filmmaking1e

CHAPTER 10 ESSENTIALS

Serving a story’s needs to emotionally connect to the audience is the guiding concept behind any sound work done on a motion picture.
Every audio-related decision you make has to have a specific purpose—to serve a narrative, subliminal, or grammatical function in your story.
The building blocks of a soundtrack involve recording production sound (dialogue), effects sound (other non-music or dialogue-related sounds), and music, as well as collecting other preexisting elements when needed.
Your recorded pieces need to be put together in a multifaceted postproduction phase, which includes recording additional elements, editing and combining those pieces, and mixing everything together.

Acoustics	Effects sound	Preamplifiers (preamps)
Additional dialogue replacement (ADR)	Electrical condenser microphones	Production sound
		Reflected sound
Ambient sound	Equalization (EQ)	Reverberation (reverb)
Amplitude	Fader	Room tone
Automatic level control	Fading	Sample rate
Bidirectional	Field mixer	Score
Bit depth	Filtering	Scrubbing
Boom pole (boom arm)	Final mix	Shock mount
Boom microphone	Foley	Shotgun
Boundary microphone	Foley mixer	Signal-to-noise ratio
Capacitor microphones	Foley walkers	Sound design
Cardioid	Frequency	Sound editing
Compressors	Frequency response	Sound effects
Cross fading	Gain	Sound mixer
Cue sheets (timing sheets)	Hypercardioid	Source music
Cuing	Lavalier microphone	Spotting sessions
Data compression scheme	Limiters	Stems
dBFS (decibels full scale)	Looping	Summing
Decibels	Mixer	Temp tracks
Diaphragm	Mixing	Timecode
Digital audiotape (DAT)	Mixing console	Underscore
Digital audio workstation (DAW)	Omnidirectional	Volume-unit meters (VU meters)
Direct sound	Outtakes	Walla
Directionality	Peak meters	Wild lines
Dynamic condenser microphones	Pickup pattern	Wild sounds
	Postproduction sound	Windsock
Echo	Pot (potentiometer)