Unit 38

Sound Essay & Research by Cathal Carlin

Sound Design

The process of capturing, acquiring, modifying, or producing audio elements is

known as sound design. Filmmaking, television production, theatre, sound
recording and reproduction, live action, sound art, post-production, and video
game software creation are only a few of the fields where it's used.

Sound design is the process of expanding a film's aural world in order to

optimize the mood, atmosphere, and/or tone. Sound effects or SFX sound
design, mixing, Foley sound design, dialogue, and music are all examples of
sound design elements. The final and most critical component in creating an
immersive environment for the viewer is sound design.

It's worth noting that the sound designer doesn't record audio on location. The
Production Mixer is in care of the audio on set.

Common Roles in Sound Production

During filming:

- Boom operators record sound by holding and adjusting the boom (an
adjustable arm to which a microphone can be attached) while keeping it
(and its shadow) out of view.

- Microphones are hidden among props and the cast's clothing by sound
technicians.

- Production sound mixers keep an eye on the sound quality and alert the
director if another take is required.

- Sound assistants, trainees, and runners (general helpers) lend a helping

hand to any job that is assigned to them.
 Post Production:

- Foley artists use their creativity to replicate sound effects that were
difficult to capture during filming. They'll do these when watching the
action on screen to make sure the timings are perfect.

- Sound effects editors, for example, source, adapt, and/or produce other
sound effects that are needed (possibly from their own back-catalogue
of useful sounds), such as an explosion.

- Automated dialogue replacement (ADR) editors fix any issues with

actors' lines, such as too much background noise or a mispronunciation
or accent. Plan A is to save the line (or a portion of it) from another take;
plan B is to bring the actor into the studio to rerecord it, watching
themselves on screen to adapt their lip motions to the pace on video.

- Music editors collaborate closely with picture editors and composers to

ensure that all music used in the film is compatible with the picture
editing team's cut of the film (the shots chosen and their order), as well
as the dialogue, rhythm, and overall atmosphere.

- One or more sound editors combine all of these components to produce

a final soundtrack in which all sound elements work well together, and
the picture editing team's final order shots are used.
 Microphones

Microphones are extremely important for a successful production.

Microphones come in a variety of shapes and sizes, and they can be used in a
variety of situations.

Microphone Polar Patterns

Every microphone will fall into one of these categories:

- Omni-directional
- Bi-directional (Figure-8)
- Uni-directional (Cardioid)
- Super-cardioid
- Hyper-cardioid
- Sub-cardioid/Wide-cardioid
- Lobar/Shotgun
- Boundary/PZM
- Infinitely Variable

Since there are so many I will only talk about the most common.

Omni-directional

The omni pattern responds to sound pressure from all directions with the same
sensitivity. In contrast to all other polar patterns, an omni pattern has the best
bass response, the flattest frequency response, and is the least sensitive to
handling or wind noise.
 Uni-directional (Cardioid)

Cardioid microphones are more sensitive to sound coming from the front and
are less sensitive to sound coming from the back. This makes cardioid
microphones ideal for live shows, as sound coming from the back (typically
stage monitors and PA speakers) is attenuated, reducing feedback.

Bi-directional (Figure 8)

Bidirectional microphones, also known as figure-of-eight device, pick up an

equal amount of sound from the front and back, but sound from the side is
blocked out, hence the polar pattern of a '8.' Since you're capturing more of
the natural ambience of the recording room, along with the sound source,
these microphones can produce a highly realistic sound replication.
 Hyper-Cardioid

The hyper-cardioid polar pattern is a mic polar pattern that is extremely

directional. With a wider rear sensitive area and very low density on the edges,
they are more lateral than cardioids and super-cardioids.

Shotgun

The lobar/shotgun polar pattern is a shotgun mic's highly directional polar

pattern. Lobar patterns are often based on hyper or super-cardioid patterns,
and their directionality is achieved using interference tubes. They have
sensitive areas on the sides and back. Frequently used on camera and boom
poles in film and television.