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Mee try mo pakinggan to, sana magustuhan mo, ang title nito " Okay Lang Ako" Cover by parokya ni edgar

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SERENDIPITY WALK

ONLINE FUNERAL SERVICES

A funeral is a ceremony for celebrating, respecting, sanctifying, or remembering the life of a person who has died. Funerary customs comprise the complex of beliefs and practices used by a culture to remember the dead, from interment itself, to various monuments, prayers, and rituals undertaken in their honor. Customs vary widely between cultures, and between religious affiliations within cultures.

The word funeral comes from the Latin funus, which had a variety of meanings, including the corpse and the funerary rites themselves. Funeral is art produced in connection with burials, including many kinds of tombs, and objects specially made for burial with a corpse.

Arranging an Online Funeral Service

Recognize that having to arrange a funeral is a difficult process involving the need to make a number of decisions, many financial, at a time of emotional stress.  Without some guidance about the options surrounding the arrangement process it could seem totally overwhelming. when i was doing the serendipity walk last December I went to a funeral service in St. Peter's at Boalan, Zamboanga City. There I saw how difficult relatives of the deceased to be able to witness what is really happening in the service and how can they be able to fell the essence of that event even when they are far or at work or even on travels and business appointments.

Also the difficulties in registration of the deceased loved ones the application of death certificates and even with the releasing of this papers would take days and a hustle for the family of the deceased. Then, here at Funerals Online, we hope you will find a good place to start, teamed up with experts in the Industry to ensure that the information you require is available here at the click of a button, giving you peace of mind to make the personal and financial choices to guide you through your funeral arrangements.

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What is the art of Foley?

Define Foley

Foley is the reproduction of everyday sound effects which are added in post production to enhance the quality of audio for films, television, video, video games and radio. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noises, movies feel unnaturally quiet and uncomfortable.

Foley artists look to recreate the realistic ambient sounds that the film portrays. The props and sets of a film do not react the same way acoustically as their real life counterparts.  Foley sounds are used to enhance the auditory experience of the movie. Foley can also be used to cover up unwanted sounds captured on the set of a movie during filming, such as overflying airplanes or passing traffic.

Foley is one of the most critical, yet underappreciated links of the film sound chain is Foley recording. You probably know the basics. It was named after the great Universal Studios sound man Jack Foley and covers an incredibly wide range of sounds that are added in post-production: everything from car door slams to footsteps, to garment rustles, to jingling keys, sloshing water, furniture moving, sword hits; you name it. Basically, Foley is everything that isn't covered by sound effects or through the production track. Occasionally, the Foley department will also supply the base sound materials for effects editors.

And though the work may seem simple as compared to, say, recording the sounds of Sherman tank treads on location (an effects task), it's actually a very demanding and precise job that, when done well, adds immeasurably to the success of a film's soundtrack. Recently, Mix spoke with three of the best Foley artists in the business to get a sense of the demands and peculiarities of this important craft.

  The post-production process known as "Foley" refers to the art of recording "live" sync sound effects to picture. It is akin to looping the dialogue, but instead of recording the actors performing their lines while watching themselves on screen skilled craftspeople known as "Foley artists" will walk, run, and act out any sync sound effects to match what the actor is seen (or implied) doing in the picture.

  How is it done?

Foley is usually performed by Foley artists. Ideally they stand on a Foley stage in a Foley studio, though any post production sound studio will do with a little modification. The Foley artists can clearly see a screen which displays the footage they are to add sound effects to, and they perform their sound effects while watching this screen for timing. The actions they perform can include walking, running, jostling each other, rubbing their clothing, handling props, and breaking objects, all while closely observing the screen to ensure their sound effects  are appropriate to the vision.

  Increasingly, much simple Foley sound effects are done without Foley artists - the sound effects are stored electronically and performed by the post production sound engineer on a keyboard while watching the visual. Done poorly this type of "Foley" sounds bland and repetitive, and it is nowhere near as flexible as the real thing, but it is much cheaper than renting a Foley stage and paying Foley artists to create the foley sound effects.

    What is the use of foley?

Foley effects are sound effects added to the film during post production (after the shooting stops). They include sounds such as footsteps, clothes rustling, crockery clinking, paper folding, doors opening and slamming, punches hitting, glass breaking, etc. etc. In other words, many of the sounds that the sound recordists on set did their best to avoid recording during the shoot.

The boom operator's job is to clearly record the dialogue, and only the dialogue. At first glance it may seem odd that we add back to the soundtrack the very sounds the sound recordists tried to exclude. But the key word here is control. By excluding these sounds during filming and adding them in post, we have complete control over the timing, quality, and relative volume of the sound effects.

  Examples of Foley Sound Effects

  General Purposes

Tightly curl a phone book into a cylinder, wrap it in gaffer tape, and use it to smack things. Great for punches, body falls, dinosaur feet, etc.

A well broken-in leather mallet can also make a good substitute fist.

Take a sheet of glass, and wrap it tightly and completely in several layers of duct tape (so that the glass won't go anywhere when broken). Break it, and it'll give you an interesting crackling sparkey sound when bent and flexed. Make sure none of the broken glass breaks though.

  Ice and Snow

A small bag of cornstarch can be used to add "crunch" to snowy footsteps. Just be careful that it doesnt get wet, becuase cornstarch + water = slurry.

Snow can be obtained almost year-round from indoor skating rinks. Find out where the Zambonni dumps the snow shaved from the ice surface.

Large ice blocks can be obtained from ice-carving suppliers.

Swooshes and switches

Stock up on bamboo rods. Have a variety of lengths and thicknesses, and by all means try to find ones with hexagonal cross-sections.

Pipes and tubes will give a more mechanical, hollow sounding whoosh.

Buggy whips and bullwhips should be handled with care: they require a lot of space and can severely injure a person.

Bullroarers (wood frames strung with rubber bands and swung on a rope) will give you an airier sound if swung slowly.

Practice golf balls (hollow plastic sphere's full of holes) can be tied to a string and swung around for an airy whoosh.

For extra huge planetary whooshes, use a large sheet of wood or metal to wave a blast of air into an inexpensive dynamic mic (eg. AKG D112)

Punches / Kicks / Body-blows

Smack a neoprene flutterboard

Hit a head of lettuce or cabbage (especially for head impacts)

Smack a large butternut squash against a cement floor (for a head hitting cement).

Punch a large piece of raw meat.

Get a couple of mics and

Punch/slap yourself on various body parts. Remember that hard doesn't always mean loud, and loud doesn't always mean dramatic.

Punch or kick a heavy bag (taking care to silence any chain jangle).

Thump a ripe wattermelon (for a bass add).

Horses

Halve a coconut shell, scoop out the meat, dry it out, and "tune it" by packing in some tar or putty

Get some horse hooves from a farm vetrinarean, and have a taxidermist prepare them (nothing beats the real thing)

Bury a geophone in the dirt pit to add weight to the recording (hydrophones, contact mics or lav's can work for this)

Put a kick-drum mic (eg. AKG D112) inside a sock (preferably clean), and lay it gently in the dirt pit just out of harm's way. Mix with the main foley mic to add weight to the recording. 

Stabs

Stab a roasting chicken with a knife, or even a spoon.

Stab a grapefruit with a knife or spoon. Dig around in it for extra "goosh".

Use a particularly musical knife to add a "shing".

Breaking Bones

Crunch a mouthful of lifesavers.

Wrap uncooked dry rigatonni in a damp chamois and crush it.

Break celery.

Foliage and Plants

Plastic or silk plants will sometimes make a convincing "foliage" sound.

1/4" audio tape sounds a lot like grass (both for footsteps, and for tall grass blowing in the wind).

A small bunch of kale can give you a very realistic, dense foliage sound.

  Squelching Tires

Spray a bit of water onto a clean cement floor and drag a rubber hot water bottle over it.

Monster Vocals

Bark/growl/snarl/chuff/sneeze/wheeze/howl/hiss into a mic (use one with plenty of high-frequency detail, eg. Neumann TLM170). Record at 192 kHz. "Add" into a 48 kHz ProTools session without re-sampling (ie. it'll play back at 1/4 speed). Pitch-shift it back upwards (without time-correction) to taste.

  Smashing Stones

Make an uneven pile of slate tiles, and smash them with a heavy rock.

Crush a walnut, and pitch it down a bit.

      Resources:

http://foley-artistry.blogspot.com/

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this is an radio drama that me and my group mates have come up with. this is actually a horror-comedy. we hope you like it... :D

This is our final project for our midterms our Audio Dram

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Experiences, Insights and Reflection in making an Audio Drama

Audio Drama, commonly known as radio play, is a dramatized, purely audio performance that is usually broadcast on radio, tape or CD. With no visual component, this performance relies on dialogue, music and sound effects so as to help the listener visualize the story and characters.

Mr. Cedric Zavala our teacher in Sounds and Supervisions class in our Animation Course thought us on how to basically manipulate and construct our own audio drama using audio equipments.

When we are doing this activity it was hardly done because of not having a record room but thanks to our loving classmates and colleagues we are able to make our Audio Drama a requirement given for as our midterm exams, experiencing hardship in doing the activity still urges us to make it not as a requirement but to enjoy doing it at the same time.

We are using sounds in this activity, voice plus audio effects and sound effects are the main ingredient in an audio drama that is, 

Direct sound issues from the source itself, such as those frequencies coming from an actors mouth. 

When a person is close to us, we hear essentially direct sound including low-frequency chest tones.

As the person moves farther away, we hear more of the reflected sound. 

Unfortunately "direct sound" is also synonym for the original production sound

Reflected sound is produced by the direct sound bouncing off the walls, floor etc. Reflected sound s much more complex in character than direct sound because the surfaces are at different distances from the source and have widely varying reflective properties. 

Interiors that contains a lot of hard surfaces - glass, stone, metal, etc. - are said to be "live" because their high reflectivity. Soft or porous materials, like carpeting, draperies and upholstered furniture, are sound deadening. As furniture is moved into a empty room, the acoustics became "dead". 

the audio drama experience is fun and interesting, this is also my first time to encounter this field in animation and this is one of the most important part in the animation production.

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Voice Over Activity

I Have learned in this activity the purpose and the means of using voice-over in the media industry and interactive. Voice-over is also known as off-camera or off-stage commentary is a production technique where a voice that is not part of the narrative is used in a radio, television, production, film making, theatre, or other presentations. The voice-over may be spoken by someone who appears elsewhere in the production or by a specialist voice actor. It is pre-recorded and placed over the top of a film or video and commonly used documentaries or news reports to explain information.

  In film, the film-maker places the sound of a human voice or voices over images shown on the screen that may or may not be related to the words that are being spoken. Consequently, voice-overs are sometimes used to create ironic counterpoint. Also, sometimes they can be random voices not directly connected to the people seen on the screen. In works of fiction, the voice-over is often by a character reflecting back on his or her past, or by a person external to the story who usually has a more complete knowledge of the events in the film than the other characters.Voice-overs are often used to create the effect of storytelling by a character/omniscient Narrator. The voice-over has many applications in non-fiction as well. Television news is often presented as a series of video clips of newsworthy events, with voice-over by the reporters describing the significance of the scenes being presented; these are interspersed with straight video of the news anchors describing stories for which video is not shown.

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VIDEO IS FOR SOUNDSCAPE ASSIGNMENT FOR SIR CEDRIC ZAVALA

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Learning Soundscape

Soundscape

A soundscape is a sound or combination of sounds that forms or arises from an immersive environment. The study of soundscape is the subject of acoustic ecology. The idea of soundscape refers to both the natural acoustic environment, consisting of natural sounds, including animal vocalizations and, for instance, the sounds of weather and other natural elements; and environmental sounds created by humans, through musical composition, sound design, and other ordinary human activities including conversation, work, and sounds of mechanical origin resulting from use of industrial technology. The disruption of these acoustic environments results in noise pollution.

Main ideas concerning soundscaping are as follows:

Keynote sounds

This is a musical term that identifies the key of a piece, not always audible… the key might stray from the original, but it will return. The keynote sounds may not always be heard consciously, but they “outline the character of the people living there” (Schafer). They are created by nature (geography and climate): wind, water, forests, plains, birds, insects, animals. In many urban areas, traffic has become the keynote sound.

Sound signals

These are foreground sounds, which are listened to consciously; examples would be warning devices, bells, whistles, horns, sirens, etc.

Soundmark

This is derived from the term landmark. A soundmark is a sound which is unique to an area. And the elements have been further defined as to essential sources:

Geophony

Consisting of the prefix, geo (gr. earth), and phon (gr. sound), this refers to the soundscape sources that are generated by non-biological natural sources such as wind in the trees, water in a stream or waves at the ocean, and earth movement, the first sounds heard on earth by any sound-sentient organism.

Biophony

Consisting of the prefix, bio (gr. life) and the suffix for sound, this term refers to all of the non-human, non-domestic biological soundscape sources of sound.

Anthrophony

Consisting of the prefix, anthro (gr. human), this term refers to all of the sound signatures generated by humans. In music, the soundscape is pretty much the same thing. Not dependent of melody or pitch, but in feeling, color and depth. There is, however, a big difference in cinematic soundscapes and musical ditto IMHO; In cinematic soundtracks the music and sound stands apart from each other even though they must collaborate to work, as such the music is not part of the soundscape, it's an enhancer of the moment. In music however, sound effects, spoken dialogue and ambiances might very well be part of the soundscape, in many styles like Ambient, Industrial, Noise-Music and some Avante Garde for example sound effects and such might very well be a vital part of the music.

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Significance and Importance of Sound/Audio in the Animation Pipeline

The main significant explanation for this situation is that music and sound implicates a great role in the animation pipeline, every movement has It’s corresponding sound and sounds creates music and music gives life to an animation.

  A lecture was conducted by our teacher in Sounds and Supervision and I  have learned that sound waves are caused by the vibrations of objects and radiate outward from their source in all directions and every Sound is transmitted through gases, plasma, and liquids as longitudinal waves, also called compression waves while solids, however, it can be transmitted as both longitudinal waves and transverse waves. An oscillation of pressure transmitted through Different substances composed of frequencies within the range of hearing is called a Sound.

  Sounds and Audio has a great role in the animation especially on the animation process itself; simply because Audio or the background of music of each scenes has a great impact on the animation. Aside from visuals, audio also helps in establishing the mood in a particular scene. During the production of the animation, it is important to also take note of the music that you are going to use. Much better if the animators and sound directors would plan ahead of time. Just like dialogues, if I am not mistaken, they are recorded before animating so the animators will not have a hard time in animating. Sound and audio also creates a connection between the story and the audience thus making the animation much appreciated by the viewers and appealing to the public.