Producing great sound for film and video expert tips from preproduction to final mix
In Producing Great Sound for Film and Video, Fourth Edition audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll learn practical, time-saving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking...
| Otros Autores: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Massachusetts ; Oxfordshire, England :
Focal Press
2015.
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| Edición: | 4th ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009629401706719 |
Tabla de Contenidos:
- 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; Section introduction; 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
- DirectionalityVery 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; Section introduction; 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 soundChecking locations; Section III Production Sound; Section introduction; 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; Chapter 9 Recording Voice-Overs, ADR, and Effects; Section IV Postproduction; Section introduction
- Chapter 10 Postproduction WorkflowOrganizing 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 attacksEditing 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
