Chaume Varela calls dubbing in the latter sense "interlingual sound
postsynchronization".
Moreover, we can observe the "presynchronization," "synchronization," and "postsynchronization" of vortex-induced vibration curves of square column VIVPEH under different attack angles.
Similar with the results of [alpha] = 0[degrees], the displacement time-history curve can also be divided into the following four stages: "unsynchronization," "presynchronization," "synchronization," and "postsynchronization."
As is shown in Figure 4, the displacement time-history curve can also be divided into the following four stages: "unsynchronization," "presynchronization," "synchronization," and "postsynchronization." The maximum amplitude is [Y.sub.squmax]/[D.sub.squ] = 0.28 and the lock-in region is from [U.sub.rsqu] = 4.2 to the end of [U.sub.rsqu] = 5.4, which appears earlier than that of other attack angles.
In addition, the three different branch types of square column VIVPEH can be observed in Figure 11, such as "presynchronization," "synchronization," and "postsynchronization."
As he writes, "Synchresis is what makes dubbing,
postsynchronization, and sound-effects mixing possible, and enables such a wide array of choices in these processes.
However, in a rare and demanding move, all singing was performed and recorded live on the set, eschewing the
postsynchronization common to the format.
Such a technique appears especially noteworthy in terms of an Italian national cinema which, more than any other, has persistently relied upon postdubbing and
postsynchronization. This cinematic concern for the authenticity of the voice corresponds to that of Grimaldi's award-winning novella, as his book Forever Mery allowed the reformatory boys to tell their stories in their own words.
In what follows, I begin with remarks on the historiography of the cinema of the occupation, and then explore the stylistic specificity of occupation-era cinema through inquiry into three topics: microphone placement, postsynchronization, and the electronic manipulation of sound.
By the end of the decade, members of the film community had come to regard such traces as intolerable technical flaws (although trade-press editorials defending direct sound and rejecting postsynchronization appeared as late as 1934).
An example of extensive postsynchronization pertinent to film noir is Prison sans barreaux (Leonid Moguy, January 1938), for which W.-R.
While postsynchronization became standard practice in Hollywood as early as 1933, in France as late as 1939 films continued to include scenes that featured no post-production mixing whatever.(13) Nevertheless, within two years, virtually all French soundtracks were re-recorded during post-production.