Producing Great Sound for Film and Video by Rose, Jay -- Read -- Imperial Library of Trantor

Index

Cover Half Title Title Page Copyright Page Dedication Table of Contents Acknowledgments Introduction

It’s not rocket science How this book is organized About this book and Audio Postproduction What’s new in the fourth edition Staying up-to-date How to Create a Great Soundtrack (in a Quarter of a Page)

Section I Audio Basics

Chapter 1: How Sound Works

Music-sicle? Frequency: it matters how often you do it Somewhat slower pressure changes are heard as envelopes Slow changes of pressure are loudness The speed of sound makes a big difference Directionality Very slow pressure changes

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 Audio over IP

Section II Planning And Pre-Pro

Chapter 4 Planning for Sound

The need for sound How a good soundtrack can help Think about the overall track Elements of the soundtrack Spoken words Music Sound effects Silence Special effects and processing The layers of a track

Chapter 5 Budgeting, Scheduling, and Pre-production

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

Which mic should you use? Using boom mics Lavaliere mics Controlling wind noise Using wireless Roomtone

Chapter 8 Production Recording

Where’s the track? Getting audio into a recorder Camera settings Double-system Mixers and preamps Adjusting the volume

Section IV Postproduction

Chapter 10 Postproduction Workflow

Organizing and keeping track of audio in an NLE Audio options beyond the NLE Organizing postproduction audio

Chapter 11 Postproduction Hardware

Monitoring Computer input/output The mixer Other handy gear 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

Establishing sync Editing dialog How to edit dialog Editing I: cutting in silences Editing II: sounds with hard attacks Editing III: hearing phonemes Editing IV: theatrical film dialog Editing V: the tricks Editing VI: keeping track of sync A final exercise

Chapter 14 Working with Music

Deciding what music you’ll need Selecting music from a library Music editing

Chapter 15 Sound Effects

Silence is not golden Sources for sound effects Building a library Choosing the right effect Placing sound effects Making effects sound more effective

Chapter 16 Processing

How any effect can wreck a sound When to apply processing Equalizers Compressors Reverberation Noise reduction Combining effects

Chapter 17 The Mix

How to mix Techniques of mixing Loudness and broadcast standards Preparing for someone else to mix After the mix

Chapter 18: “Help! It Doesn’t Sound Right!”

General production issues Postproduction audio issues Problems that surface during editing Mix problems Other common questions How do I get started in the film/video sound business?

Appendix A: Glossary Appendix B: Resources Index