|
|
|
xii | |
|
|
|
xv | |
| Preface |
|
xvii | |
|
1 Guide to Future Entertainment Production and Next Generation Audio for Live Sports |
|
|
1 | (8) |
|
|
|
1 | (4) |
|
Crafting the Consumer Experience: Immersive Sound Production |
|
|
5 | (1) |
|
|
|
6 | (3) |
|
2 Enhanced Entertainment Experiences: Sound Design for Sports |
|
|
9 | (20) |
|
Sonic Intensity vs. Sonic Intimacy |
|
|
9 | (3) |
|
What Is Immersive Sound for Live Sports and Media Production? |
|
|
12 | (1) |
|
Sound Expectations -- Replicate or Recreate |
|
|
12 | (1) |
|
|
|
13 | (1) |
|
|
|
14 | (1) |
|
Spatializing Sound Elements I'Objects |
|
|
15 | (1) |
|
Believability: Authenticity vs. Entertainment |
|
|
15 | (1) |
|
|
|
15 | (2) |
|
Sound Design: Localization |
|
|
17 | (1) |
|
Capture or Create? Audio Production for Live Sports and Entertainment |
|
|
17 | (1) |
|
Production Philosophy: Atmospheric Enhancement |
|
|
18 | (1) |
|
|
|
19 | (1) |
|
|
|
20 | (1) |
|
|
|
20 | (1) |
|
|
|
20 | (1) |
|
|
|
20 | (1) |
|
|
|
20 | (1) |
|
Advance Sound Design Practices usingTriggered Sound Effect and Samplers |
|
|
21 | (2) |
|
Entertainment vs. Documentation |
|
|
23 | (1) |
|
Artificial Intelligence (AI) in Audio |
|
|
24 | (1) |
|
Front Soundfield Reinforcement (FSR) |
|
|
24 | (2) |
|
Implementing V-Factor and Point of View |
|
|
26 | (1) |
|
|
|
26 | (1) |
|
|
|
26 | (1) |
|
Sports with Exaggerated Horizontal and Vertical Movement |
|
|
26 | (1) |
|
|
|
27 | (2) |
|
3 Mixing and Spatializing Future Generation Audio Content |
|
|
29 | (17) |
|
Advance Audio Production Techniques/Practices (AAPTP) |
|
|
29 | (1) |
|
Precise Localization: Perceived Localization |
|
|
30 | (1) |
|
The Mixing Surface (Platform): Real or Virtual |
|
|
30 | (1) |
|
|
|
30 | (2) |
|
Live Immersive Sound Production |
|
|
32 | (1) |
|
|
|
33 | (3) |
|
|
|
36 | (2) |
|
|
|
38 | (1) |
|
|
|
39 | (1) |
|
|
|
40 | (1) |
|
|
|
41 | (1) |
|
Artificial Intelligence in Audio: Are We There Yet? AI or Al? |
|
|
42 | (1) |
|
Spatial Automated Live Sports Audio (SALSA) |
|
|
43 | (3) |
|
4 Immersive Sound Production Using Ambisonics and Advance Audio Practices |
|
|
46 | (21) |
|
Spatialization with Ambisonics Production Methods |
|
|
46 | (1) |
|
|
|
46 | (1) |
|
|
|
47 | (2) |
|
What is Scene-Based Audio? |
|
|
49 | (1) |
|
How Does Ambisonics Operate? |
|
|
49 | (2) |
|
|
|
51 | (1) |
|
High Order Ambisonics: HO A in Post-Production |
|
|
51 | (2) |
|
High Order Ambisonics (HOA) - Live |
|
|
53 | (1) |
|
Spatialization: Advance Audio Production Techniques and Practices (AAPTP) |
|
|
54 | (1) |
|
Where Did All This Come From? |
|
|
54 | (1) |
|
|
|
55 | (1) |
|
Principles of Psychoacoustics |
|
|
56 | (1) |
|
The Haas Effect/The Precedence Effect |
|
|
56 | (1) |
|
Phantom Imaging -- Virtual Sources -- Phantom Sources |
|
|
57 | (1) |
|
|
|
57 | (1) |
|
The Missing Fundamental Frequency |
|
|
57 | (1) |
|
Applied Psychoacoustic: Creating Production Tools |
|
|
57 | (1) |
|
Advanced Spatial Enhancement |
|
|
58 | (1) |
|
The Secret Sauce: Plug-Ins and Other Black Boxes |
|
|
58 | (1) |
|
|
|
58 | (4) |
|
|
|
62 | (1) |
|
|
|
63 | (1) |
|
Outside the Box: Black Box Processing |
|
|
64 | (3) |
|
5 The Art and Science of Microphones and Other Transducers |
|
|
67 | (29) |
|
Capturing the Naked Sound: Some Basics |
|
|
68 | (2) |
|
|
|
70 | (1) |
|
|
|
70 | (1) |
|
First Degree of Separation: Basic Microphone Capture |
|
|
71 | (1) |
|
|
|
71 | (2) |
|
|
|
73 | (1) |
|
|
|
73 | (1) |
|
|
|
73 | (1) |
|
Dimensional Capture: 2D/Stereo /Binaural |
|
|
74 | (1) |
|
|
|
75 | (1) |
|
|
|
75 | (1) |
|
Variable Spaced Arrays vs. Fixed Spaced Arrays |
|
|
76 | (2) |
|
|
|
78 | (1) |
|
Inverted Equal Segment Microphone Array |
|
|
79 | (2) |
|
Sidebar: Sports Sound Design |
|
|
81 | (1) |
|
Arrays, Tree and Ambisonics Microphones |
|
|
81 | (2) |
|
|
|
83 | (7) |
|
Benefits of Higher Order Ambisonics (HOA) |
|
|
90 | (1) |
|
|
|
90 | (1) |
|
Sound Design for Immersive Sound |
|
|
91 | (1) |
|
|
|
92 | (1) |
|
|
|
93 | (1) |
|
Sound Capture: Additional Topics |
|
|
93 | (2) |
|
|
|
95 | (1) |
|
|
|
95 | (1) |
|
6 Metering: The Art and Science of Seeing Sound |
|
|
96 | (15) |
|
|
|
|
|
96 | (1) |
|
|
|
97 | (1) |
|
Measuring Real-Time Events |
|
|
98 | (1) |
|
|
|
98 | (1) |
|
|
|
99 | (1) |
|
|
|
99 | (1) |
|
|
|
100 | (2) |
|
Advanced Immersive Sound Metering |
|
|
102 | (1) |
|
The Components of the Immersive Sound Analyzer (ISA) |
|
|
103 | (2) |
|
|
|
105 | (2) |
|
Designing the Immersive Display Touch Monitor Screen-Layout Editor |
|
|
107 | (2) |
|
|
|
109 | (2) |
|
7 Monitoring: The Art and Science of Hearing Sound |
|
|
111 | (12) |
|
The Sound of Sports and Entertainment |
|
|
111 | (2) |
|
|
|
113 | (1) |
|
Real vs. Virtual Speaker Configuration |
|
|
113 | (1) |
|
|
|
114 | (1) |
|
How Is the Consumer Listening to Your Mixes? |
|
|
114 | (2) |
|
How Does the Audio Practitioner Listen to Their Mix? |
|
|
116 | (2) |
|
|
|
118 | (1) |
|
|
|
118 | (1) |
|
Bass Management: An Overview |
|
|
119 | (1) |
|
Spatial Sound Reproduction System |
|
|
120 | (3) |
|
8 Mastering and Distributing Immersive Sound |
|
|
123 | (18) |
|
|
|
|
|
123 | (1) |
|
Future Ready Entertainment: Next Generation Audio (NGA) |
|
|
124 | (2) |
|
|
|
126 | (1) |
|
|
|
127 | (2) |
|
Production and Distribution |
|
|
129 | (1) |
|
Cinematic Production vs. Live |
|
|
130 | (1) |
|
|
|
130 | (1) |
|
|
|
131 | (1) |
|
Different Viewing Platforms |
|
|
132 | (1) |
|
The New Paradigm: Rendering |
|
|
132 | (2) |
|
|
|
134 | (1) |
|
|
|
134 | (1) |
|
|
|
134 | (4) |
|
|
|
138 | (1) |
|
|
|
139 | (2) |
|
9 Convergence the Experiences |
|
|
141 | (9) |
|
The Convergence of Old Reality: Broadcasting and New Reality, MindCasting, Direct Sensory Shaping |
|
|
143 | (1) |
|
|
|
143 | (1) |
|
Live and Streaming Sports. The Convergence of Old Reality, Broadcasting and New Realities, 360 Video and NGA Next Generation Audio |
|
|
144 | (1) |
|
What is New Realities Sound Design? Capture, Create or Both? |
|
|
145 | (1) |
|
|
|
146 | (1) |
|
Motion Control and Gesture Control |
|
|
147 | (1) |
|
360 Audio Production and Reproduction for Streaming on Non-Professional Devices |
|
|
147 | (1) |
|
Next Gen Entertainment: Beyond Viewing |
|
|
148 | (1) |
|
Future Proof: Feature Proof |
|
|
148 | (2) |
|
|
|
150 | (64) |
|
Immersive Sound for Aquatics and Diving |
|
|
150 | (3) |
|
Immersive Sound for Archery |
|
|
153 | (1) |
|
Immersive Sound for Athletics: Shotput, Hammer, Javelin, Long Jump, High Jump and Pole Vaults |
|
|
154 | (4) |
|
Immersive Sound for Baseball |
|
|
158 | (1) |
|
Immersive Sound for Basketball |
|
|
159 | (4) |
|
Immersive Sound for Boxing |
|
|
163 | (2) |
|
Immersive Sound for Cycling: Road Cycling, Velodrome, Mountain Biking, BMX |
|
|
165 | (2) |
|
Immersive Sound for Formula E: VR and 4th Order Ambisonics Sound |
|
|
167 | (1) |
|
Immersive Sound for Equestrian Arena, Dressage and Jumping |
|
|
168 | (2) |
|
Immersive Sound for Equestrian Cross Country and Golf |
|
|
170 | (1) |
|
Immersive Sound for Extreme Summer Sports: Skateboarding and BMX -- Big Air, Vertical Jumps, Pipe and More |
|
|
171 | (3) |
|
Immersive Sound for Field Sports: Football, American Football, College Football and Field Hockey |
|
|
174 | (2) |
|
Immersive Sound for Notre Dame College (NBC) Football |
|
|
176 | (1) |
|
Immersive Sound for European Football: BT Sports |
|
|
177 | (2) |
|
Immersive Sound for Gymnastics |
|
|
179 | (3) |
|
Immersive Sound for Handball |
|
|
182 | (1) |
|
Immersive Sound for Indoor Ice Sports: Figure Skating, Hockey, Speed Skating and Curling |
|
|
183 | (3) |
|
Immersive Sound for Figure Skating: 180-degree VR Camera Production |
|
|
186 | (1) |
|
Immersive Sound for the National Hot Rod Association (NHRA) |
|
|
187 | (2) |
|
Immersive Sound for Squash and Racketball |
|
|
189 | (1) |
|
Immersive Sound for Tennis and Table Tennis |
|
|
190 | (4) |
|
Immersive Sound for Volleyball and Beach Volleyball |
|
|
194 | (2) |
|
Immersive Sound for Outdoor Winter Sports: Downhill Skiing, Cross Country and Biathlon Skiing |
|
|
196 | (2) |
|
Immersive Sound for Outdoor Winter Sports: Sledding and XTreme New Sports -- |
|
|
|
|
|
198 | (5) |
|
Immersive Sound for Free Style Skiing, Snowboard and Ski Cross |
|
|
203 | (1) |
|
Immersive Sound for Wrestling |
|
|
203 | (1) |
|
The Host Broadcaster: The Challenges of Producing Immersive Sound for Sports from Large-scale International Events such as The Olympics and World Cup |
|
|
204 | (6) |
|
Immersive Sound for Sports: NHK-A Summary of Immersive Sound Development |
|
|
210 | |
| Index |
|
214 | |
More info about Taylor & Francis e-books