Producing Great Sound for Film and Video Expert Tips from Preproduction to Final Mix 4th Edition by Jay Rose 0415722071 9780415722070
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ISBN 10: 0415722071
ISBN 13: 9780415722070
Author: Jay Rose
In Producing Great Sound for Film and Video, Fourth Edition audio guru Jay Rose revises his popular text for a new generation of filmmakers. You’ll learn practical, time-saving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! Here you’ll find real-world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair, processing, and mixing. Rose’s combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. New in this edition: Insights and from-the-trenches tips from top professionals Instructions for getting the best results from new DSLRs and digital recorders What you need to know about new regulations for wireless mics and broadcast loudness An expanded “How Do I Fix This?” section to help you solve problems quickly Whether you’re an aspiring filmmaker who wants better tracks, or an experienced professional looking for a reference, Producing Great Sound for Film and Video, Fourth Edition has the information you need.
Producing Great Sound for Film and Video Expert Tips from Preproduction to Final Mix 4th Table of contents:
Chapter 1 How Sound Works
Music-Sicle?
The life of a sound
Everybody feels the pressure
Frequency: It Matters How Often You Do It
Fast pressure changes are heard as sounds
Harmonics
A diagnostic: Test your own equipment (and ears)!
Somewhat Slower Pressure Changes Are Heard as Envelopes
When envelopes and frequencies overlap
Slow Changes of Pressure Are Loudness
The need for a reference
The logarithm
The decibel
Absolute volume vs. absolute loudness?
The Speed of Sound Makes a Big Difference
Echoes and colorations
The Inverse-Square Law
“Soundproofing”
Directionality
Stereo
Surround
Binaural
Two tracks doesn’t mean stereo
Very Slow Changes of Pressure Are Weather
Chapter 2 How Digital Audio Works
Why Digital?
We don’t use digital audio because it’s nonlinear; we use it because it’s robust
Digital audio hides its mistakes
Digital media can be copied very quickly
Digital storage is incredibly cheap: Compared to analog, it’s virtually free
Turning Analog to Digital
Sample depth
Levels and loudness
Sample rate
Audio Data Reduction
Delta encoding
Lossless encoding
Perceptual encoding and masking
Other encoding standards
Metadata
Copy protection
Chapter 3 Audio on a Wire
Analog Wiring
Ohm’s Law
Analog’s strange standards
Nominal levels
Cross-connecting −10 dBV and +4 dBu equipment
Avoiding noise with balanced wiring
Balanced wiring
You can’t tell a wire by its connector
Cross-connecting balanced and unbalanced wiring
Other cable types
Digital Wiring
Linear audio vs. Packet audio
Linear digital audio wiring
Audio as IP
Other audio wiring
Cross-connecting digital formats
Digital audio errors
Section II Planning and Pre-Pro
Section introduction
Chapter 4 Planning for Sound
The Need for Sound
People are conditioned to expect good sound
Invest time to save money
The need for early collaboration
How a Good Soundtrack Can Help
Good sound adds believability
Think About the Overall Track
Start with the script
Sound design after the script is written
Make room for sound
Provide texture changes
Remember the medium
Planning and the bottom line
Elements of the Soundtrack
Spoken Words
On-camera dialog
Crowd voices
Voice-over narration
Voices are almost always mono
Protect the center
Music
Source music
Scoring
The pitfalls of popular music
Sound Effects
Sound effects categories
Silence
Special Effects and Processing
The Layers of a Track
Chapter 5 Budgeting, Scheduling, and Pre-production
Budgeting for Sound
Production costs: Crew
Finding a good sound crew
Production costs: Equipment
Special shooting situations
Voice-over recording
Postproduction costs
Postproduction audio studio
Theatrical sound editing and mixing
Allow Time for Sound
Pre-production time
Postproduction time
Checking Locations
Potential problems
Location considerations for special situations
Section III Production Sound
Section introduction
Chapter 6 Microphones and Room Acoustics
About Microphones
Types of microphones
Microphone directionality
Directional mics in use
Types of pickup elements
Powering a mic
Rooms and Recording
Testing the space
Cutting down reflections
Be flexible
Chapter 7 Production Mic Technique
Which Mic Should You Use?
You can hear the difference
Using Boom Mics
Choose boomer and boom
Gear for booming
The art of going boom
Operating the boom
Lavaliere Mics
Types of lavs
Mounting lavalieres
Avoiding noise in lavalieres
Headworn mics
Planted mics
Controlling Wind Noise
Using Wireless
Buying wireless
Using a wireless
When wireless goes bad
Roomtone
Chapter 8 Production Recording
Where’s the Track?
So … should video be shot with single- or double-system?
Choosing a recorder
Getting Audio Into A Recorder
XLR vs. mini-jack
Balancing adapters
Avoiding noise
Impedance
Camera Settings
Camcorder audio quality
What we learned
The recommendations
Bottom line on digital camcorders …
DSLR wisdom
Double-System
Syncing double-system
No sync reference?
Mixers and Preamps
Preamps
Basic mixer
Connecting to the recorder
Adjusting the Volume
Aligning the mixer’s meters
Headphone amplifiers
Chapter 9 Recording Voice-Overs, ADR, and Effects
The voice-over
Engineering a voice recording
Directing the voice-over
Recording sound effects
Section IV Postproduction
Section introduction
Chapter 10 Postproduction Workflow
Organizing and Keeping Track of Audio in an NLE
Linear and nonlinear editing
Implications for audio
Audio Options Beyond the NLE
Edit and mix within the NLE
Edit in the NLE’s computer, but with a separate audio program
Edit/mix in a digital audio workstation
Free, or nearly-free, DAW options
Moving your project between NLE and DAW
EDL
Film vs. video workflows
Organizing Postproduction Audio
Dealing with non-sync audio
Audio priorities
Mixing and editing are separate functions
Chapter 11 Postproduction Hardware
Monitoring
Editing room acoustics: When good speakers go bad
Soft and hard
Homemade sound eater
The nearfield solution
Choosing monitor speakers
Choosing full-size speakers
Speaker setup
Monitor controller
Computer Input/Output
Sound cards and converters
The Mixer
Mixer as selector and controller
Mixing in the computer
Mixing in the box
Audio sources and recorders
Other Handy Gear
Meters
Tone oscillator
Phone patch
Moving Signals Around the Editing Suite
The patchbay
Switchers and routers
Wiring the Postproduction Suite
Practical ground-loop elimination
Wiring monitor speakers
Mixing −10 DBV and +4 DBU Equipment
Impedance matching
Nonaudio wiring
Chapter 12 Levels and Digitizing
Digital Audio Transfers
When digitizing isn’t
FireWire and other data transfers
Real-time transfers
Digitizing Analog Signals
Gain-staging
Getting better inputs
Calibrating an NLE’s meters
Diagnosing level problems
Metering and Lineup Tones
VU meters
Digital metering in software
How much is zero?
Synchronization
Understanding timecode
Timecode recording and transmission
Syncing traditional film with audio
Chapter 13 Editing Voices
Establishing Sync
One sound, one image
How to sync audio and video
Editing Dialog
How to Edit Dialog
Editing ICutting in Silences
Editing IISounds with Hard Attacks
An editing exercise: Cutting where there’s no pause
Editing IIIHearing Phonemes
An even more impressive exercise
Fooling the ear
Phonemes come in families
Intonation
Projection levels
Editing IVTheatrical Film Dialog
Roomtone
Track splitting
Editing VThe Tricks
Breathless
Simply shocking!
Extensions
Snap, crackle …
Squeezing and stretching
Putting it all together
Editing VIKeeping Track of Sync
Parallel track operations
Sync problems
A Final Exercise
Chapter 14 Working with Music
Deciding What Music You’ll need
“Live” music on-camera
Source music
Additional scoring
Sources of Music
Original music
Formerly original music
Other forms of stock music
Non-library recordings, or How copyright is gonna get ya
Mix and match
Selecting Music from a Library
Music Editing
Solution 1: Ignore the problem
Solution 2: Automate it
Solution 3: Learn the easy way to edit music
Cutting by counting
Matching music to picture
Chapter 15 Sound Effects
Silence is Not Golden
Silence can be golden
Planning reality effects
Planning punctuation effects
Sources for Sound Effects
Consumer sound effects discs
Professional CD libraries
Free sound effect websites
Building a Library
Pocket recorders
Choosing the Right Effect
Sound effects palettes
Placing Sound Effects
Track layouts
Looping
Making Effects Sound More Effective
Layering effects
Other examples
Spreading effects to make room for dialog
Some random sound effects wisdom
Chapter 16 Processing
How any Effect Can Wreck A Sound
Watch out for overloads
Watch out for sounds that are too soft
Use good monitors
Presets … friend or foe?
When to Apply Processing
Equalizers
Equalizer types
Getting the most from an equalizer
Equalizer tips
Compressors
What happens inside a compressor
Using the compressor
Compression in the fourth dimension
Multiband compression
Reverberation
Real reflections
Artificial reverb
Practical reverb
Removing reverb
Beyond reverb
Other delay-based effects
Vocal elimination
Noise Reduction
Noise reduction by masking
Spectral noise reducers
Noise reduction strategies
Combining Effects
Helping the effects along
Learning more
Chapter 17 The Mix
How to Mix
Edit first, mix second, really listen third
Use your faders
Mixing in the box
Scheduling
Techniques of Mixing
Tracks and panning
Why we move the knobs …
The time dimension
Separating by distance
Mix distortion
Working with automation
Loudness and Broadcast Standards
ITU-R BS.1770, EBU R128, and ATSC A/85
Preparing for Someone Else to Mix
Ask the expert
Interchange
What to bring to a mix
After the Mix
Print masters
The Last Thing You Should Do
Chapter 18 “Help! It Doesn’t Sound Right!”
General Production Issues
Camera and mic operation
Too much background noise
Problems with on-camera dialog
Dialog problems introduced by the recorder
Postproduction Audio Issues
Lipsync problems
Hum and noise
Narration issues
Computer doesn’t play audio well
Noises during playback
Problems That Surface during Editing
Dialog seems uneven from shot to shot
Music edits don’t sound smooth
Mix Problems
When good mixes go bad
How loud should music / dialog / sfx be in the mix?
How can I make my film Dolby / THX / etc.?
Other Common Questions
Where can I find cheap talent / music / sound effects?
Is it a violation to use copyrighted recordings in an educational or nonprofit video?
Well then, can I use copyrighted music in my temporary mix?
What software should I use? What brand of sound card? Mac or PC or Linux?
How Do I Get Started In The Film / Video Sound Business?
Appendix A Glossary
Appendix B Resources
Web
American Radio Relay League (www.arrl.org)
Cinema Audio Society (cinemaaudiosociety.org)
Digital Playroom (JayRose.com)
Epanorama.Net
Equipment Emporium (filmtvsound.com)
FilmSound.org
Gearslutz.com
Internet Movie Database (imdb.com)
JWSoundGroup.org
Quantel Limited (quantel.com)
Rane Corporation (rane.com/tech.html)
Rycote’s Microphone Database (microphone-data.com)
Video University (videouniversity.com)
Sources for Public Domain Materials
Internet Archive (archive.org)
Library of Congress (loc.gov)
Wikimedia Commons (commons.wikimedia.org)
Professional Organizations
American Society Of Composers, Authors, and Publishers (ASCAP), Broadcast Music Incorporated (BMI)
Audio Engineering Society (AES)
Media Communications Association (formerly ITVA)
National Association of Broadcasters (NAB)
Screen Actors’ Guild – American Federation of Television and Radio Artists
Society of Motion Picture and Television Engineers (SMPTE)
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