SYFTNMP - Advanced Sound - QUESTION BANK
I. 10 Marks Each
NOTE: I have provided some helpful links to guide with answer formation, but I’m
expecting you all to use your own learned skills, reasoning and aptitude to frame
and answer these questions. Most of these questions require some technical
understanding and the general expectation is to display technical proficiency in
your answers, but I’m also expecting you all to provide examples from your own
experience wherever they apply along with the technical explanations.
1. What is ‘Automated/Additional Dialogue Replacement (ADR)’ and in what cases is it
used? Explain with 2 examples in your own experience where you have or could have
used ADR to enhance your films.
● https://blog.frame.io/2018/06/11/adr-film-primer/
● https://www.backstage.com/magazine/article/adr-film-explained-examples-7542
● https://www.dpamicrophones.com/mic-university/audio-production/dialogue-matc
hing-when-it-works-and-when-it-doesnt/
2. What are some reasons professionals prefer to use ‘Shotgun’ microphones on films?
● https://schallertech.com/en/shotgun-microphones/
● https://www.dpamicrophones.com/microphones/shotgun/
● https://www.dpamicrophones.com/mic-university/technology/the-interference-tube
-and-its-use-in-microphones/
● https://www.shure.com/en-IN/insights/shotgun-mics-and-video-production
● https://www.bhphotovideo.com/explora/pro-audio/tips-and-solutions/what-is-a-sho
tgun-microphone
3. Why do room-tone and ambience recordings become key to a film? Explain the uses of
room-tones and ambience recordings with examples from personal examples.
● https://www.izotope.com/en/learn/basics-of-room-tone-audio-editing
● https://www.criterion.com/current/posts/7231-the-gift-of-room-tone?srsltid=AfmB
OorKHZIfn92Im4lq9mhfc3ZI7QgjfzEI1mMjQvIvRDiGzU_3Vdg5
● https://www.mediacollege.com/audio/ambient/
4. What are some key steps to avoid noisy audio recordings?
● https://nofilmschool.com/tips-avoid-common-audio-pitfalls
5. What types of microphones are used in film or broadcast?
● https://human.libretexts.org/Bookshelves/Theater_Film_and_Storytelling/Video_P
roduction_Handbook/10%3A_Sound/10.02%3A_Microphones/10.2.01%3A_Micr
ophones_Used_in_Video_Production
● https://www.dpamicrophones.com/mic-university/background-knowledge/miniatur
e-mics-in-broadcast/
● https://www.dpamicrophones.com/mic-university/background-knowledge/microph
ones-for-video/
● https://www.tvbeurope.com/audio/the-critical-role-of-microphones-in-broadcasting
6. Explain the use of a sound stage in film production?
https://en.wikipedia.org/wiki/Sound_stage
7. Briefly elaborate on the audio post-productions process. Talk about the various
components and personnel involved in this process and their roles.
https://www.lucidlink.com/blog/audio-post-production
8. What is ‘Foley’? What are the use cases of Foley in film?
● https://en.wikipedia.org/wiki/Foley_(filmmaking)
● https://www.masterclass.com/articles/film-101-understanding-foley-sound-and-wh
y-foley-sound-is-important
9. Briefly describe the art of sound design and its uses in film.
● https://www.backstage.com/magazine/article/what-is-sound-design-in-film-75845/
● https://www.studiobinder.com/blog/what-is-sound-design-for-film/
NOTE: All of these questions below are based on your own personal experiences and
understanding thus, links are not provided for these questions below. The ideal way of
answering these questions will be with a mix of technical understanding and personal
examples.
10.Explain with examples from our own experience of films made or seen, the importance of
music in visual media? Explain broadly with using examples from Films, TV or Digital
Media.
11.Imagine you are on a student film set with a limited budget and a quick deadline. What
are the methodologies/steps you would ensure in the entire production process of the
film (pre-production, production and post-production) to ensure you have optimal audio
for your film? This includes largely noise-free audio with an adequate focus on other
sound effects and foley.
12.“Sound is 50 percent of the moviegoing experience.”. Do you agree or disagree with this
statement? Elaborate and explain your reasoning for the same.
13.Imagine you are part of a film in the capacity of a dialogue recordist. The film is made
with a modest budget. In said film, the screenplay indicates an entire scene in a cafe.
What would be the suggestions or considerations you would discuss with the director’s
and/or producer’s team to ensure the best possible on set sound recording?
(Note: In this question, talk about your considerations with the director/producer and not
primarily the gear itself. For example, talk about - if shooting in a real cafe, seeing if
there is a possibility to shoot before the cafe opens or in non-peak hours, etc.)
14.Briefly discuss the sound and music of your favourite film. What elements do you
appreciate? Use both aesthetic and technical terminologies to put forth your points.
15.Using your own understanding of microphones and their uses in film, what influences
mic selections in different use cases. Expand on the use cases with examples.
II. SHORT NOTES (5 Marks Each)
1. Audio Frequency and Human Hearing Range
Audio Frequency represents the rate at which a vibration/pressure wave occurs per
second and is measured in Hertz (Hz) units. For example, if ten complete pressure
waves happen within one second, the frequency would be 10 Hz. The generally
accepted standard hearing spectrum for humans is 20 Hz to 20,000 Hz. However, this
range reduces for most people as they get older.
2. Decibel
The decibel (dB) is a unit used to measure sound intensity and other physical quantities.
A decibel is one tenth of a bel (B), a unit named after Graham Bell, the inventor of the
telephone. Its logarithmic scale is convenient to represent the entire range of human
hearing.
The decibel of sound pressure level (dB SPL) takes as a reference the minimum sound
pressure level that the average human ear can detect. The smallest audible sound to
humans is typically 0 dB SPL (hearing threshold). In practice, “dB” often stands for “dB
SPL”.
3. Microphone Polar Patterns
A polar pattern defines how much of the signal will be picked up by the microphone from
different directions. By selecting the right pattern, you can avoid unwanted sound
sources to bleed into your signal, adjust the mix between dry and room sound, or
change the frequency response, and influence the proximity effect. Polar patterns are
also sometimes called pickup patterns.
The most common microphone polar patterns are Omnidirectional, Cardioid & Figure
Eight.
A mic with an omnidirectional pattern listens to or picks up sounds coming from all
directions equally. No matter which direction the sound is coming from, its output
remains the same.
Cardioid polar pattern is the most commonly used polar pattern and is most sensitive at
0° (front of the mic) and least sensitive at 180° (back of the mic)
The figure-8 pattern has the same sensitivity at 0° and 180° (front and back of the mic); it
is the least sensitive at 90° and 270° (sides).
4. Types of Microphones
There are three main types of microphones, each with unique characteristics: Dynamic,
Condenser, and Ribbon.
Dynamic microphones—sometimes called moving-coil mics—are the simplest mic
design. Dynamic mics are very durable and can handle high volumes without clipping.
Their default pickup pattern is cardioid, which provides excellent rejection when using
stage monitors during a live show or recording in small spaces.
Condenser mics capture much more detail than dynamic mics. They get higher highs
and lower lows, but they’re more fragile and can’t handle very loud noises without
clipping. Most condenser mics also come with selectable pickup patterns, allowing you to
use the best pattern for the job. However, all of these bells and whistles require a little
extra juice—48 volts to be exact. Condenser mics require external power, usually
provided by the console or interface using the phantom power button. Condenser mics
come in two basic forms: large diaphragm and small diaphragm.
Ribbon mics usually use a figure-8 pickup pattern and have a warm sound, with less
high-end than other mic types. By using the figure-8 placement intelligently, you can
capture multiple instruments at once without bleed. One thing to note: Ribbon mics are
even less sensitive than dynamic mics and require a ton of gain from your preamp to
properly gain stage.
5. Digital Audio Workstation
A Digital Audio Workstation (DAW) is software that allows you to record, edit, and
produce audio. It serves as the central hub of your audio studio setup, where you can
layer instruments, manipulate sounds, and mix tracks.
DAWs come in a wide variety of configurations from a single software program on a
laptop, to an integrated stand-alone unit, all the way to a highly complex configuration of
numerous components controlled by a central computer. Regardless of configuration,
modern DAWs have a central interface that allows the user to alter and mix multiple
recordings and tracks into a final produced piece.
DAWs are used for producing and recording music, songs, speech, radio, television,
soundtracks, podcasts, sound effects and nearly every other kind of complex recorded
audio.
6. 0db FS
dBFS, or decibels relative to Full Scale, is used to measure digital audio signal levels.
dBFS is a dimensionless quantity, because it is just a number and cannot be converted
to another unit. In a digital audio system, 0dBFS refers to the maximum signal level
possible, also known as the clipping point. Therefore, dBFS values are always less than
or equal to zero. -10dBFS corresponds to a signal that is 10dB lower than the clipping
point of the system.
7. Audio Mixing
Audio mixing is the process by which multiple sounds are combined into one or more
audio channels. In the process, a source's volume level, frequency content, dynamics,
and panoramic position are manipulated or enhanced. This practical, aesthetic, or
otherwise creative treatment is done in order to produce a finished version that is
appealing to listeners.
Audio mixing is practiced for music, film, television and live sound. The process is
generally carried out by a mixing engineer operating a mixing console or digital audio
workstation.
8. Stereo
Stereophonic sound, or more commonly stereo, is a method of sound reproduction that
recreates a multi-directional, 3-dimensional audible perspective. This is usually achieved
by using two independent audio channels through a configuration of two loudspeakers
(or stereo headphones) in such a way as to create the impression of sound heard from
various directions, as in natural hearing.
9. Audio Interface
An audio interface is a device that acts as a bridge between your computer and audio
equipment (like microphones and instruments), allowing you to record, play, and process
sound with your computer. It converts analog audio signals to digital for your computer
and vice versa.
An audio interface improves audio recording and playback quality, helps in reducing
latency while recording and aids the connection and usage of professional audio
equipment like condenser microphones and studio monitors with your computer.
Common audio interfaces connect to the computer using a USB or Thunderbolt
connection.
10.Equalisation
Equalization, or simply EQ, in sound recording and reproduction is the process of
adjusting the volume of different frequency bands within an audio signal. The circuit or
equipment used to achieve this is called an equalizer.
EQs can be used to address masking issues, to identify and fix frequency based
problems and to enhance tonal or atonal qualities of the audio the effect is applied on.
Common EQ types are Parametric or Graphic Equalizers.
11.Reverberation
Reverberation (commonly shortened to reverb), in acoustics, is a persistence of sound
after it is produced. Reverberation is created when a sound or signal is reflected. This
causes numerous reflections to build up and then decay as the sound is absorbed by the
surfaces of objects in the space – which could include furniture, people, and air. This is
most noticeable when the sound source stops but the reflections continue, their
amplitude decreasing, until zero is reached.
12.Uncompressed v/s Lossy Audio and Formats
Uncompressed Audio Formats Lossy Audio Formats
Uncompressed audio files store audio Lossy audio formats compress audio data
data without any compression, meaning by discarding some information that the
they are an exact replica of the original human ear is less likely to perceive.
audio
Uncompressed audio offers the highest While the compression process reduces
fidelity, as no data is removed during file size, it also leads to a slight loss in
storage or transmission. audio quality.
Uncompressed files are significantly Lossy formats are significantly smaller
larger than compressed formats. than uncompressed or lossless formats.
Audio archiving, mastering, and situations Streaming, portable devices, and
where the highest possible quality is situations where storage space or
needed. bandwidth is a concern.
WAV and AIFF are common MP3, AAC, and OGG are common lossy
uncompressed audio formats. audio formats.
