BC 212 – Audio Procedures and Operations Prof.

Jeffrey Deatras
Prelim Lectures Transcribed by: Joseph John Abdullah

Concepts of hand signals in productions

June 30, 2009

✔ Aids the spinner and/or the console operator to control the quality of the sound
produced.
✔ This is done by the F.D.

1. Countdown signal (Manual) – This is done before the production and can also be done
before ending a prod.
• Start: 15 secs. - Cross-armed
• Starts when you have reached 10th second of countdown and stops at the second to
the last count –Arms “surrendered”(palm open) then finger countdown(Alt: From
fists closed, finger countdown)
• Reaching last count – point to whoever or whatever should create the first
sound/scene

2. To hear(fade up) an inaudible/weak music sound

• Fade up to estab.(established) level – Palm upward, Hands from waist level wave up
• Estab. – Stay there – Palm upward, hands above neck level wave side to side
(horizontal motion)

3. To fade down - turn music off/on a background(BG) level

• Fade out – palm downward, wave from up to down (waist level)
• Fade out to BG level – stay there – palm downward, waist level, wave side to
side(horizontal motion)

4. Vocal
• On mic
➢Put mic closer to mouth(to make the sound louder – palm inside, tap
mouth(direction towards the mouth)
➢Mic already close but still low(volume still needs to be put higher) – Lip sign
“louder”
• Off mic – palm outside, push outside from the mouth

5. Vocal: Continue speaking but not in haste/slow down

• Stretch – continue talking or slowdown reading – Pull something from the center
sideward

6. Wrap up – Finalize
• Rolling – (Traveling in basketball)
• Wind up – finger pointing upward, finger motion: circular
• Double time (used before cut) – Fist closed, raised up and down consecutively.

7. Cut: music and Vocals – Palm down, neck level, cross the neck.

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BC 212 – Audio Procedures and Operations Prof. Jeffrey Deatras
Prelim Lectures Transcribed by: Joseph John Abdullah

Note: Other things to instruct to the talents or crew that could not be done in by hand signals
granted that the instructions are not in the script can be instructed through writing in
cardboards/bond papers (special signals).

Terms for console operations

June 30, 2009

1. Fade-up (Mic or music)

• Start from zero (out) to estab. Level (more or less on the thick white line).
• Music should always start from zero(out). However, microphones for voice talents
should not be faded out. Once it’s faded up and has reached the estab./acceptable
level, maintain it there and just turn it on or off.
i. Why should you turn the mic. on/off only and not always fade it up/out?
1. When a talent should say his line right away, the output could get
delayed when you still have to fade up.
2. Voice qualities (volume and treble among others) of voice talents differ.

ii.Why should music be faded up/out?

1. When the music is maintained on the same level, blasting/damage
might happen on the electronics because sound levels of music tracks
differ from each other.

2. Segue/Crossfade
• Segue
i. There is an existing music in the estab. level.
ii.A queued-up music.
iii.Hold both volume levers in the console and simultaneously fade up queued
music to estab. level while fade out the existing music.
• Crossfade
i. Follow steps a & b of segue.
ii. Fade up upcoming music (music 2) in bet. BG and estab. level then fade down
existing music (music 1) to meet the upcoming music (music 2)(both music
will meet in between the BG and estab. level). Then, fade up the upcoming
music (music 2) to estab. level in a second or two then after a sec. or two,
fade out the existing music (music 1).
 Note: BG – 0-15 level(in console of U.E.)
• Principle
○ Segue – is used for music that are not too identical
○ Crossfade – is used for music that are very identical.

Uses of SFX (sound effects) and Music

July 2, 2009
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BC 212 – Audio Procedures and Operations Prof. Jeffrey Deatras
Prelim Lectures Transcribed by: Joseph John Abdullah

Music SFX
1. Could be a signature sound of a certain radio 1. Could also be a signature sound.
or T.V. program.
2. Sets the mood of the scene. 2. Helps set the mood.

e.g. thrilling music e.g. gunshot

3. Articulates the setting, place, or scenario. 3. Articulates the setting, place, or scenario.

(Both music and SFX can stand alone in setting
place or scenario and both can also be done
simultaneously)
4. Can fill the gap between ideas or lines.
5. Can heighten the emotional impact.
6. Can signal a climax.
7. Can be used to crystallize some emotional
scenario.
8. Can set the theme of a program.
9. Can be used as music bed (BG)
e.g. disco SFX, ocean SFX
4. Can fill the gap between ideas or lines.
5. Can heighten the emotional impact.
6. Can signal a climax.
7. Can be used to crystallize some emotional
scenario.
8. May help set the theme of a program.
9. Can be used as music bed (BG)

Key Persons (staff) in Audio Productions

July 2, 2009

1. P.D. – Prod. Director/Director

• Has the overall control of the production.
• May order, assign, or design roles/jobs for production talents and crew.

2. A.D. – Assistant Director

• Extension of the director; helps the F.D.
• The one who sees to it that the director’s orders are executed and followed by the
crew.
• Articulates orders to the crew from the director.

3. T.D. – Technical Director

• The one in charge of all technical aspects – electronics, wires, speakers, SFX’s, CD’s,
music, etc.

4. F.D. – Floor director

• Gets orders from the A.D. and gets close with and manages the talents on the floor.
• In charge of the hand signals.

5. Spinner
• In charge of arranging and playing all the music or everything that creates a sound
in the production.

Requirements for Talents and Crews (for audio)

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BC 212 – Audio Procedures and Operations Prof. Jeffrey Deatras
Prelim Lectures Transcribed by: Joseph John Abdullah

July 7, 2009

1. Crew
• Knowledgeable of the roles given to them.
• Has collected needed materials days/hours before the production

2. Talents
• Somebody with a voice that suits the given role.
• Must not have any problems in articulation
• Must not have speech defects

Cueing
July 7, 2009

• Art and process of finding the applicable instrument, sound track, music, lyrics, or SFX
from a recorded material.

Cueing Process

1. Play the CD.

2. Push the button to find the desired track.
3. Play and listen to the track.
4. Refer to the script while playing and look for the needed sound by the script.
5. Replay the track again and write a mark on your paper of the seconder (“seconder”
cannot be found in the dictionary so validity of the term is not high unless otherwise
this is commonly used in productions) where the desired sound is found. i.e.
00:25:03
6. Play and pause the track one or two seconds before the desired sound. i.e. 00:25:01

Splicing, Dubbing, Editing

July 14, 2009

I. Splicing

• The art of cutting the exact beginning and ending of a produced material.
1. (Phase per phase – some parts could still exist without other parts.)
2. Usually done in tapes.
3. Splicing materials are usually for commercials and stingers.

For CD’s
• It is easy to splice.
Process:
1. Use Cueing.
2. Record on an editing software.
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BC 212 – Audio Procedures and Operations Prof. Jeffrey Deatras
Prelim Lectures Transcribed by: Joseph John Abdullah

3. Edit/cut.
4. Save/burn.

Strengths and Limitations of Tapes and CD’s

Tape: (Non-digital)
Strengths Limitations
1. Accessible. 1. Quality is reduced when it undergoes
multiple recordings.
2. Can be easily fixed when jammed. 2. When the tape is recycled, the quality is
reduced.
3. Recyclable. 3. It doesn’t have an accurate digital counter.
4. Dubbing is complicated.

CD: (Digital)
Strengths Limitations
1. Accurate digital queuing. 1. Susceptible to scratches.
2. Quality is not reduced despite multiply 2. Conflicts in program formats might make the
recordings. CD unusable. (Limitations in program formats)
3. Easy tracking/queuing

II. Dubbing

• Art of modifying an already produced material by:

1. Inserting a music
2. Inserting voice/dialogue lines
3. Deleting parts

III. Editing

• Dubbing, splicing, and queuing are under editing

• Done using software; recording on tapes