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Sound for Digital Video, 2nd Edition

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

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Table of Contents
  6. Preface
  7. Chapter 1: Basic Concepts
    1. Digital Video Landscape
    2. Minimum Standards for Audio
    3. The Four Dimensions of a Sound Track
    4. Digital Sound
    5. Features of Digital Video Recording Formats
  8. Chapter 2: Introduction to Digital Video
    1. Basic Digital
    2. Some Basic Video for Audio People
      1. Frame Rates
      2. Interlaced Video
      3. “Film” Look
      4. Resolution and Aspect Ratio
      5. Under- and Over-Cranked Camera
    3. Operational Matters
      1. Quality Modes and Codecs
      2. Interchangeability
      3. Off-Line/Online
      4. Time Code
      5. User Bits
      6. PAL Formats
      7. Locked versus Unlocked Audio Sample Rate
    4. Instant Playback
    5. Interconnecting Video
    6. Conclusion
  9. Chapter 3: Preproduction Planning
    1. The First Big Step: A Dedicated Sound Person
    2. Location Scouting
    3. Choosing a Sound and Camera Workflow
      1. Single-System Recording
      2. Double-System Recording
      3. Testing Sync
    4. Mic, Line, and Speaker Level
    5. Reference Levels and Headroom
    6. Setting Up the Recording Chain
    7. Line Levels
    8. Mixing Balanced and Unbalanced Connections
  10. Chapter 4: Production Sound I: General Considerations
    1. Coverage
    2. Scene Coverage and Microphone Technique
    3. What Can Be Done with an On-Camera Microphone?
    4. How to Use the Two Channels
    5. Other Items Recorded during Production Sound
    6. Microphone Accessories
      1. Booms/Fishpoles
      2. Shock Mounts
      3. Windscreens
      4. Pop Suppression
    7. Case Studies
      1. Mounting Lavs
      2. Radio Mic Usage
      3. Disposable Mics
    8. Production Sound Example
    9. Boom Operator’s Job
    10. Common Problems
    11. Logging
    12. DV Production Sound Log
    13. Sound Kit Accessories
  11. Chapter 5: Production Sound II: Microphones
    1. Power
    2. Dynamic Microphones
    3. Polar Patterns
      1. Differences Between Microphones Having Various Types of Polar Patterns
    4. The Radio Part of Radio Mics
  12. Chapter 6: Production Sound III: Dealing with the Output of Microphones
    1. Recording Level Parallels to Early Cinematography
    2. Cries
    3. Whispers
    4. Cries and Whispers
    5. Multiple Level Controls in the Chain
    6. Another Kind of Overload Distortion and How to Avoid It
    7. Combining Features for Best Wind Performance
  13. Chapter 7: Media Management
    1. What Counts as a Backup?
    2. Types of Media
    3. Streaming Transfers and File Transfers
      1. Streaming Transfers
      2. File Transfers
    4. Audio File Formats
    5. Managing Double-System Recordings
    6. Syncing Footage
      1. Time code Autosync
      2. PluralEyes and DualEyes to Autosync
      3. Syncing by Hand with a Clapperboard Slate
      4. If a Slate Wasn’t Used (What to Do in Case of Emergency)
    7. Common Problems in Digital Audio File Transfers for Sound Accompanying Picture
  14. Chapter 8: Sound Design
    1. Film Sound Styles
      1. Realism
      2. Stretched Reality
      3. What is Seen versus What is Heard: On-Screen versus Off-Screen
      4. Hyper-reality
      5. Surrealism
      6. Montage
      7. Shifting Levels of Reality
      8. Sound Design as an Art
      9. Spotting
  15. Chapter 9: Editing
    1. Non-Linear Editing
    2. Random-Access Editing
    3. Non-Destructive Editing
    4. Visual Waveform Editing
    5. Edits and Fade Files
    6. File Management
    7. How to Edit
    8. Fine Editing of Production Sound
    9. Stealing Presence
    10. Where Presence Is Used
    11. Documentary Considerations
    12. Fixing Bumps
    13. Sound Effects
    14. Ambience/Backgrounds
    15. Foley Effects
    16. Cutting Music
    17. Scene Changes
    18. Plug-Ins/Processes
    19. Tracks and Channels
    20. Busses
    21. Pan Pots
    22. Solo/Mute
    23. Grouping Tracks
    24. Differences Between Picture and Sound Editing Systems
    25. Picture–Sound Sync Resolution
  16. Chapter 10: Mixing
    1. The Mixing Hourglass
    2. Audio Processes
      1. Processes Related Mainly to Level
        1. Level Controls
        2. Gain Staging
        3. Hand Compression
        4. Compression
        5. Limiting
        6. De-esser
        7. Noise Gate
        8. Downward Expander
      2. Processes Related Mainly to Frequency
        1. Equalization
        2. Filters
      3. Combinations of Level and Frequency
      4. Time-Based Devices
        1. Reverberation
        2. Other Time-Based Effects
        3. Other Plug-Ins
      5. Panning
    3. Routing, and Limitations Caused by Routing
      1. Busses, Channels
      2. Delay Compensation
      3. Voice Limitation
    4. How to Mix
  17. Chapter 11: Masters and Monitoring
    1. Choice of Sound Format on Edit and Delivery Masters
    2. Uses of Surround Sound
    3. Mastering for Level
    4. Background on –20 versus –12 dBFS Reference Level
    5. Level Calibration
    6. When You Can’t Calibrate with Test Signals
    7. Best One-Size-Fits-All Approach
    8. Mastering for DVD, Blu-ray, Digital Broadcast, and Digital Satellite Television
    9. Monitoring
    10. Film versus Video Mixes
  18. Index