcrit.com/find/damages the textbook's example from ''Damages'']). | #*Illustrate how sound and time could be manipulated in this shot with some other dialogue (as in [http://tvcrit.com/find/damages the textbook's example from ''Damages'']). | ||
#**'''Group 3:''' | #**'''Group 3:''' | ||
| − | |||
#*Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound. | #*Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound. | ||
#**'''Group 4:''' | #**'''Group 4:''' | ||
#**'''Group 1:''' | #**'''Group 1:''' | ||
#**'''Group 2:''' | #**'''Group 2:''' | ||
| − | #**'''Group | + | #**'''Group 3:''' |
'''Types of sound''' | '''Types of sound''' | ||
| − | #'''Group | + | #'''Group 4:''' What are the three main types of sound in TV production and how do digital audio workstations mirror those three types? ([http://tvcrit.com/files/ProTools.png See ''Ugly Betty'' ProTools layout for music editor.]) |
| − | #'''Group | + | #'''Group 1:''' What is "public domain" music? What are "master rights"? How do master rights apply to DVD releases of TV programs? |
==Sound technology== | ==Sound technology== | ||
| − | # '''Group | + | # '''Group 2:''' Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response. |
| − | # '''Group | + | # '''Group 3:''' What are the different types of microphone pick-up patterns? How do they affect ''sound perspective''? ([http://tvcrit.com/find/uglybetty ''Ugly Betty'' example.]) |
[[File:Mad-Men-January-on-set l.jpg]] | [[File:Mad-Men-January-on-set l.jpg]] | ||
Revision as of 19:42, 1 October 2014
Purposes of sound on television
Television lists four "purposes of sound on television":
- Capturing viewer attention.
- Manipulating viewer understanding of the image.
- Maintaining televisual flow.
- Maintaining continuity within individual scenes.
All groups: sound exercises
In class, we'll view a Dodge commercial and examples of how sound can manipulate viewer understanding of the image--that is, can change its meaning.
- As a group, choose a well-known song that, if laid over the commercial, would change its meaning. (No R-rated songs, please.) We'll find an excerpt of it online and lay it over the commercial. Be prepared to explain to the class how your song changes the commercial's meaning.
- Think back to the Chevrolet commercial that we broke down and the shot of Mother, salesman, Father, son in the car. As a group, pretend you're doing ADR (and what is ADR?) for this shot and write dialogue that illustrates how sound editors can manipulate sound perspective to alter our understanding of a scene (somewhat like the sound editor of Ugly Betty did in the textbook example, but do not copy it).
- Illustrate how sound and time could be manipulated in this shot with some other dialogue (as in the textbook's example from Damages).
- Group 3:
- Finally, include audio that illustrates the difference between diegetic vs. nondiegetic sound.
- Group 4:
- Group 1:
- Group 2:
- Group 3:
- Illustrate how sound and time could be manipulated in this shot with some other dialogue (as in the textbook's example from Damages).
Types of sound
- Group 4: What are the three main types of sound in TV production and how do digital audio workstations mirror those three types? (See Ugly Betty ProTools layout for music editor.)
- Group 1: What is "public domain" music? What are "master rights"? How do master rights apply to DVD releases of TV programs?
Sound technology
- Group 2: Explain these terms in the context of digital audio: sampling, dynamic range, and frequency response.
- Group 3: What are the different types of microphone pick-up patterns? How do they affect sound perspective? (Ugly Betty example.)
Bibliography
- Butler, Jeremy G. Television: Critical Methods and Applications. New York: Routledge, 2012.
