Producing Great Sound for Film and Video

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Acknowledgments
Introduction
	It’s not rocket science
	How this book is organized
	About this book and Audio Postproduction
	What’s new in the fourth edition
	Staying up-to-date
	How to Create a Great Soundtrack (in a Quarter of a Page)
Section I Audio Basics
	Section introduction
	Chapter 1: How Sound Works
		Music-sicle?
		Frequency: it matters how often you do it
		Somewhat slower pressure changes are heard as envelopes
		Slow changes of pressure are loudness
		The speed of sound makes a big difference
		Directionality
		Very slow pressure changes
	Chapter 2 How Digital Audio Works
		Why digital?
		Turning analog to digital
		Audio data reduction
	Chapter 3 Audio on a Wire
		Analog wiring
		Digital wiring
		Audio over IP
Section II Planning And Pre-Pro
	Section introduction
	Chapter 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
		Special effects and processing
		The layers of a track
	Chapter 5 Budgeting, Scheduling, and Pre-production
		Budgeting for sound
		Allow time for sound
		Checking locations
Section III Production Sound
	Section introduction
	Chapter 6 Microphones and Room Acoustics
		About microphones
		Rooms and recording
	Chapter 7 Production Mic Technique
		Which mic should you use?
		Using boom mics
		Lavaliere mics
		Controlling wind noise
		Using wireless
		Roomtone
	Chapter 8 Production Recording
		Where\'s the track?
		Getting audio into a recorder
		Camera settings
		Double-system
		Mixers and preamps
		Adjusting the volume
	Chapter 9 Recording Voice-Overs, ADR, and Effects
Section IV Postproduction
	Section introduction
	Chapter 10 Postproduction Workflow
		Organizing and keeping track of audio in an NLE
		Audio options beyond the NLE
		Organizing postproduction audio
	Chapter 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
	Chapter 12 Levels and Digitizing
		Digital audio transfers
		Digitizing analog signals
		Metering and lineup tones
		Synchronization
	Chapter 13 Editing Voices
		Establishing sync
		Editing dialog
		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
	Chapter 14 Working with Music
		Deciding what music you’ll need
		Selecting music from a library
		Music editing
	Chapter 15 Sound Effects
		Silence is not golden
		Sources for sound effects
		Building a library
		Choosing the right effect
		Placing sound effects
		Making effects sound more effective
	Chapter 16 Processing
		How any effect can wreck a sound
		When to apply processing
		Equalizers
		Compressors
		Reverberation
		Noise reduction
		Combining effects
	Chapter 17 The Mix
		How to mix
		Techniques of mixing
		Loudness and broadcast standards
		Preparing for someone else to mix
		After the mix
	Chapter 18: “Help! It Doesn’t Sound Right!”
		General production issues
		Postproduction audio issues
		Problems that surface during editing
		Mix problems
		Other common questions
		How do I get started in the film/video sound business?
Appendix A: Glossary
Appendix B: Resources
Index