A cinematographer is essentially in charge of how the movie looks. Camerawork, lighting, focus, and shot composition all fall under the cinematographer’s purview. their job is to handle the practical work of capturing the director’s vision for how a movie should look. they analyse the screenplay, characters, and story structure and deciding on a visual approach with the director, Conducting research regarding available locations, props, and weather conditions at the prospective film sites, visit locations and take a series of test shots before deciding on the angles, filers, film stock, framing, equipment, lighting, and techniques that will be used to create the desired atmosphere of the film, and Approving costumes, make-up, and hair, as well as the colour and textures used on set.
A foley artist is in charge of the recreation of everyday sounds in real time, rather than pulling pre-recorded sounds from a soundbank. Foley artists work on foley stages with viewing screens, recording equipment, and props for creating sounds. Two foley artists and one mixer usually work together on one foley stage.
The well-recorded sounds that foley artists produce replace most of the sounds captured during filming. Foley artists do not re-record dialogue, even though this is usually replaced.
Sound recorded on set is poor quality compared to sound recorded in a studio. It is often unclear or too quiet to sound realistic.
Recording sounds as separate tracks lets production studios adjust their levels individually. This means the sound of crunching leaves can be increased without increasing the volume of dialogue, for example.
Experienced foley artists create sounds that enhance scenes by making them seem more realistic.
Good foley sounds draw viewers into a production by adding atmosphere.
Synchronous sound represents the matching of sound to the movements that are taking place on the screen. For example, if you see a person moving across the screen, perhaps walking in water, then you might hear footsteps and you could also hear splashes as each step is taken. These sounds would align with the appearance of each step, and so with each splash from the foot, the water sound would equally be aligned. Synchronous sounds correspond with what’s happening visibly on the screen.
Unlike synchronous sound, asynchronous sounds in film do not necessarily correspond with what you see on the film screen. Asynchronous sounds in film can still add value to the action being performed, but it’s likely an action that already took place (such as a previous sound) or the sound of an action that is about to occur on the screen.
For example, asynchronous sounds, although they are not precisely synchronized with the actions currently occurring on the screen, add value to the story and help to create a stronger sense of realism.
Diegetic sound is sound that comes from the setting of the film. Non-diegetic sound is sound that comes from our world that the characters cant hear, such as the soundtrack or scoring.
Diegetic sound could include the voices of characters, utensils clattering in the background, or music coming from a piano being played on-screen.
A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound.
Sound mixers head up the department responsible for all the sound recorded during filming. This is predominantly dialogue but can include sound effects and atmosphere. Before shooting starts, they meet with the producer and director to discuss the best method of capturing sound alongside the director’s shooting style. They visit locations to check for potential sound problems, like passing trains or road noise. During filming, sound mixers ensure audio from microphones is recorded at a good level for every take. If they flag up a problem, the director decides whether to do another take or correct it in post-production.
match on action – Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot’s action.
graphic match – A graphic match occurs when the shapes, colours and/or overall movement of two shots match in composition, either within a scene or, especially, across a transition between two scenes.
eyeline match – Eyeline match is a film editing technique to indicate to the audience what a character is seeing. Eyeline match allows the audience to believe that they’re looking at something through the eyes of the character.
