Bvcls Unit 4

Dr Ramesh Kumar Sharma
AUDIO FUNDAMENTALS
What is "Audio”:
Audio :
Audio means "of sound" or "of the reproduction

of sound
sound". Specifically,
Specifically it refers to the range
of frequencies detectable by the human ear —
approximately 20Hz to 20kHz. It's not a bad
idea to memories those numbers — 20Hz is
the lowest-pitched sound we can hear, 20kHz
is the highest pitch we can hear.

How Sound Waves Work:
 Sound waves exist as variations of pressure

in a medium such as air. They are created by
the vibration of an object,
object which causes the
air surrounding it to vibrate. The vibrating air
then causes the human eardrum to vibrate,
which
hi h the
th brain
b i interprets
i t t as sound.
d

 Sound waves travel through air in much the
same way as water waves travel through water.
In fact, since water waves are easy to see and
understand, they are often used as an analogy
to illustrate how sound waves behave.
behave

Sound Wave Properties:
All waves have certain properties. The three
most important ones for audio work are shown
here:
Wavelength:
The distance between any point on a wave
and the equivalent point on the next phase.
Literally, the length of the wave.

Amplitude:
The strength or power of a wave signal. The
"height" of a wave when viewed as a graph.
Higher amplitudes are interpreted as a higher
volume,, hence the name "amplifier"
p for a
device which increases amplitude.

Frequency:
The number of times the wavelength occurs in
one second. Measured in kilohertz (KHz), or
cycles per second. The faster the sound source
vibrates, the higher the frequency.
Higher frequencies are interpreted as a higher

pitch. For example, when you sing in a high-
pitched voice you are forcing your vocal chords
to vibrate quickly.

Sound Perspective:
The sense off a sound’s
Th d’ position
iti in
i space,
yielded by volume and pitch. And the
perspective refers to the apparent distance of
a sound.
Direct sound: Direct sound issues from the
source itself, such as those frequencies
coming from actors mouth.
mouth
Reflected sound: Reflected sound is
produced by the direct sound bouncing off
the walls, floor etc.
Various audio elements:
Lip
p Synchronized
y o d Sound:
ou d
It means the accurate or synchronized
combination Of sound and picture,
picture especially
matching words with a talking person. or the
process of matching
p g the movement of
performers’ mouths with the words they are
speaking.

Voice:
A sound of a story that uses continuous visuals,
accompanied by the voice of an unseen narrator.
Ambience:
The prevailing location environment; in audio,
audio the
background noise present at a location.

Sound effect:
Sounds that are matched to their supposed visual
sources during postproduction editing. Sound effects
or audio effects are artificially created or enhanced
sound or sound processes used to emphasize artistic
or other content of films,
films television,
television shows,
shows live,
live
performance, animation, video games,

Sound effect:
Echo - to simulate the effect of reverberation in a
large hall or cavern, one or several delayed signals
are added
dd d tot the
th original
i i l signal.
i l To
T be
b perceived
i d as
echo, the delay has to be of order 50 milliseconds or
above.
Phaser: The phaser effect was originally a simpler
implementation of the flanger effect since delays
were difficult to implement with analog equipment.
Phasers are often used to give a "synthesized" or
electronic
e ect o c eeffect
ect to natural
atu a sou
sounds,
ds, suc
such as human
u a
speech.
Sound effect:
Equalization - different frequency bands are
attenuated or boosted to produce desired spectral
characteristics. Moderate use of equalization (often
abbreviated as "EQ") can be used to "fine-tune" the
tone quality of a recording; extreme use of
equalization, such as heavily cutting a certain
frequency can create more unusual effects.

Filtering - Equalization is a form of filtering. In the
general sense, frequency ranges can be emphasized
or attenuated using low-pass,
low-pass high-pass,
high-pass band-pass
or band-stop filters. Band-pass filtering of voice can
simulate the effect of a telephone because
telephones
l h use band-pass
b d fil
filters.

Sound effect:
Time stretching - the opposite of pitch shift, that is,
th process off changing
the h i ththe speedd off an audio
di
signal without affecting its pitch.
Robotic voice effects are used to make an actor's
voice sound like a synthesized human voice.

THANK YOU

Microphone:
Microphones
Mi h are a type
t off transducer
t d -
a device which converts energy from
one form
f t
to another.
th Mi
Microphones
h
convert acoustical energy (sound
waves)) into
i t electrical
l t i l energy (the
(th audio
di
signal).
•Different types of microphone have
different ways of converting energy but
they all share one thing in common: The
diaphragm.

•When the diaphragm vibrates, it causes
other components in the microphone to
vibrate. These vibrations are converted
into an electrical current which becomes
the audio signal.
Types of Microphone
There are a number of different types of
microphone in common use. The
differences can be divided into two areas:
(1)The type of conversion technology
they use :
The most common technologies are
dynamic, condenser, ribbon and crystal.
((2)) The typeyp of application
pp they
y are
designed for : Some mics are designed
for general use and can be used
effectively in many different situations.
Dynamic Microphones
Dynamic microphones are versatile and
ideal for general-purpose use. They use a
simple design with few moving parts.
They
y are relatively
y strong
g and flexible to
rough handling.
They are also better suited to handling
high volume levels, such as from certain
musical instruments or amplifiers.
amplifiers
They have no internal amplifier and do
nott require
i batteries
b tt i or external
t l power.
The diaphragm
g is attached to the coil.
When the diaphragm vibrates in
response to incoming g sound waves,
the coil moves backwards and
forwards past the magnet.
This creates a current in the coil which

is channeled from the microphone
along wires.

Condenser Microphones
Condenser
C d means capacitor,
i an electronic
l i
component which stores energy in the
f
form off an electrostatic
l t t ti field.
fi ld
it requires power from a battery or
external source. The resulting audio
signal is stronger signal than that from a
dynamic.

A capacitor
p has two pplates with a voltage
g
between them.
In the condenser mic, one of these plates
is made of very light material and acts as
the diaphragm. Dr Ramesh Kumar Sharma
The diaphragm vibrates when struck by
sound waves,
waves changing the distance
between the two plates and therefore
changing the capacitance.
capacitance
Specifically,
p y, when the p
plates are closer
together, capacitance increases and a
charge
g current occurs.
When the plates are further apart,

capacitance decreases and a discharge
current occurs.

Deference between Dynamic
Microphones and Condenser
Microphones:
•Dynamics do not usually have the
same flat frequency response as
condensers.
•Condenser microphones have a flatter
frequency response than dynamics.
•A condenser mic works in much the
same way as an electrostatic tweeter.
tweeter
Directional Properties
Every microphone has a property known
as directionality. This describes the
microphone's sensitivity to sound from
various directions.
Some microphones pick up sound equally
from all directions,, others p
pick up
p sound
only from one direction or a particular
combination of directions.
The types of directionality are divided into
three main categories:
1. Omni-directional
Picks up sound evenly from all directions.
Uses: Capturing ambient noise; Situations
where sound is coming from many directions;
Situations where the mic position must remain
fixed while the sound source is moving.
Notes:
Omni sound is very general and unfocused - if
you are trying
y y g to capture sound from a particular
subject or area it is likely to be overwhelmed by
other noise. Dr Ramesh Kumar Sharma
Unidirectional
Picks up sound predominantly from one
direction. This includes cardioid and
hypercardioid microphones.
Cardioid
Cardioid means "heart-shaped"
heart-shaped , which is the
type of pick-up pattern these mics use. Sound
is p
picked up
p mostlyy from the front,, but to a
lesser extent the sides as well.

Hypercardioid
This is
Thi i exaggerated
t d version
i off the
th cardioid
di id
pattern. It is very directional and eliminates
most sound from the sides and rear. rear Due to
the long thin design of hypercardioids, they
are often referred to as shotgun
g microphones.
p
Uses: Isolating the sound from a subject or

direction when there is a lot of ambient noise;
Pi ki
Picking up soundd from
f a subject
bj t att a
distance.
Bidirectional: Picks up sound from two
opposite directions.or Uses a figure-of-
eight pattern and picks up sound equally
from two opposite directions.
Uses: As you can imagine, there aren

aren'tt a
lot of situations which require this polar
pattern. One p
p possibility
y would be an
interview with two people facing each
other (with the mic between them).
Variable Directionality
Some microphones allow you to vary the
directional characteristics by selecting omni,
cardioid
di id or shotgun
h t patterns.
tt
This feature is sometimes found on video
camera microphones, with the idea that you
can adjust the directionality to suit the angle
off zoom, e.g. have
h a shotgun
h t mic
i for
f l
long
zooms.
Some models can even automatically follow
the lens zoom angle so the directionality
changes from cardioid to shotgun as you
zoom .
Audio Cables and Connectors
Audio Cables:
There are two main types of audio cable
we will look at: Single core / shielded
(unbalanced) and One pair / shielded
(b l
(balanced).
d)
Single
g Core / Shielded Cable: In a single g
core / shielded cable, the single core is
used for the +ve, or 'hot', and the shield is
used for the -ve, or 'cold'.

This type of cable is used for unbalanced
audio signals.

One Pair / Shielded Cable
A one pair / shielded cable has one core as
the +ve, and the other core is -ve. The
shield is earthed.
earthed
This type of cable is used for balanced
audio signals.

Audio Connectors
There are a variety of different audio
connectors available. The most common types
are 3-pin XLR, RCA, and 6.5mm jjacks ((also
known as ¼" jacks).
3 pin XLR: 3
3-pin 3-pin
pin XLR connectors are mainly
used for balanced audio signals. Using a
balanced signal reduces the risk of inference.
•Pin 1 is the earth (or shield)
•Pin
Pi 2 is
i the
th +ve
+ (or
( 'hot')
'h t')
•Pin 3 is the -ve (or 'cold).

There are a number of different XLR's -
3-pin, 4-pin, 5-pin etc.
3-pin XLR Male
3-pin XLR Female

¼" Jack (6.5mm Jack)
There are two types of 6 6.5mm
5mm Jacks: Mono
and stereo. The mono jack has a tip and a
sleeve,, the stereo jack
j has ring,
g, a tip
p and a
sleeve.
•On the mono jack the tip is the +ve,
+ve and the
sleeve is the -ve or shield.
•On
O a stereo
t jack
j k being
b i used d for
f a balanced
b l d
signal, the tip is the +ve, the ring is the -ve,
and the sleeve is the shield
shield.
•On a stereo jack being used for a stereo
signal (left and right), the tip is the left, the
ring is the right, and the sleeve is the shield.
Jacks also come in various sizes - 6.5mm
(¼ ) 3.5mm, 2.5mm. The wiring for
(¼"), f all off
them is the same.
1/4" Mono Jack
1/4" Stereo Jack

RCA
RCAs
C are used a lot ffor home stereos,
videos, DVDs etc.
The RCA can carry either audio or video. It is
wired the same way as a mono jack: The
center pin is the +ve, and the outer ring is the
-ve or shield.
RCA Male
RCA Male

Types of Microphones used in
Video Production

B ilt I Microphones
Built‐In Mi h

Handheld Microphone

Lavalier/Lapel
Lavalier/Lapel Microphones

Shotgun Microphones

Sound Mixers: Overview
A soundd mixer
i i a device
is d i which
hi h takes
t k two
t
or more audio signals, mixes them
t
together
th and d provides
id one or more output
t t
signals. The diagram on the right shows a
simple
i l mixer
i with
ith six
i inputs
i t and d two
t
outputs.
As well as combining signals, mixers allow
you to adjust levels, enhance sound with
equalization and effects, create monitor
feeds, record various mixes, etc.

Channels
Mixers are frequently described by the
number of channels they y have. For
example, a "12-channel mixer" has 12
input channels, i.e. you can plug in 12
separate input sources. You might also
see a specification such as "24x4x2"
which means 24 input channels, 4
subgroup channels and two output
channels.
h l

Applications
Some of the most common uses for sound
mixers include:
•Music studios and live performances:
Combiningg different instruments into a stereo
master mix and additional monitoring mixes.
•Television studios: Combining sound from
microphones, tape machines and other
sources.
sources
•Field shoots: Combining multiple
microphones
i h iinto
t 2 or 4 channels
h l ffor easier
i
recording. Dr Ramesh Kumar Sharma
Input Gain: The level of the signal as it enters
the channel. In most cases this will be a potp
(potentiometer) knob which adjusts the level.
There may also be a switch or pad which will
increase or decrease the level by a set
amount
Phantom Power:
Some mixers
S i h
have th option
the ti t provide
to id a
small voltage back up the input cable to power
a microphone or other device.
device
Channel On / Off: Turns the entire channel
on or off.
Equalization:
Most mixers have at least two EQ Q controls
(high and low frequencies). Good mixers
h
have more advanced
d d controls,
t l ini particular,
ti l
parametric equalization.
Auxiliary Channels:
Sometimes called aux channels for short,
short
auxiliary channels are a way to send a
"copy"
copy of the channel signal somewhere
else. There are many reasons to do this,
most commonly y to p provide separate
p
monitor feeds or to add effects (reverb etc).
Pan & Assignment: Each channel can be
panned left or right on the master mix.
Advanced mixers also allow the channel to
be "assigned"
g in various ways,
y , e.g.
g sent
directly to the main mix or sent only to a
particular subgroup.
Solo / Mute / PFL: These switches control
how the channel is monitored.
monitored They do not
affect the actual output of the channel.
Slider: The
Slid Th level
l l off the
th channel
h l signal
i l as it
leaves the channel and heads to the next
stage (subgroup or master mix).
mix)
Subgroup Channels:
Larger sound desks usually have a set off
subgroups, which provide a way to sub-
mix
i groups off channels
h l before
b f th
they are
sent to the main output mix.

IN-CAMERA
IN CAMERA EDITING
Meaning / Concept
 Video editing is the process of

manipulating and rearranging video
shots to create a new work.
 Editing is usually considered to be one

part of the post production process —
other post-production tasks include
titling colour correction,
titling, correction sound mixing,
mixing
etc. Dr Ramesh Kumar Sharma
Meaning / Concept
 Video production is not just about stringing
some visuals and audio together. It is about
stringing
t i i th
them i such
in h a manner so as to t
‘construct’ a story for the viewers.
 Video editing is similar to editing and designing a
publication to give it shape and form with good
content.
 We write the content (shoot the rushes), edit
the copy (arrange video and audio in
comprehendible
h dibl manner), ) andd design
d i ( dd
(add
special effects, balance and sweeten audio, add
graphics/titles),
g p ), and p
print the p
publication (p
(publish
it o tape or a CD/DVD).
Meaning / Concept
We use the word editing to mean any of the
f ll i
following:
 Rearranging,
Rearranging adding and/or removing
sections of video clips and/or audio clips.
 Applying colour correction, filters and

other enhancements.
 Creating transitions between clips.

Objectives of Editing
 Choose the best footage - It is common to
shoot
h f more footage
far f than
h you actually
ll
need and choose only the best material for
the final edit. Often you will shoot several
versions (takes) of a shot and choose the
best one when editing.
 Create a flow - Most videos serve a
purpose such as telling a story or
providing information.
information Editing is a
crucial step in making sure the video
flows in a way
y which achieves this g
goal.

Objectives of Editing
Add effects, graphics, music, etc:

This is often the "wow" part of editing.
You can improve most videos (and have a
lot of fun) by adding extra elements.
Give the video a particular "angle":

Video can be tailored to support a
particular viewpoint, impart a message or
serve an agenda.

Rules of video editing:
g
 Cuts are seamless, so that one shot
transitions to the other smoothlyy
without drawing any unnecessary
attention or distractions
 Cuts happen
pp at a logical
g point in the
p
shot, maintaining continuity
 Matching action from one shot to the

other also creates the illusion of one
continuous Motion;
Rules of video editing:
 The sense of screen direction must be

maintained so as not to confuse the viewer’s
 mental map of the scene (left-to-right, or

right-to-left
right to left patterns must be maintained);
 The types of shots (wides,

(wides mediums,
mediums close
close-
ups) should be varied, to create a dynamic
sequence
In-camera editing
 In-camera editing is a technique
where, instead of editing the shots in
a film/vedio into sequence after
shooting,
h ti th
the di t
director or
cinematographer/cameraman
instead shoots the sequences in
strict order.
 The resulting "edit"
edit is therefore
already complete when the film is
p
developed.

Or
 In camera editing g is a method for shootingga
finished video program. It's editing without
a any editing software/machine or decks,
cables,
bl computers, or otherh techno-video-
h id
toys. It s only need is your camcorder.
 It requires
i eachh scene shot
h t in
i order,
d and d att
the length that it will appear in the finished
program--so
program so that you have a complete
program within timeframe.
 In-camera
ca e a ed editing
t g iss ideal
dea foro wedd
weddings,
gs,
birthday parties and the like.
Process of in-
in-cam editing
 In-camera editing leaves very little

margin for error. That means you need
to do a lot more pre-production
p p
planning before you shoot, than you
normally might.
 Prepare a sequence
 Understand the effects and transitions
in camera
 Get ready all related equipments

Advantage of in
in--cam editing
 Reduction of p
production cost
 Time Saving
 Instant output


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Dr Ramesh Kumar Sharma

Audio means "of sound" or "of the reproduction

Dr Ramesh Kumar Sharma

 Sound waves exist as variations of pressure

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Higher frequencies are interpreted as a higher

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

This creates a current in the coil which

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

When the plates are further apart,

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Uses: Isolating the sound from a subject or

Uses: As you can imagine, there aren

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

3-pin XLR Male

3-pin XLR Female

Dr Ramesh Kumar Sharma

1/4" Mono Jack

1/4" Stereo Jack

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

 Video editing is the process of

 Editing is usually considered to be one

 Applying colour correction, filters and

 Creating transitions between clips.

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

Add effects, graphics, music, etc:

Give the video a particular "angle":

Dr Ramesh Kumar Sharma

 Matching action from one shot to the

 The sense of screen direction must be

 mental map of the scene (left-to-right, or

 The types of shots (wides,

Dr Ramesh Kumar Sharma

 In-camera editing leaves very little

Dr Ramesh Kumar Sharma

Dr Ramesh Kumar Sharma

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