Non-diegetic – sounds added on top of the scene, such as extra sound effects, music and voice-overs – the actors do not hear it while acting
Diegetic – sounds heard within the scene that are natural
Foley – recording sound with the scene in sync after
Amos – sound you record of your space
Dubbing – using previously recorded sound from one type to another
Signal – the audio you want to use and record
Noise – other audio, created by the atmosphere/equipment that you don’t want to use
Signal To Noise Ratio
Ratio = 1:1 = equal signal and noise
Ratio = 2-:1 = 20 times more signal than noise
Ideal – a lot more signal than noise.
Sub-cardiod mics has a very gradually reducing sensitive from the front to the back – maintaining some sensitivity at the back
Cardiod mics has a gradually reducing sensitive from the front to the back, with very little sensitivity at the back..
Super-cardiod mics reduces the sensitivity from the front to the sides at a faster rate than carded types – minimum sensitivity at an angle from the front. Sensitivity increases, and reduces at the back.
Hyper-cardiod mics, provides even less sensitivity at the sides, a little more sensitivity at the back.
‘Rifle’ or ‘shotgun’ mics are the most directional type, they are mainly for long-distance.
Bi-directional mics pick up sound with equal sensitivity from both front and back.
Stereo mic recording requires two mics recording to two separate channels. These polar patterns overlap and are sometimes included in a single unit.
Sound ideas for my film:
When the glass drops to the floor – thud
Wind howling in the background – spooky tense effect
Thud when stumbling around
Flashback – baby laughing/crawling
Flashback – toys rattling/squeaking