Audio Post Production for Television and Film, Third Edition: An introduction to technology and techniques

Front cover......Page 1
Title page......Page 4
Copyright page......Page 5
Table of contents......Page 6
Acknowledgements......Page 12
About the authors......Page 14
Introduction to the third edition......Page 16
Part 1 Audio Basics......Page 18
An overview......Page 20
A little history: the development of technology and techniques......Page 22
Where we are now: post production today......Page 32
2 Digital recording and processing......Page 35
The digital audio process......Page 37
Quantizing level......Page 38
Storing digital audio data......Page 39
Buffers......Page 40
Interconnecting between digital audio systems......Page 41
3 Synchronizing and controlling audio post production equipment......Page 44
SMPTE/EBU timecode......Page 45
Timecode and speed......Page 48
Identification and labelling......Page 49
Longitudinal timecode (LTC)......Page 50
Vertical interval timecode (VITC)......Page 52
MIDI timecode (MTC)......Page 54
Synchronization modes......Page 56
The control of tape/film transports......Page 59
Compression......Page 60
Linear transfers......Page 61
File transfers......Page 64
File conversion software......Page 70
Network systems......Page 73
Film......Page 75
Video......Page 76
Video compression......Page 79
Audio on video recorders......Page 82
Viewing images......Page 83
Comparing film and video......Page 84
6 Film in audio post production......Page 85
Film release......Page 86
Conforming film......Page 87
Film timecode......Page 88
Photographic film recording......Page 90
Recording analogue optical soundtracks......Page 91
Digital optical soundtracks......Page 92
Part 2 The Post Production Process......Page 94
7 Post production workflows......Page 96
Types of microphone......Page 100
Mono and stereo recording......Page 102
Microphone position......Page 103
Using multiple microphones......Page 106
Production mixing......Page 107
Studio and field recorders......Page 108
Studio-based recording......Page 116
Field/location recording......Page 118
An overview......Page 124
Non-linear editing......Page 125
Video resolution......Page 126
The editing process......Page 128
Logging the rushes......Page 132
Syncing sound and picture......Page 133
Editing audio in the timeline......Page 135
Audio tools......Page 136
Outputting the audio edit......Page 139
Spotting the soundtrack......Page 143
Handing over to the sound editors......Page 144
Digital audio editing......Page 145
System configuration......Page 146
Hard drives......Page 148
Drive configurations......Page 149
Working with picture......Page 152
System requirements and interconnectivity......Page 153
Audio editing tools......Page 157
Mixing tools......Page 158
Backing up......Page 162
Setting up a tracklaying workspace......Page 163
Choosing the right workstation for the job......Page 164
Aims......Page 167
The conform......Page 168
Starting the dialogue edit......Page 169
Boom or personal mic?......Page 171
Techniques for improving audio edits......Page 172
ADR spotting......Page 174
ADR cue sheets......Page 176
Editing ADR......Page 177
ADR fitting software......Page 178
Splitting the dialogues for the mix......Page 179
Crowd spotting......Page 180
Attending the crowd session......Page 181
Editing the crowd......Page 182
Aims......Page 183
Types of sound effect......Page 184
Planning the tracklay......Page 185
Sourcing sound effects......Page 186
Starting the edit......Page 189
Tracklaying for the surrounds......Page 190
Tracklaying for the subs......Page 191
Sound effects editing techniques......Page 192
Sound effects plug-ins......Page 194
Presenting the tracks for the mix......Page 195
Recording foley......Page 197
Recording ADR......Page 199
Crowd recording......Page 201
Voice-over recording......Page 202
ISDN (Integrated Switched Digital Network)......Page 203
Aims......Page 205
Types of music......Page 206
Music and copyright......Page 207
Planning the music......Page 209
Sourcing music......Page 211
15 Monitoring and the environment......Page 221
Monitoring loudspeakers......Page 222
Stereo and multichannel sound......Page 223
Background noise......Page 225
The importance of listening levels......Page 226
Visual monitoring of recording levels......Page 229
The mixing console......Page 233
Types of mixing console......Page 236
Inputs......Page 237
Control of dynamics......Page 242
Computerization of mixing operations......Page 247
17 The mix......Page 250
Console automation......Page 251
The virtual mix......Page 252
Mixing using DAWs......Page 253
Mixing in surround......Page 256
Compatible mixes for television......Page 260
Layback......Page 261
Music and Effects mixes......Page 262
Delivery requirements......Page 263
18 The transmission and reproduction of audio post production material......Page 264
The cinema chain......Page 265
Television transmission......Page 266
Television chain – transmission......Page 267
Video on the web......Page 269
Domestic video formats......Page 270
Glossary......Page 272
Index......Page 294