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Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix 4th edition [Mīkstie vāki]

3.89/5 (76 ratings by Goodreads)
  • Formāts: Paperback / softback, 570 pages, height x width: 235x191 mm, weight: 1050 g, 4 Tables, black and white
  • Izdošanas datums: 17-Jul-2014
  • Izdevniecība: Routledge
  • ISBN-10: 0415722071
  • ISBN-13: 9780415722070
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  • Cena: 92,42 €
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  • Formāts: Paperback / softback, 570 pages, height x width: 235x191 mm, weight: 1050 g, 4 Tables, black and white
  • Izdošanas datums: 17-Jul-2014
  • Izdevniecība: Routledge
  • ISBN-10: 0415722071
  • ISBN-13: 9780415722070
Citas grāmatas par šo tēmu:
"Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. 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 and processing, and mixing. The 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. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded "How Do I Fix This?" section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need"--

Recenzijas

"This is the definitive book. It should be mandatory reading for anyone who is seriously considering a career making movies."

- Jeff Wexler, CAS (Mixer for Mission Impossible III, Fight Club, Independence Day, The Last Samurai, Jerry Maguire)

"Jay Rose is one of the leaders in spreading the gospel of using sound creatively. He presents cutting-edge ideas about the collaboration of sound and image, and also covers the basics all in an easy to read, easy to understand style."

- Randy Thom, CAS (Director of Sound Design at Skywalker Sound; Oscar winner for The Right Stuff and The Incredibles) "This is the definitive book. It should be mandatory reading for anyone who is seriously considering a career making movies."

- Jeff Wexler, CAS (Mixer for Mission Impossible III, Fight Club, Independence Day, The Last Samurai, Jerry Maguire)

"Jay Rose is one of the leaders in spreading the gospel of using sound creatively. He presents cutting-edge ideas about the collaboration of sound and image, and also covers the basics all in an easy to read, easy to understand style."

- Randy Thom, CAS (Director of Sound Design at Skywalker Sound; Oscar winner for The Right Stuff and The Incredibles)

"Folks, this book is a treasure chest. Don't call Producing Great Sound for Film and Video by Jay Rose an audio primer or even a reference source, it's much more It's like taking a class taught by a caring, affable, pro. The writer's intimate and accessible style is what makes this book a great value for anyone interested in audio. Whether you're just starting in the field of digital audio/video production, or are a seasoned pro, you'll find information in this book that will improve your end product." - John Hartney, Creative Cow.com

"A truly great book I really enjoyed the read. This book is an ABSOLUTE MUST if you will be shooting on a budget and doing sound yourself. You'll learn what mics to use in the field, how to fix an echo, how to deal with line noise, cheap fixes for potentially expensive problems--and that's just the beginning. this book will teach you tips and tricks that will make your head spin. This book can literally save you THOUSANDS in post production." - Biagio Messina, AccessDV

"Most folks who write about doing sound for moving pictures, on film or on video, focus on the sexy stuff--mostly writing music, sometimes doing foley, often talking technical. Jay Rose doesn't mess around. He digs right into the hardcore side of audio for moving pictures -- recording and editing dialog, sound effects, and music. He debunks common myths, shows the reader how to make do in limited-budget, time-constrained situations, and puts it all in context on a technical level. Producing Great Sound for Film and Video is an invaluable collection of step-by-step how-to information combined with the technical reasons things do or don't work. It's essential reading for anyone serious about making a living doing moving pictures." - Dominic Milano, Digital Video Magazine

"Crammed full of practical advice on recording, editing, and mixing audio for your production, including many of the technical basics." - Trish Meyer, Cybmotion

"Having read through this book I am now beginning to appreciate the depth of information that Jay Rose has put into this work. He combines tricky scientific and technical details with a writing style that makes the book an easy and interesting read - which makes it more than suitable both as a 'must have' for anyone wanting to make a career in sound and a 'should read' for anyone already involved in production at any level."

- Wendy Laybourn FBKS, Network Nine

Acknowledgments xiii
Introduction xv
It's not rocket science
xvi
How this book is organized
xvii
About this book and Audio Postproduction
xviii
What's new in the fourth edition
xviii
Staying up-to-date
xviii
How to Create a Great Soundtrack (in a Quarter of a Page)
xx
Section I Audio Basics 1(80)
Section introduction
1(2)
Chapter 1 How Sound Works
3(28)
Music-side?
3(3)
Frequency: it matters how often you do it
6(8)
Somewhat slower pressure changes are heard as envelopes
14(3)
Slow changes of pressure are loudness
17(4)
The speed of sound makes a big difference
21(6)
Directionality
27(2)
Very slow pressure changes
29(2)
Chapter 2 How Digital Audio Works
31(26)
Why digital?
31(4)
Turning analog to digital
35(14)
Audio data reduction
49(8)
Chapter 3 Audio on a Wire
57(24)
Analog wiring
58(13)
Digital wiring
71(5)
Audio over IP
76(5)
Section II Planning And Pre-Pro 81(62)
Section introduction
81(2)
Chapter 4 Planning for Sound
83(30)
The need for sound
83(6)
How a good soundtrack can help
89(2)
Think about the overall track
91(8)
Elements of the soundtrack
99(1)
Spoken words
100(6)
Music
106(4)
Sound effects
110(1)
Silence
111(1)
Special effects and processing
111(1)
The layers of a track
112(1)
Chapter 5 Budgeting, Scheduling, and Pre-production
113(30)
Budgeting for sound
115(11)
Allow time for sound
126(6)
Checking locations
132(11)
Section III Production Sound 143(108)
Section introduction
143(2)
Chapter 6 Microphones and Room Acoustics
145(28)
About microphones
146(24)
Rooms and recording
170(3)
Chapter 7 Production Mic Technique
173(40)
Which mic should you use?
174(5)
Using boom mics
179(13)
Lavaliere mics
192(7)
Controlling wind noise
199(1)
Using wireless
200(12)
Roomtone
212(1)
Chapter 8 Production Recording
213(38)
Where's the track?
213(9)
Getting audio into a recorder
222(8)
Camera settings
230(9)
Double-system
239(4)
Mixers and preamps
243(4)
Adjusting the volume
247(4)
Chapter 9 Recording Voice-Overs, ADR, and Effects is on the-companion website: www.greatsound.info w1
(Keep your copy of this book handy when you log in; you'll need it for authorization)
The voice-over w1
Engineering a voice recording w2
Directing the voice-over w14
Recording sound effects w28
Section IV Postproduction 251(272)
Section introduction
251(2)
Chapter 10 Postproduction Workflow
253(22)
Organizing and keeping track of audio in an NLE
253(5)
Audio options beyond the NLE
258(11)
Organizing postproduction audio
269(6)
Chapter 11 Postproduction Hardware
275(42)
Monitoring
276(16)
Computer input/output
292(1)
The mixer
293(8)
Other handy gear
301(4)
Moving signals around the editing suite
305(4)
Wiring the postproduction suite
309(3)
Mixing -10 dBV and +4 dBU equipment
312(5)
Chapter 12 Levels and Digitizing
317(32)
Digital audio transfers
318(11)
Digitizing analog signals
329(8)
Metering and lineup tones
337(5)
Synchronization
342(7)
Chapter 13 Editing Voices
349(38)
Establishing sync
351(5)
Editing dialog
356(3)
How to edit dialog
359(1)
Editing I: cutting in silences
359(2)
Editing II: sounds with hard attacks
361(6)
Editing III: hearing phonemes
367(6)
Editing IV: theatrical film dialog
373(6)
Editing V: the tricks
379(2)
Editing VI: keeping track of sync
381(5)
A final exercise
386(1)
Chapter 14 Working with Music
387(34)
Deciding what music you'll need
388(17)
Selecting music from a library
405(3)
Music editing
408(13)
Chapter 15 Sound Effects
421(22)
Silence is not golden
421(5)
Sources for sound effects
426(3)
Building a library
429(3)
Choosing the right effect
432(2)
Placing sound effects
434(5)
Making effects sound more effective
439(4)
Chapter 16 Processing
443(36)
How any effect can wreck a sound
444(2)
When to apply processing
446(2)
Equalizers
448(10)
Compressors
458(7)
Reverberation
465(8)
Noise reduction
473(4)
Combining effects
477(2)
Chapter 17 The Mix
479(26)
How to mix
481(7)
Techniques of mixing
488(11)
Loudness and broadcast standards
499(3)
Preparing for someone else to mix
502(2)
After the mix
504(1)
Chapter 18 "Help! It Doesn't Sound Right!"
505(18)
General production issues
505(6)
Postproduction audio issues
511(5)
Problems that surface during editing
516(1)
Mix problems
517(3)
Other common questions
520(2)
How do I get started in the film/video sound business?
522(1)
Appendix A: Glossary 523(8)
Appendix B: Resources 531(4)
Index 535
Jay Rose, CAS is a nationally respected sound designer. His Clio- and Emmy- winning career has included program openers for NBC, theatrical film for MGM, festival-winning documentaries, and more than a thousand corporate, broadcast, and commercial projects. Hes also been a columnist for DV Magazine and ProVideoCoalition.com, and a consultant for major pro audio manufacturers.