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Producing Great Sound for Film and Video 3rd Edition
Make your film or video project sound as good as it looks with this complete training course by audio guru Jay Rose. You get hundreds of professional, real-world techniques that you can employ from preproduction through the final mix. This is a solution-oriented guide with FAQs, how-tos, tips, and time savers. You'll get a primer on how sound and digital
audio work as well as technical setups, guidelines, and real solutions for: * budgeting, scheduling, and preproduction planning * microphones and room acoustics * recording dialog, voice-overs, ADR, and effects * postproduction hardware * levels and digitizing * working with music and sound effects * producing the final mix New to this edition: * information on the latest cameras and field recorders * choices between single- and double-system, and digital workflows * the differences between traditional video soundtracks and dialog-driven storytelling.
CONTENTS:
Table of Contents Acknowledgements Introduction It?s Not Rocket Science How This Book is Organized Do It Yourself About This Book and Audio Postproduction Staying Up-to-Date How to Create a Great Soundtrack (in a Quarter Page) Section I Audio Basics Chapter 1 How Sound Works Music-sicle? The Life of a Sound Fast Pressure Changes are Heard as Sounds Somewhat Slower Pressure Changes are Heard as Envelopes Slow Changes of Pressure are Loudness Very Slow Changes of Pressure are Weather Chapter 2 How Digital Audio Works Why Digital? Turning Analog to Digital Audio Data Reduction Chapter 3 Audio on a Wire Analog Wiring Digital Wiring Section II Planning and Pre-pro Chapter 4 Planning for Sound The Need for Sound Think about the Overall Track Elements of the Soundtrack Spoken Words Music Sound Effects Special Effects and Processing The Layers of a Track Chapter 5 Budgeting, Scheduling, and Preproduction Budgeting for Sound Allow Time for Sound Checking Locations Section III Production Sound Chapter 6 Microphones and Room Acoustics About Microphones Rooms and Recording Chapter 7 Production Mic Technique Using Boom Mics Using Lavalieres Controlling Wind Noise Using Wireless Room Tone Chapter 8 Production Recording Getting Audio into a Recorder Camera Settings Double System Mixers and Preamps Adjusting the Volume Chapter 9 Recording Voice-Overs, ADR, and Effects The Voice-over Engineering a Voice Recording Recording Sound Effects Section IV Postproduction Chapter 10 Postproduction Workflow Linear and Non-linear Editing Chapter 11 Postproduction Hardware Monitoring Computer Input/Output The Mixer Audio Sources and Recorders Other Handy Gear Moving Signals Around the Editing Suite Chapter 12 Levels and Digitizing Digital Audio Transfers Digitizing Analog Signals Metering and Lineup Tones Chapter 13 Editing Voices The Right Tools for Editing Voice Editing I: Cutting in Silences Editing II: Sounds with Hard Attacks Editing III: Hearing Phonemes Editing IV: Theatrical Film Dialogue Editing V: The Tricks Editing VI: Keeping Track of Sync A Final Exercise Chapter 14 Working with Music Deciding What Music You?ll Need Sources of Music Chapter 15 Sound Effects We Don?t Need No Stinkin? Reality Sources for Sound Effects Choosing Effects Placing Sound Effects Chapter 16 Processing How Any Effect Can Wreck A Sound Equalizers Compressors Reverberation Noise Reduction Combining Effects Chapter 17 The Mix Setting Up for the Mix Techniques of Mixing Preparing for Someone Else to Mix The Last Thing You Should Do Chapter 18 ?Help! It Doesn?t Sound Right!? Problems with On-Camera Dialogue Postproduction Audio Issues Mix Problems Appendix A: Glossary Appendix B: Resources Appendix C: CD Contents
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