Book description
Sound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production.
Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room.
The accompanying audio downloadable resources contain more than 50 tracks that demonstrate practical, real-world examples of key concepts presented in the book.
A companion Web site provides further resources and information:
www.focalpress.com/cw/holman-9780240813301/
Please use the access code located in the beginning of the book to register for access to the Web site.
Table of contents
- Cover
- Halftitle
- Title
- Copyright
- Contents
- Preface to the Third Edition
- Introduction
- 1. Objective Sound
- 2. Psychoacoustics
- 3. Audio Fundamentals
- 4. Capturing Sound
-
5. Microphone Technicalities
- Pressure Microphones
- Pressure-Gradient Microphones
- Combinations of Pressure and Pressure-Gradient Responding Microphones
- Microphone Types by Method of Transduction
- Microphone Types by Directivity (Polar Pattern)
-
Microphone Specifications
- Sensitivity
- Frequency Response
- Choice of Microphone Frequency Response
- Polar Pattern and Its Uniformity with Frequency
- Equivalent Acoustic Noise Level and Signal-to-Noise Ratio
- Maximum Undistorted Sound Pressure Level
- Dynamic Range
- Susceptibility to Wind Noise
- Susceptibility to Pop Noise
- Susceptibility to Handling Noise
- Susceptibility to Magnetic Hum Fields
- Impedance
- Power Requirements
- Microphone Accessories
- 6. Handling the Output of Microphones
-
7. Production Sound Mixing
- Introduction
- Single- Versus Double-system Sound
- Combined Single and Double System
- Next Decision for Single-system Setups: On-camera Or Separate MIX Facilities?
- For Double-system Setups: Separate Mixer and Recorder Or Combined?
- Production Sound Consoles: Processes
- Production Sound Mixers: Signal Routing
- Examples
- Production Sound Equipment On a Budget
- Cueing Systems, IFB, and IEM
- Equipment Interactions
- Initial Setup
- Mixing
- Level Setting
- Coverage
- Logging
- Shooting to Playback
- Other Technical Activities in Production
- Set Politics
- 8. Sync, Sank, Sunk
- 9. Transfers
- 10. Sound Design
- 11. Editing
- 12. Mixing
- 13. From Print Masters to Exploitation
- Appendix I. Working with Decibels
- Appendix II. Filmography
- Appendix III. The Eleven Commandments of Film Sound
- Appendix IV. Bibliography
- Glossary
- Index
- The Companion Website
- Instructions for accompanying DVD
Product information
- Title: Sound for Film and Television, 3rd Edition
- Author(s):
- Release date: November 2012
- Publisher(s): Routledge
- ISBN: 9781136046094
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