Coverart for item
The Resource Producing great sound for film and video : expert tips from preproduction to final mix, Jay Rose

Producing great sound for film and video : expert tips from preproduction to final mix, Jay Rose

Label
Producing great sound for film and video : expert tips from preproduction to final mix
Title
Producing great sound for film and video
Title remainder
expert tips from preproduction to final mix
Statement of responsibility
Jay Rose
Creator
Subject
Language
eng
Summary
"Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll find real world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair and processing, and mixing. The combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded "How Do I Fix This?" section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need"--
Assigning source
Provided by publisher
Cataloging source
YDXCP
http://library.link/vocab/creatorName
Rose, Jay
Dewey number
777/.53
Index
no index present
Literary form
non fiction
Nature of contents
dictionaries
http://library.link/vocab/subjectName
  • Sound
  • Digital video
  • Television soundtracks
  • Film soundtracks
Label
Producing great sound for film and video : expert tips from preproduction to final mix, Jay Rose
Instantiates
Publication
Carrier category
online resource
Carrier category code
cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • ch. 1
  • 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
  • ch. 14
  • Working with Music
  • How Sound Works
  • Deciding what music you'll need
  • Selecting music from a library
  • Music editing
  • ch. 15
  • Sound Effects
  • Silence is not golden
  • Sources for sound effects
  • Building a library
  • Choosing the right effect
  • Placing sound effects
  • Music-side?
  • Making effects sound more effective
  • ch. 16
  • Processing
  • How any effect can wreck a sound
  • When to apply processing
  • Equalizers
  • Compressors
  • Reverberation
  • Noise reduction
  • Combining effects
  • Frequency: it matters how often you do it
  • ch. 17
  • The Mix
  • How to mix
  • Techniques of mixing
  • Loudness and broadcast standards
  • Preparing for someone else to mix
  • After the mix
  • ch. 18
  • "Help! It Doesn't Sound Right!"
  • General production issues
  • Somewhat slower pressure changes are heard as envelopes
  • Postproduction audio issues
  • Problems that surface during editing
  • Mix problems
  • Other common questions
  • How do I get started in the film/video sound business?
  • Slow changes of pressure are loudness
  • The speed of sound makes a big difference
  • Directionality
  • Very slow pressure changes
  • ch. 2
  • Machine generated contents note:
  • How Digital Audio Works
  • Why digital?
  • Turning analog to digital
  • Audio data reduction
  • ch. 3
  • Audio on a Wire
  • Analog wiring
  • Digital wiring
  • Audio over IP
  • Section introduction
  • It's not rocket science
  • ch. 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
  • How this book is organized
  • Special effects and processing
  • The layers of a track
  • ch. 5
  • Budgeting, Scheduling, and Pre-production
  • Budgeting for sound
  • Allow time for sound
  • Checking locations
  • Section introduction
  • ch. 6
  • Microphones and Room Acoustics
  • About this book and Audio Postproduction
  • About microphones
  • Rooms and recording
  • ch. 7
  • Production Mic Technique
  • Which mic should you use?
  • Using boom mics
  • Lavaliere mics
  • Controlling wind noise
  • Using wireless
  • Roomtone
  • What's new in the fourth edition
  • ch. 8
  • Production Recording
  • Where's the track?
  • Getting audio into a recorder
  • Camera settings
  • Double-system
  • Mixers and preamps
  • Adjusting the volume
  • ch. 9
  • Recording Voice-Overs, ADR, and Effects is on the-companion website: www.greatsound.info w1
  • Staying up-to-date
  • (Keep your copy of this book handy when you log in; you'll need it for authorization)
  • The voice-over w1
  • Engineering a voice recording w2
  • Directing the voice-over w14
  • Recording sound effects w28
  • Section introduction
  • ch. 10
  • Postproduction Workflow
  • Organizing and keeping track of audio in an NLE
  • Audio options beyond the NLE
  • How to Create a Great Soundtrack (in a Quarter of a Page)
  • Organizing postproduction audio
  • ch. 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
  • Section introduction
  • ch. 12
  • Levels and Digitizing
  • Digital audio transfers
  • Digitizing analog signals
  • Metering and lineup tones
  • Synchronization
  • ch. 13
  • Editing Voices
  • Establishing sync
  • Editing dialog
Control code
ocn887855088
Dimensions
unknown
Edition
Fourth edition
Extent
1 online resource (pages cm.)
Form of item
online
Isbn
9781317936923
Isbn Type
(electronic bk.)
Media category
computer
Media MARC source
rdamedia
Media type code
c
Specific material designation
remote
System control number
(OCoLC)887855088
Label
Producing great sound for film and video : expert tips from preproduction to final mix, Jay Rose
Publication
Carrier category
online resource
Carrier category code
cr
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • ch. 1
  • 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
  • ch. 14
  • Working with Music
  • How Sound Works
  • Deciding what music you'll need
  • Selecting music from a library
  • Music editing
  • ch. 15
  • Sound Effects
  • Silence is not golden
  • Sources for sound effects
  • Building a library
  • Choosing the right effect
  • Placing sound effects
  • Music-side?
  • Making effects sound more effective
  • ch. 16
  • Processing
  • How any effect can wreck a sound
  • When to apply processing
  • Equalizers
  • Compressors
  • Reverberation
  • Noise reduction
  • Combining effects
  • Frequency: it matters how often you do it
  • ch. 17
  • The Mix
  • How to mix
  • Techniques of mixing
  • Loudness and broadcast standards
  • Preparing for someone else to mix
  • After the mix
  • ch. 18
  • "Help! It Doesn't Sound Right!"
  • General production issues
  • Somewhat slower pressure changes are heard as envelopes
  • Postproduction audio issues
  • Problems that surface during editing
  • Mix problems
  • Other common questions
  • How do I get started in the film/video sound business?
  • Slow changes of pressure are loudness
  • The speed of sound makes a big difference
  • Directionality
  • Very slow pressure changes
  • ch. 2
  • Machine generated contents note:
  • How Digital Audio Works
  • Why digital?
  • Turning analog to digital
  • Audio data reduction
  • ch. 3
  • Audio on a Wire
  • Analog wiring
  • Digital wiring
  • Audio over IP
  • Section introduction
  • It's not rocket science
  • ch. 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
  • How this book is organized
  • Special effects and processing
  • The layers of a track
  • ch. 5
  • Budgeting, Scheduling, and Pre-production
  • Budgeting for sound
  • Allow time for sound
  • Checking locations
  • Section introduction
  • ch. 6
  • Microphones and Room Acoustics
  • About this book and Audio Postproduction
  • About microphones
  • Rooms and recording
  • ch. 7
  • Production Mic Technique
  • Which mic should you use?
  • Using boom mics
  • Lavaliere mics
  • Controlling wind noise
  • Using wireless
  • Roomtone
  • What's new in the fourth edition
  • ch. 8
  • Production Recording
  • Where's the track?
  • Getting audio into a recorder
  • Camera settings
  • Double-system
  • Mixers and preamps
  • Adjusting the volume
  • ch. 9
  • Recording Voice-Overs, ADR, and Effects is on the-companion website: www.greatsound.info w1
  • Staying up-to-date
  • (Keep your copy of this book handy when you log in; you'll need it for authorization)
  • The voice-over w1
  • Engineering a voice recording w2
  • Directing the voice-over w14
  • Recording sound effects w28
  • Section introduction
  • ch. 10
  • Postproduction Workflow
  • Organizing and keeping track of audio in an NLE
  • Audio options beyond the NLE
  • How to Create a Great Soundtrack (in a Quarter of a Page)
  • Organizing postproduction audio
  • ch. 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
  • Section introduction
  • ch. 12
  • Levels and Digitizing
  • Digital audio transfers
  • Digitizing analog signals
  • Metering and lineup tones
  • Synchronization
  • ch. 13
  • Editing Voices
  • Establishing sync
  • Editing dialog
Control code
ocn887855088
Dimensions
unknown
Edition
Fourth edition
Extent
1 online resource (pages cm.)
Form of item
online
Isbn
9781317936923
Isbn Type
(electronic bk.)
Media category
computer
Media MARC source
rdamedia
Media type code
c
Specific material designation
remote
System control number
(OCoLC)887855088

Library Locations

    • InternetBorrow it
      Albany, Auckland, 0632, NZ
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