This solutions-style guidebook to creating great sound for film and video is a one-stop resource for students trying to develop a high quality soundtrack for their projects. Amply illustrated and written by a sound-guru, this book demystifies complex topics for students who are not yet audio experts. This book is the industry standard to designing sound for digital projects by offering time-tested and real-world tips, techniques, time-savers, and problem-solving solutions that readers can employ from pre-production through the final mix. A full set of FAQs helps readers to quickly solve audio dilemmas and helps them to develop solid action plans to make great sound.
The audio CD contains demos, diagnostics, tutorial tracks, and other useful tools-all designed on an audio CD for optimal playback.
About the Author
Jay Rose, Jay Rose is a nationally respected sound designer and consultant whose Clio- and Emmy-winning career has included program opens for NBC and sound design for MGM. Rose is a columnist for DV Magazine, and a popular lecturer at MacWorld, DV Expo, and other industry gatherings. His website, dplay.com, averages 9,000 hits each week.
Description
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.
Audience
Digital video professionals producing event, corporate, and broadcast pieces; filmmakers
Contents
Acknowledgements
Introduction
About This Book and Audio Postproduction
How to Create a Great Soundtrack (in a Quarter of a 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
Echoes in small Rooms
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
What Kind of Mic to Use?
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
Connecting to the Recorder
Adjusting the Volume
Chapter 9 Recording Voice-Overs, ADR, and Effects
Engineering a Voice Recording
Directing The Voice-over
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
Moving Signals Around the Editing Suite
Wiring The Postproduction Suite
Mixing -10 Dbv and +4 Dbu Equipment
Chapter 12 Levels and Digitizing
Digital Audio Transfers
Digitizing Analog Signals
Metering and Lineup Tones
Synchronization
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
Selecting Music from the Library
Music Editing
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
When to Apply Processing
Equalizers
Compressors
Reverberation
Noise Reduction
Combining Effects
Learning More
Chapter 17 The Mix
Setting Up for the Mix
Preparing for Someone Else to Mix
After the Mix
The Last Thing You Should Do
Chapter 18 „Help! It Doesn't Sound Right!"
Problems with On-Camera Dialogue
Too Many Background Noises
Dialog Problems Introduced by the Recorder
Postproduction Audio Issues
Narration Problems
Computer Doesn't Play Audio Well
Mix Problems
The Mix Proportions Were Right, but It Was Too Soft/Loud/Distorted on the Air
Some Elements Sound Fine in Stereo, but Disapper when the Tape Is Broadcast, Played on VHS, or Seen on the Web
Other Common Questions
Glossary
Resources
CD Contents
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