The document discusses various aspects of sound presentation across different mediums. It covers how sound is used in film, television, web, hand-held devices, video, animation, and for interviews. Key points include that dialogue is often recorded after filming in film and television, sound aims to immerse viewers, smaller television budgets affect sound quality, websites can include sound, and hand-held devices have limitations due to small speakers. It also discusses ambient sounds, music, sound effects, diegetic versus non-diegetic sound, and how sound is used to set mood and meaning.

1. T O M M O R R A N
Sound Presentation

2. Film
 Voice, sound effects and music, three main elements
 Sound can be created by foley artists
 Dialogue is recorded after filming, also known as
dubbing or ADR (Automatic Dialogue Replacement)
 Sound is in place to immerse viewers.

3. Television
 Similar to film
 Television programs have smaller budgets
 Time and money can’t go into ADR and state of the
art sound effects.

4. Web
 Sound can be used when clicking on link, usually a
pop sound
 Moving images may be involved with a website with
accompanied with a sound.
 Website for the visually impaired will require sound

5. Hand-held devices
 They have small speakers which lack bass, sound
would be affected
 Films, apps and music will have less depth in audio
if played through devices speakers.
 Sounds are used for different functions, for
example, unlocking phone, volume key change,
ringtone

6. Video
 DVD and Blu-ray is designed for different audio
types such as mono, stereo and 5.1 surround sound.
 In cinemas is would be Dolby surround sound.

7. Animation
 No original sound from the start
 no ambient sounds in the background,
 Use of foley for most of the production.
 Wider range of sound effects can be used because not everything may
exist in the animation.
 Defining characters with sound has to be done very carefully so the
viewer doesn’t get the wrong idea about a character.

8. Studio and location
 Dialogue is recorded in studios. (ADR)
 Ambient sounds are often recorded on location.
 Some foley sounds are created on location and in the
studio before and after filming has taken place.
 Microphones can be placed all around a steam train for
example to record all the individual sounds.

9. Interviews
 Hand-held Mics – versatile, easy to use, suited for mobile
interviews, can only speak when interviewer points mic.
 Lapel Mics – high quality, consistent sound, each person
has own mic, slower and more difficult to set up.
 Pressure Zone Mics – useful when number of people are
seated around a table.
 Boom Mics – versatile, both used in studios and mobile
settings, sound operator in full control.
 Built-in Camera Mic – can be used if you’re desperate

10. Presentation
 Cinemas are usually supplied with either 5.1 or 7.1
surround sound to give viewers a more immersive
experience.
 Home televisions can have the same effect of
surround sound if bought separately, otherwise it
comes with a standard built in stereo.

11. Voiceover
 Voiceovers are done after all the shooting has taken place.
(ADR)
 Actors are in rooms for weeks repeating lines that weren't
picked up very well during filming. (90%)
 Voice overs are also found in adverts, often foreign adverts are
dubbed in English, or adverts are American, later dubbed in
British English to make the advert feel more local.

12. Drama dialogue
 Dramatic dialogue is good dialogue
 Vibrant, involving conflict, involving change,
involving movement. Good dialogue will have all of
these things.
 You don’t want overblown, unrealistic, clichéd, and
sometimes even absurd speech, this is known as
melodramatic speech.

13. Ambient sound
 These a background noises, these are heard in the
background of a scene.
 E.g. rain, wind, wildlife

14. Music
 Used to set the mood of the film.
 Without music or music being in the wrong place the
viewer may be confused in which emotions they are
supposed to feel.
 Music is composed at the end of a media production,
once all editing as taken place.
 This ensures the composers know how long the
music has to last and the high and low points of the
piece.

15. Sound effects (SFX)
 Artificially created or enhanced sounds.
 Emphasises artistic or other content.
 Can be used to create sound of things that don’t
exist.

16. Stationary and moving sound sources
 Stationary sound is when it doesn’t move from the
viewers perspective.
 Moving sound is the opposite, this is where the
sound moves away, around or towards the viewers
perspective.

17. Use of presence
 This is used to create a presence for the viewer, using
surround sound can achieve this either in the cinema
or at home.

18. Diegetic
 Sound that is visible on screen
 Voice of characters, sounds made by objects, music
coming from instruments within the source of film.

19. Non-diegetic
 Sound that isn’t visible on screen.
 Background music, narrators commentary, sound
effects added for dramatic effect.

20. External diegetic
 Sound the audience hears.
 Can’t be heard by all characters in the shot.
 An example would be if someone was reading a letter
in their head.

21. Mood
 Music is used to set the mood of a scene.
 Horror – Eerie, with strings.
 Love – Slow, romantic piano
 Comedy – Trumpets, brass section, upbeat
 Silent films used a live pianist to create the mood.

22. Meaning
 This is when the meaning of the sound can be
created to suit the character that is in the scene.
 For example anger in a character can cause music to
build up, a happy character may have soft music.

23. Illusion
 This is when sound is used to create an illusion and
trick the viewer that something is in the narrative
world but it is not shown on screen.