Book description
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 knowledge to apply recent advances in audio capture, video recording, editing workflow, and mixing to your own film or video with stunning results. This fresh edition is chockfull of techniques, tricks, and workflow secrets that you can apply to your own projects from preproduction through postproduction.
New to this edition:
- A new feature on "true" 24p shooting and editing systems, as well as single vs. double-system recording
- A strong focus on new media, including mini-DVDs, hard disks, memory cards, and standard and high-definition imagery
- Discussion of camera selection, manual level control, camera and recorder inputs, location scouting, and preproduction planning
- Instruction in connectors, real-time transfers, and file-based transfers from DVDs, hard drives, and solid state media.
- Blu-Ray and HD tape formats for mastering and distribution in addition to file-based, DV, and DVD masters.
- A revamped companion website, www.focalpress.com/cw/holman, featuring recording and editing exercises, examples and sample tracks
Whether you are an amateur filmmaker who wants to create great sound or an advanced professional in need of a reference guide, Sound for Digital Video, Second Edition is an essential addition to your digital audio tool belt.
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Preface
- Chapter 1: Basic Concepts
- Chapter 2: Introduction to Digital Video
- Chapter 3: Preproduction Planning
-
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 Channels
- Other Items Recorded during Production Sound
- Microphone Accessories
- Case Studies
- Production Sound Example
- Boom Operator’s Job
- Common Problems
- Logging
- DV Production Sound Log
- Sound Kit Accessories
- Chapter 5: Production Sound II: Microphones
- Chapter 6: Production Sound III: Dealing with the Output of Microphones
- Chapter 7: Media Management
- Chapter 8: Sound Design
-
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
- Stealing Presence
- Where Presence Is Used
- Documentary Considerations
- Fixing Bumps
- Sound Effects
- Ambience/Backgrounds
- Foley Effects
- Cutting Music
- Scene Changes
- Plug-Ins/Processes
- Tracks and Channels
- Busses
- Pan Pots
- Solo/Mute
- Grouping Tracks
- Differences Between Picture and Sound Editing Systems
- Picture–Sound Sync Resolution
- Chapter 10: Mixing
-
Chapter 11: Masters and Monitoring
- Choice of Sound Format on Edit and Delivery Masters
- Uses of Surround Sound
- Mastering for Level
- Background on –20 versus –12 dBFS Reference Level
- Level Calibration
- When You Can’t Calibrate with Test Signals
- Best One-Size-Fits-All Approach
- Mastering for DVD, Blu-ray, Digital Broadcast, and Digital Satellite Television
- Monitoring
- Film versus Video Mixes
- Index
Product information
- Title: Sound for Digital Video, 2nd Edition
- Author(s):
- Release date: June 2013
- Publisher(s): Routledge
- ISBN: 9781135957094
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