- 1. CTVA 358 Quiz One
- (CSUN - CTVA 358)
- ... A producer asks you “What is your daily rate?” What would be a professional answer? 9. List the three sub-categories of WILD LINES? 1)____________________________ 2)______________________________ 3)_______________________________ 10. ...
- Created on March 06, 2021
- 2. Quiz One Due by Oct 2, 2020
- (CSUN - CTVA 358)
- ... rate?” What would be a professional answer? 9. List the three sub-categories of WILD LINES? 1)____________________________ 2)______________________________ 3)_______________________________ 10. Give an ...
- Created on September 22, 2020
- 3. Timecode Threads
- (Fred's Blog )
- ... array, but that happens during the final mixdown. The only exception would be wild background sounds (environments) that might intentionally be field recorded in STEREO. But those would be separate from ...
- Created on October 03, 2013
- 4. Sound for Surfing
- (Production Advice)
- ... or curses -- these would be wild lined or ADR'd and simply cut in, over the shots of the surfer. Although it is possible to deploy bona fide waterproof wireless mics in the water, bear in mind that these ...
- Created on September 10, 2011
- 5. Priorities of Recording
- (Sound Design)
- ... there are priorities to consider. Not all sounds are equally important. Here is an overview of: dialogue, perspective, sync sound effects, wild lines, wild sound effects, background tracks, and proper ...
- Created on August 27, 2011
- 6. The Priorities of Recording
- (Location Sound Recording)
- Production Mixers are responsible for capturing the live sounds on a set, but there are priorities to consider. Not all sounds are equally important. Here is an overview of: dialogue, perspective, sync ...
- Created on August 26, 2011
- 7. Preparing for Audio Post
- (Post Production)
- ... elements" folder. If wild lines, additional dialog or additional production sound effects (creaky floors, idiomatic doors or windows etc.) were captured, all of that should be in the OMF or added to an ...
- Created on August 26, 2011
- 8. Two-Track Mixing for Location Dialogue
- (Sound Design)
- ... but a constant wild track of beach noise (waves, surf, wind, seagulls) could be played continuously under the sequence to give it some sense of continuity and temporal frame. Even though the camera angles ...
- Created on August 23, 2011
- 9. Chapter 2: Elements of the Soundtrack
- (Series - Elements of the Soundtrack)
- ... travelogues! The other approach, which is usually the preferred way of doing it, involves recording the narration “wild” from a script, instead of from watching the picture. The talent reads the lines ...
- Created on August 22, 2011
- 10. Chapter 4: Personnel of a Professional Sound Crew
- (Series - Preparing for Your Shoot)
- ... recording the audio signal; and for approving the recorded take to the director as okay for sound. In conjunction with the Script Supervisor, the Mixer will make sure that all wild lines and wild sound ...
- Created on August 19, 2011
- 11. Chapter 7: In Summary
- (Series - Elements of the Soundtrack)
- ... being projected, as it is being projected. The other method, which is the preferred way of doing things, is to record the narration wild from a script and to edit the lines in opposite the appropriate ...
- Created on August 17, 2011
- 12. Chapter 7: Defining Equipment Packages
- (Series - Preparing for Your Shoot)
- ... band type of set-up. Picture one person with a recorder pouch strapped over the shoulder and a shotgun mic in hand. Applications would include sound effects gathering, wild lines, and documentary. For ...
- Created on August 16, 2011