In warmer air sound travels faster.
The aim, then, should not be “no sound” but “the right sort of sound”.
Diegetic sound is sound that a character can hear within the world of the play.
There’s also AI Sound which analyses audio to provide optimum sound depending on the type of genre.
Every kind of sound is produced by vibration.
All film sound other than dialogue, narration, and music is called sound effects.
This optical system is the basic plan of sound reproduction in sound motion pictures.
In a finished movie, all sound is provided by a sound track that is part of the film.
Wha… This is the sound of… This is the sound of… This is the sound of us.
The book first elaborates on the perception of sound, properties of sound, and sound in the built form.
There are strings of sound called sentences, strings of sound called words, strings of sound called syllables.
Computerized consoles allow the sound mixer to make changes to any one of the sound tracks without having to remix it with the others.
At the very last stages of postproduction (everything that occurs after the images and sound are first recorded), the final edited sound track is converted to an optical sound negative.
Sound films became possible through the development of the means to record sound directly on film and of the Audion amplifier, which provided sufficient volume of sound for large theaters.
Sound Of Gaming will be a recurring four-part series and joins our suite of ‘Sound of…’ programmes, which has previously included Sound Of Dance and our regular programme Sound of Cinema.
It is also the job of the sound personnel to record wild sound (important sound effects and nonsynchronous dialogue) and ambient sound (the inherent sound of the location).
The sound tracks of most films are made up of both synchronous sound—sound recorded as the film is being shot—and postsynchronous sound—sound recorded and added after shooting.
Affricate, also called semiplosive, a consonant sound that begins as a stop (sound with complete obstruction of the breath stream) and concludes with a fricative (sound with incomplete closure and a sound of friction).
This involves sensing the ambient sound in a workplace, electronically reproducing a sound with the opposite phase, and then introducing that sound into the environment so that it interferes destructively with the ambient sound to reduce the overall sound level.
In their 1928 manifesto “Sound and Image,” the Soviet directors Sergey Eisenstein, Vsevolod Pudovkin, and Grigory Aleksandrov denounced synchronous sound in favour of asynchronous, contrapuntal sound—sound that would counterpoint the images it accompanied to become another dynamic element in the montage process.
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In their 1928 manifesto Sound and Image the Soviet directors Sergey Eisenstein Vsevolod Pudovkin and Grigory Aleksandrov denounced synchronous sound in favour of asynchronous contrapuntal sound—sound that would counterpoint the images it accompanied to become another dynamic element in the montage process