Devising a Soundtrack
Public Domain
Being in the public domain means owned by the public. It means hat intellectual property is free from copyright law and its restrictions. In the UK, music enters the public domain 70 years after the life of the last surviving author.
Internet Downloading
Sound effects and music can be downloaded from the internet, however monetised use of copyrighted songs breaks the law. A wide range of recordings are in the public domain however.
We used licensed/ public sound effects downloaded from the internet in our moving image project, as it would be hard to recreate similar sound effects using readily available tools with Foley.
Licensed Music
Licensed music is music that can be legally played in public, that is subject to copyright law but is given permission by the author to be played. Licensed music for our soundtrack can be bought online.
Licensed SFX
Sound effects can also be bought online.
Mechanical Copyright Protection Society, Performing Rights Society Alliance (MCPS-PRS)
PRS and MCPS are the major copyright organisation in the UK. They distribute licenses for music. PRS distribute licenses to allow music to be played in public, live or through a recording, broadcast on TV or radio, and streamed or downloaded via the internet. They then distribute a portion of the revenue to the copyright holders of the song.
MCPS however handle the "mechanical rights". They entitle you to earn money when a song or recording is reproduced, whether it is distributed via CD, streamed or downloaded via the internet, or broadcast on TV/ radio. In some cases, the money is collected by both organisations and distributed evenly.
PRS for music handles both of these organisations.
Recording Audio for Moving Image
Task 1:
Public Domain
Being in the public domain means owned by the public. It means hat intellectual property is free from copyright law and its restrictions. In the UK, music enters the public domain 70 years after the life of the last surviving author.
Internet Downloading
Sound effects and music can be downloaded from the internet, however monetised use of copyrighted songs breaks the law. A wide range of recordings are in the public domain however.
We used licensed/ public sound effects downloaded from the internet in our moving image project, as it would be hard to recreate similar sound effects using readily available tools with Foley.
Licensed Music
Licensed music is music that can be legally played in public, that is subject to copyright law but is given permission by the author to be played. Licensed music for our soundtrack can be bought online.
Licensed SFX
Sound effects can also be bought online.
Mechanical Copyright Protection Society, Performing Rights Society Alliance (MCPS-PRS)
PRS and MCPS are the major copyright organisation in the UK. They distribute licenses for music. PRS distribute licenses to allow music to be played in public, live or through a recording, broadcast on TV or radio, and streamed or downloaded via the internet. They then distribute a portion of the revenue to the copyright holders of the song.
MCPS however handle the "mechanical rights". They entitle you to earn money when a song or recording is reproduced, whether it is distributed via CD, streamed or downloaded via the internet, or broadcast on TV/ radio. In some cases, the money is collected by both organisations and distributed evenly.
PRS for music handles both of these organisations.
Recording Audio for Moving Image
Monitor and Control
Volume can be monitored and controlled via a Volume Units Meter (VUM) which measure the decibel level of a signal. Peak Program Meters (PPM) measure the peak level of a signal. Both meters calculate the decibel level by measuring the strength of the signal passing through the meter. The way we often measure the strength of a signal is using dB, or decibels.
Volume can be monitored and controlled via a Volume Units Meter (VUM) which measure the decibel level of a signal. Peak Program Meters (PPM) measure the peak level of a signal. Both meters calculate the decibel level by measuring the strength of the signal passing through the meter. The way we often measure the strength of a signal is using dB, or decibels.
Synchronisation
licenses for non diegetic sound in film
smpte - sync audio with video using cubase
Synchronising an audio track can be easy with preparation. In professional settings a clapper board would be used. A clapper board is an audio visual cue designed to sync audio to video. To start a take, you slam the clapper board down. You can both see the clapper board and the loud noise shows up in your audio track. Clapper boards also have written on them which scene and take to help editors navigate their footage.
SMPTE, or society of motion picture and television engineers developed the standard for labelling frames of film with a timecode. Video with SMPTE time codes can be used to synchronise audio and video together.
Producing a Soundtrack
licenses for non diegetic sound in film
smpte - sync audio with video using cubase
Synchronising an audio track can be easy with preparation. In professional settings a clapper board would be used. A clapper board is an audio visual cue designed to sync audio to video. To start a take, you slam the clapper board down. You can both see the clapper board and the loud noise shows up in your audio track. Clapper boards also have written on them which scene and take to help editors navigate their footage.
SMPTE, or society of motion picture and television engineers developed the standard for labelling frames of film with a timecode. Video with SMPTE time codes can be used to synchronise audio and video together.
Producing a Soundtrack
Marking
Using the marker tool in Cubase you can compose your work based on the video you're working on. If you mark, for example, a moment where a chase scene begins or a dramatic event happens your composition can build into an intense moment with plenty of warning.
Using the marker tool in Cubase you can compose your work based on the video you're working on. If you mark, for example, a moment where a chase scene begins or a dramatic event happens your composition can build into an intense moment with plenty of warning.
Storing and Archiving
When working on making sound effects or music for a soundtrack, it makes sense to store and archive your work properly for future use. By labelling work correctly, accessing work becomes much easier and more efficient. Backing up your files also means that you won't be in a position where you've lost files that you're either working on or might need to recycle for a future project.
When working on making sound effects or music for a soundtrack, it makes sense to store and archive your work properly for future use. By labelling work correctly, accessing work becomes much easier and more efficient. Backing up your files also means that you won't be in a position where you've lost files that you're either working on or might need to recycle for a future project.
Logging Soundtracks
By logging your soundtracks, you can navigate through your previous work easier. If you log where you've used each sound effect for your soundtrack in a word document, you won't waste time looking for it later on.
By logging your soundtracks, you can navigate through your previous work easier. If you log where you've used each sound effect for your soundtrack in a word document, you won't waste time looking for it later on.
Task 1:
Be able to devise a soundtrack for
a moving image project
Professional practice: working with a director; working to a brief;
working with a studio crew; working with a location crew; meeting audience
requirements in relation to issues of taste and decency
Components:
dialogue; recorded music; pre-recorded music; SFX, eg pre-recorded, public
domain,
licensed, own; library, eg, audio CD, CD ROM, internet, public domain,
licensed material
Planning:
capabilities of the available locations; recording equipment; software;
recognition of various audio formats and their compatibility; copyrights;
documentation
Intellectual property: public domain; internet downloading; licensed
music; licensed SFX; Mechanical Copyright Protection Society-Performing
Rights Society Alliance (MCPS-PRS)
Task 2:
Be able to record audio for moving
image
Environments:
studio and location sound formats; mixing live sound; acoustic interference
Equipment:
selection; configuration and operation (studio, inside, outside, on location);
video; digital; from single sources; from multiple sources
Microphones:
selection; handling; positioning for different environments (indoor, outdoor
and studio)
Connecting audio: awareness of talk-back; headphones; recognising and applying cabling
connections
Monitor and control: monitoring and controlling of recording levels
via peak program meters (PPMs) and volume units meters (VUMs); fundamentals of
decibels (dBs)
Synchronisation: timecode use; SMPTE
Content:
dialogue, eg individuals, groups, crowds; music, eg solo, ensemble, vocal,
instrumental; location, eg background animate, background inanimate, wildtrack;
SFX
Documentation and storage: marking; storing and archiving of all types of
sound recording media; logging tracks and timing; log soundtracks from video
and audio rushes using time-code and control track
Task 3:
Be able to produce a soundtrack
for a moving image project
Professional practice: working with a director; requirements of client;
requirements of audience
Creativity:
using audio track to complement the visual content of a production (speech,
music, ambient sound, SFX)
Edit sound to picture: locking sound and vision (synchronisation); lip
synchronising; split edits; use of
timecode; adding music or background atmosphere; laying off and laying
back tracks
Sound processing and enhancement: use of digital effect generators or synthesisers
Mixing and dubbing sound sources: level setting; equalisation; mixing dialogue;
music and effects; using appropriate compression
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