My diary was end up month ago because I was too busy to keep record what we've done in the past few weeks. Actually making a sound track for the whole empty animation was a tough process. Especially in our Animation, there no dialogue, neither a certain environment. 

For atmosphere, we were consider make it as out door, but it wasn't make sense. The whole process is like a person's life, although he is like traveling outdoor with his car/train, or whatever transportation. But it is a process of someone's life, it is not simply a outdoor scene. Therefore we give up this thought.

We make up a simple spot sheet and started editing. One day we foley some sound effects. The beginning Dice falling was record quite successful, and could be used strait-away. Unfortunately, the Dice rolling on the right top was so frustrating. Those tow dices were likely rolling all the way to the end of the animation, but it was so hard to rolling coins and little stones by catching up the temple as it actually goes. That took us about half hour, then we diced record it keep record it, then edit it later. We foleied the track turning as well.

First step I did is editing human sound effects. There are three major parts of human sounds. First comes is the baby crying sound, our main character gave born in the hospital. I spent plenty of time to figure out how to automatic the reverb in there, because the baby sound should comes from distance. After Dan showed me how to automate effects, I used the technique so many times in the rest of editing. 

Second step was getting other spot effects. There are many little movements I should notice, like the pole spinning, I have to notice when the pole starts to spin, and there is actually a sound should appears before it stars spinning, like a action preparation. I was got a sound of fire to subscribes the pole spinning sound, but it wasn't sound good. I accidently found the golf hit sound, it is a good sound happens before hitting the ball. I put EQ and time shift on each spin, bass should getting heavier as pole getting closer to the camera. Also, the pole spinning slowly to faster, than slow down. Therefore the speed and the bass are adjusted through EQ and Time shift. 

On the other hand, it is a challenge to find sounds to match up the camera movement. As we seen that the camera movement is very significant through out the whole animation. I got a sound of wind by accident when I looking for other effects, and it helps me to identify the camera moves. Fortunately it sounds really good.

Final step was to pick up a sound for our moving car/train/..., it is neither a car or a train actually, is is just a carrier carries our characters travel around. There is a track underneath, it looks smooth and fast. At the very beginning I used the helicopter sound to identified it, however, it is actually too noisy. Later, I found jet sound instead of it, it wasn't sound right. Finally, I thought a sound of skating would be cool. By the end I chose a skateboard, and I was so lucky there is a cool sound that the skateboard passes by. I put the pass by sound match up every time the character passing, and it sounds pretty nice. 

The last thing to straggle with was the music. I was plan to ask my friend to compose the music for me, unfortunately I could not get him. Therefore I discuss with Cassy, we were going to use garageband music. I was firstly bounce the first version of soundtrack we have to help picking up music. I was underlay too much, Cassy and I decided to pick up only two small tracks. It sounds better, a happy rock music laying out the atmosphere of happy childhood, then we have no music when he got a job. Because we though having a job is quite a stress thing, it is better without music. Then when he got married, Cassy puts marry music there to indicate the marrage, I prefer it appears as a atmosphere here because it helps us to identify the story but not a music background. We have a little guitar loop after they are getting baby, it sounds warm and nice, but not excite. The music ends when they divorce. Cassy reversed the marry music, which sounds awesome atmosphere his life ending up. Then finally we chose a sad music clip which original made by my friend for the credit, because the producer was actually died. 

The whole process of work was challengeable  and fun, as my first formal editing for a visual stuff, it is good. This animation comes as silent and hard to understand, we put a lot effort to imaging every sound could happens in it, and do our best to make it understandable. Cassy and me we were not really work as half half, we made the whole thing together. I did part of the sound effects and she did some, she did the voice over and I did the human sound effects, later on we were meet together and working on the music and mixes. I think I did a good job, but I can make it even better if I have more time, this is a busy semester, but sound design was really exciting experience. 

One thing we had quickly done was watch the animation again, and write down any sounds we need in there, mostly for foley.

The other thing we have done was modify the first few tracks I got for yesterday.

Then we decide the time we will meet next time, after Cassy leaves, I keep working on.

I was struggling how to automate the reverb, because the baby crying sound should happen from distance to the front. Finally, Dan help me out with this. I knew how to automate plug-ins, reverb technichs (Pre-delay, attacks), and bit more about mixing.

I was a bit worried about all those sounds and have no idea how to start. But after the meeting on the other day, I knew I should start with a baby crying. It was funny I could not get a sound of the pole spinning, but I ocasionlly got some other sounds from the hospital SFX folder, which I could try to match the sound of the little car comes out from the hospital and stop. Also, when I search through sounds for the spining pole from helicopter SFX folder, I found that the sound inner air craft could be edit as sorce with EQ then created a new sound of car moving on the track.

With trying many times, I rughly lay out some SFX tracks. I was lucky that found a kindly Wind SFX that could be edit and used for each transition of shots. 

I think we will have lots work to do with foley, definitly.

It was surprised me because after we read through all the cards spining through the journey, finally we understood that the whole journey is about a person's life. From the begining he born in the hospital, his parents take him home, then he growing up, graduated from school, got a job, marry, got four children, then divorced until he die.

Before we watch the animation, we though it's name is 'DICE', how ever, it was actually call 'Player ONE'.

We've reach the decision, we love to work on an animation because it is totally blank, therefore we can design all the sounds freely, it is challenge but fun.  We decided to divide it into half and half, I will working on the first part then she works on the second. Although, possiblly we will work together.

We both brain stormed generally what kinds of sound we need in the animation, and copy the animation into our usb then we will think about it then meet again on next week.

Sync dialogue

Sync FX 主要声效

ADR 后期配音

Spot Fx 现场声效

Foley 棚内录制声效

Atoms

SpecialFX 特别声效

Loop Group 背景人声

Source Music

Score

Marked up script- This is the script of the fill, marked up with lines to indicate:

-where each slate begins and ends in a scene

-The slate and number of takes shot

-What lines of dialogue or action are covered in the shot

-a description of the shot (WS, CU, M2S)

-the character or characters in the shot

-Indicate print takes

-Wild lines shot for the scene

经过标识的剧本。 通常一个剧本交到音效后期手中时，已经被一个所谓的“中间人”做好了完整的标识，标识中包括了镜头切换点，镜头的运用描绘，角色等等详细的内容以帮助后期制作人员了解剧本的分解以及方便后期的制作。

Continuity Sheets- Relate directly to the marked up script in the form of an easily readable list of that day's filming. Includes all the info from the marked up script and also contain information regarding camera action, lens size and focus notes, sound rolls, shot timing, print and NG takes, and a description of the action and dialogue covered.Also any information the picture editor may require regading a scene. Wild lines are also included. Sometimes useful to the sound editor. Not alwasy required.

这种continuity sheet是为了更加方便和直观的表达出剧本的标识，干脆做一个列表，将所有重点罗列出来，其内容包括镜头的运作，镜头的长短，着重点，声音的录制，拍摄时间和所有的takes。但这个continuity sheet不是必要的，取决于后期编制。

Sound Sheets- Information relating to the sound recorded on set associated with the DAT or HI-8 tape. These sheets indicate:

- Sound roll number/ tape number

-Camera roll number

-Film speed

-Sample rate

-Mono/Stereo recordings and or whether a radio mic, boom, or combination of both has been used.

-the slate and number of takes shot

-What lines of dialogue or action are covered in the shot

-a description of the shot (WS, CU,M2S). including the character or characters in the shot

-indicate print takes and any takes particularly good for sound

-Wild lines shot for the scene

Soundsheet是电影拍摄期间，作为录音部的必备记录工作。一个表格内含拍摄时间，地点，镜头，镜头描述等等，其作用是为了方便后期挑选声音。

EDL or Edit Decision List (When required) This is a list of edits/cut in the film. used for picture and sound it provides the in and out record points, and the in and out source points for every description and indicates the pix Source and Sound Source used. Generated by the picture dept primarily for onlines, and used by Sound deptfor conforming/ building the production sound cutting  copy edits form the source DATS/Hi-8's.

Music Cue Sheet- A delivery item. -Alist of all music, socore and source used in the film conveying; Title and timing. And indicates wether used as background or Featured music. Made after the Final Mix, This is registered with APRA for Royalty returens.

音乐表格，交代后期在何时运用怎样的音乐。

Mixing Charts-A chart made by the sound editor for use by the mixer. It indicates the in and out points (timecode) and description of all dialogue, sound effect, atmosphere, and music track layed in the film.

混缩图表，用于介绍主要的整部电影的切入点，还有气氛，声效，还有音乐位置。

Schedule (calendar)-provided by the post production supervisor and or made by you.

Crew/ Cast Contact details- Provided by the production office.

Spotting Sheets: a list/ notes of sound requirements generated at the "Spotting Session" used by the sound crew and composer.

This course aims to provide us with skills for Sound Post-Production: specifically for Film, Television, and Multimedia where sound is synchronized to image.

Course contents overview:

Post Production processes. Sound design, sound editiong, adr, foley, recording and mixing using Pro Tools. Recording techniques. Scheduling, budgeting and crew management.

Elements of Sound design:

There are four basic elements of a soundtrack: narration, music, sound effects, and dialogue.

- Narration is used as a story device- sometimes in the role of an 'anonymous' storytwller, sometimes as the inner thoughts of a principal character. narration can be used to hold the visuals together or to provide explanation.

-Music can provide a sense of emtional association and meaning in a universal language. It's primary role is to help realise the meaning of a film. The colour, timbre,pitch, tempo and melody of the score adds to the films dramatic and emotional value. Music can covey the following;joy, sorrow, tension, release, exhilaration, impending fear, sets a mood, the environment etc, and can be heard by the characters on screen, the audience or both.

Music can be source=diagetic-within the realm of the fil, and heard by the characters on screen (can be licensed or Scored), score=written for the film that accompanies the action, aboslute= indifferent to the film.

- Sound effects- enhance visuals, direct attention, give character, set a mood, locale and time of day。FX and Atmospheres are derviced from a Library and or the location sound tapes, and recoreded and designed specifically for the film. Footsteps and other "human" sync sound effects are recorded in a Foley (Post sync Fx) session, and is used for presence and character attachment to the screen, and for the M&E (Music and Effects track used for Non English International Release).

-Dialogue is the location or production track of a film. It consists of either lip sync or wild lines. It can be recorded on the set during principal production, or recorded back at the studio by means of ADR (Automated Dialogue Replacement or Post Sync Dialogue).

Interface: Link permitting the control signals generated by commands from one synthesizer or controller to trigger other synthersizers and equipement MIDI develped in 1981 for performance/producing/editing/patch librarians/instruction. Up to 16 channels of digital data can be sent through one MIDI path cord

types used by professionals:

 1) Moving- coil (dynamic) -线圈

2) Ribbon

3) Capacitor / Condenser -电容

4）Carbon

5）Crystal (ceramic)

Low Impederme Mic - Professional use

a. Much less susceptible to hum and electric horse

b. can be connected to long cables without cinvreasing the noise

Mic pick up pattern:

1) All around- Ormidicrectional (nondirectional)

2) Front and rear- Didirectional

3)Front only- Unidireactional (Directional) (Cardioid)

System Microphones- interdangeable heads or capsules with a particular pick up pattern.

Seterophnic Mics

- two distinct elements:

  upper: rotats 270°

  Lower: stationary

=> remote controlled

Quadraphonic Mics

-4 capsulers arranged in pairs:

  Upper- rotates and picks up sound from the right front and left rear

  Lower- left front and right rear

=> require special controls

Middle-side (M-S) Mics:

two mic capsules housed in a single casing

-pick up direct sound/ cardioid

-side position/ bidirectional

Soundfield Mic system

-Ambisonic: sound can be picked up from all three dimensions

-Lavalier mic: TV

- Parabolic mic : long distance pick up

-Shotgun mic

-super bean mic: capture faint sounds from distan

-wireless mic