Producing Great Sound for Film and Video / Edition 3

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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.

Please visit the author's website for additional resources:

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Editorial Reviews

From the Publisher
"Folks, this book is a treasure chest. Don't call Producing Great Sound for Digital Video, Second edition by Jay Rose an audio primer or even a reference source, it's much more... It's like taking a class taught by a caring, affable, pro. The writer's intimate and accessible style is what makes this book a great value for anyone interested in audio. Whether you're just starting in the field of digital audio/video production, or are a seasoned pro, you'll find information in this book that will improve your end product."
— John Hartney, Creative

"A truly great book... I really enjoyed the read. This book is an ABSOLUTE MUST if you will be shooting on a budget and doing sound yourself. You'll learn what mics to use in the field, how to fix an echo, how to deal with line noise, cheap fixes for potentially expensive problems—and that's just the beginning.... this book will teach you tips and tricks that will make your head spin. This book can literally save you THOUSANDS in post production."
— Biagio Messina, AccessDV

"Crammed full of practical advice on recording, editing, and mixing audio for your production, including many of the technical basics."
— Trish Meyer, Cybmotion

"Most folks who write about doing sound for moving pictures, on film or on video, focus on the sexy stuff—mostly writing music, sometimes doing foley, often talking technical. Jay Rose doesn't mess around. He digs right into the hardcore side of audio for moving pictures — recording and editing dialog, sound effects, and music. He debunks common myths, shows the reader how to make do in limited-budget, time-constrained situations, and puts it all in context on a technical level. Producing Great Soundtracks is an invaluable collection of step-by-step how-to information combined with the technical reasons things do or don't work. It's essential reading for anyone serious about making a living doing moving pictures."
— Dominic Milano, Digital Video Magazine
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Product Details

  • ISBN-13: 9780240809700
  • Publisher: Taylor & Francis
  • Publication date: 3/7/2008
  • Series: DV Expert Series
  • Edition description: Older Edition
  • Edition number: 3
  • Pages: 462
  • Product dimensions: 7.50 (w) x 9.14 (h) x 0.91 (d)

Meet the Author

Clio-and Emmy-award-winning sound engineer Jay Rose is creative director of the Digital Playroom. Specializing in post-production audio, his clients include PBS, Buena Vista Home Video, and Turner Network Television. Rose has written about audio for Videography, Recording, and Premiere Full Motion magazines.

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Table of Contents

Table of Contents


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
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
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
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
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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