Holman / Baum Sound for Digital Video

2. Auflage 2013
ISBN: 978-1-135-95709-4
Verlag: CRC Press
Format: EPUB
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 376 Seiten

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.

Zielgruppe

Filmmakers shooting with digital video on lower budgets; students in film and television schools

Autoren/Hrsg.

Holman, Tomlinson

Baum, Arthur

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio

Inhaltsverzeichnis

Sound for DVTomlinson HolmanOutlineI. IntroductionWhy this work is worth doing, who it is aimed at, general format of the book (case study method); relationship to Sound for Film and TelevisionGoing to art house films shows trailers demonstrate difference between pix and snd: pix usually better, sound often sacrificedEven on studio pix, pic dominates such as mono The Rules of AttractionScope of DVNot just a tape formatMinimum standards for audioThis book covers from DV to DVCProHD, because audio is similar across all DV-based formatsDigitizing the worldPros, consDigital VideoBasic digital: why?Four dimensions of a sound trackFrequency rangeDynamic RangeSpatial capabilityTimeDigital sound and the four dimensionsFeatures of DV format tapesFurther distinguishing features among the formatsFootprintSingle-speed vs. DV's SP and LP modesLocked vs. unlocked audio sample rateTime codeUser's bitsPALInterchangeabilityConclusionII. Production Sound, aka Location Sound, Original Sound RecordingA dedicated sound personLocation scoutingCoverageScene coverage: basic techniqueBoomLavPlantedWhat can be done with an on-camera microphone?How to use the two channelsItems other than voice recorded during production soundBasic acoustics of sound and microphonesMicrophone types by method of transductionElectrodynamic/electrostatic distinguishedOther, rarer typesPowering micsMicrophone types by polar patternDifferences among mics due to polar patternShort form adviceThe radio part of radio micsMicrophone accessoriesBooms/fishpolesShock mountsWindscreensPop suppressionCries and Whispers (capturing loud and soft sound)Recording Level parallels to early CinematographyCries and Whispers simultaneouslyMultiple level controls in the chainAnother kind of overload distortion and how to avoid itCase studiesMounting lavsRadio mic usageCombining features for best wind performanceDisposable micsExample from DVDBoom operator's jobCommon problemsLoggingSound kit accessoriesIII. Sound designSound design definedSound is constructed, not accidentalContinuityAmbience/backgroundsFoleyLayeringHard EffectsMusicFilm sound stylesRealismStretched realityWhat is seen vs. what is heard: on- vs. off-screenSurrealismMontageShifting levels of realitySound design as an artEmotional memoryLow frequencies mean threatExaggerating realitySpottingIV. Connecting Up, Reference LevelsBasic work flow with FirewireTypes of audio interconnects: digitalAES3S/PDIFProblems arising on digital interfacesTypes of audio interconnects: analogMic/line/speaker levelLine levels: -10/+4Balanced and unbalanced connectionsFile transfersV. Editing Non-linear editing definedRandom access editingNon-destructive editingVisual waveform editingEdits and fade filesFile managementPlug Ins/ProcessesEdit processes vs. mix processesProcesses definedProcess environmentsTrack and channelsBussesPan potsGrouping TracksDifferences between picture and sound editing systemsPicture-sound sync resolutionHow to EditBlock diagram of processFine editing of production soundWhere presence is usedDocumentary considerationsFixing bumpsSound effectsAmbience/backgroundsCutting musicScene changesDetailed analysis of scene changes in Love ActuallyVI. MixingEditing and mixing are different, but convergingThe mixing hourglassLevel-related processesLevel controlsGain stagingHand compressionCompressionLimitingDe-essingNoise gateDownward expanderProcesses related mainly to FrequencyEqualizationFilteringCombinations of level and frequencyTime-baesd devicesReverberationOther time based effects: echo, duration changeOther plug insDitherGeneratorPitch correctionPanningRouting and limitations caused by itBusses, channelsDelay compensationVoice limitationHow to mixStart with dialogueThe dialogue processing chainVII. Masters and MonitoringDelivery Master definedChoice of sound format on Delivery MastersMonoStereoLtRt matrix surround5.1 channel discrete surroundMastering for levelBackground on -12 versus -20 dBFS reference levelLevel calibrationWhen you can't calibrate with test signalsBest one-size-fits-all approachMastering for DVD, Digital Broadcast, and Digital Satellite TelevisionPost Production Masters LabelMonitoringFilm versus Video mixesVII. Sound Basic Video for Audio PeopleVideoBasic frame ratesUnder- and over-cranked cameraDigital VideoBasic digitalInterconnecting video

Über Autor(innen)

Tomlinson Holman is one of the most prominent figures in audio today. He is widely known for introducing new products and processes in the field, including the THX Sound System, Home THX, and the THX Digital Mastering program developed while he was Corporate Technical Director at Lucasfilm, Ltd. Mr. Holman has won career achievement awards from Cinema Audio Society and the Custom Electronics Design and Installation Association, as well as an Academy Award for Technical Achievement in 2001. His feature film credits include Indiana Jones and the Temple of Doom and Star Wars: Return of the Jedi among others.

Arthur Baum received his bachelor's degree in physics and mathematics from Harvard University and went on to study film sound at the University of Southern California. He has mixed and recorded sound for several independent films, webisodes, and documentaries and has edited sound for television programs airing on Discovery Channel, Syfy Network, Cartoon Network, and Animal Planet. In addition to his work on independent and corporate projects, Mr. Baum has served on the faculty of the USC School of Cinematic Arts, teaching sound theory and technique to incoming film production students.