Sound for digital video
"Achieve professional quality sound on a limited budget! Harness all new, Hollywood style audio techniques to bring your independent film and video productions to the next level.In Sound for Digital Video, Second Edition industry experts Tomlinson Holman and Arthur Baum give you the tools and k...
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| Format: | eBook |
| Language: | Inglés |
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Burlington, Mass. :
Focal Press
2013.
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| Edition: | 2nd ed |
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| See on Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628695806719 |
Table of Contents:
- Cover; Half Title; Title Page; Copyright Page; Table of Contents; Preface; Chapter 1: Basic Concepts; Digital Video Landscape; Minimum Standards for Audio; The Four Dimensions of a Sound Track; Digital Sound; Features of Digital Video Recording Formats; Chapter 2: Introduction to Digital Video; Basic Digital; Some Basic Video for Audio People; Frame Rates; Interlaced Video; "Film" Look; Resolution and Aspect Ratio; Under- and Over-Cranked Camera; Operational Matters; Quality Modes and Codecs; Interchangeability; Off-Line/Online; Time Code; User Bits; PAL Formats
- Locked versus Unlocked Audio Sample RateInstant Playback; Interconnecting Video; Conclusion; Chapter 3: Preproduction Planning; The First Big Step: A Dedicated Sound Person; Location Scouting; Choosing a Sound and Camera Workflow; Single-System Recording; Double-System Recording; Testing Sync; Mic, Line, and Speaker Level; Reference Levels and Headroom; Setting Up the Recording Chain; Line Levels; Mixing Balanced and Unbalanced Connections; Chapter 4: Production Sound I: General Considerations; Coverage; Scene Coverage and Microphone Technique; What Can Be Done with an On-Camera Microphone?
- How to Use the Two ChannelsOther Items Recorded during Production Sound; Microphone Accessories; Booms/Fishpoles; Shock Mounts; Windscreens; Pop Suppression; Case Studies; Mounting Lavs; Radio Mic Usage; Disposable Mics; Production Sound Example; Boom Operator's Job; Common Problems; Logging; DV Production Sound Log; Sound Kit Accessories; Chapter 5: Production Sound II: Microphones; Power; Dynamic Microphones; Polar Patterns; Differences Between Microphones Having Various Types of Polar Patterns; The Radio Part of Radio Mics
- Chapter 6: Production Sound III: Dealing with the Output of MicrophonesRecording Level Parallels to Early Cinematography; Cries; Whispers; Cries and Whispers; Multiple Level Controls in the Chain; Another Kind of Overload Distortion and How to Avoid It; Combining Features for Best Wind Performance; Chapter 7: Media Management; What Counts as a Backup?; Types of Media; Streaming Transfers and File Transfers; Streaming Transfers; File Transfers; Audio File Formats; Managing Double-System Recordings; Syncing Footage; Time code Autosync; PluralEyes and DualEyes to Autosync
- Syncing by Hand with a Clapperboard SlateIf a Slate Wasn't Used (What to Do in Case of Emergency); Common Problems in Digital Audio File Transfers for Sound Accompanying Picture; Chapter 8: Sound Design; Film Sound Styles; Realism; Stretched Reality; What is Seen versus What is Heard: On-Screen versus Off-Screen; Hyper-reality; Surrealism; Montage; Shifting Levels of Reality; Sound Design as an Art; Spotting; Chapter 9: Editing; Non-Linear Editing; Random-Access Editing; Non-Destructive Editing; Visual Waveform Editing; Edits and Fade Files; File Management; How to Edit
- Fine Editing of Production Sound
