Audio Postproduction for Film and Video
Jay Rose
- 464 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Audio Postproduction for Film and Video
Jay Rose
About This Book
New to this edition:
* Learn how many Hollywood techniques--previously impractical on video--can help solve problems on smaller productions
* Expanded cookbook recipes section
* Technically updated throughoutMake your soundtracks as good as your pictures with this compendium of professional audio techniques that can be adapted to desktop post. Specializing in sound after the shoot, this book features many practical examples, cookbook recipes, and tutorials. Audio theory, when necessary, is presented in plain English with plenty of visual analogies.FAQs, full explanations, and from-the-trenches tips address the complete range of processes from wiring and hardware to testing the final mix. The downloadable resources features platform-independent diagnostics, demonstrations, and tutorial tracks. Novices will learn how to improve their soundtrack--even after the actors have gone home. Experienced producers will learn how to solve technical and creative problems quickly.You'll get recipes and step-by-step instructions on how to:
* build an efficient and reliable audio post setup
* plan and budget a good soundtrack
* get sound into your NLE without losing quality or sync
* edit voices and music
* record Foley and ADR
* find music and use it effectively
* find and create your own sound effects
* shape sounds with equalization, reverb, noise reduction, and more
* produce the final mix
* test the final product for various mediaPlease visit the author's website for additional resources: http://www.dplay.com/book/app2e/
Frequently asked questions
Information
CHAPTER 1
Vibrations to Volts to Bits
REMEMBER THIS
- We hear the world as ratios between sounds, not as absolute values. Volume and pitch differences—expressed as decibels and musical steps—are always comparisons between two values, like “twice as big” or “one-eighth.” Don’t think of these measurements as fixed units like ounces or inches.
- Sound exists only in time, and there is no such thing as an “audio stillframe.” This affects everything you do with a track.
- Although sound itself is analog, there are good reasons to keep a soundtrack in the digital domain. Some of the rules for digital audio are different from those for analog.
A TREE FALLS IN A FOREST …
Gotcha
HOW SOUND WORKS
- As our earthbound tree’s leaves pass by, they scatter air molecules aside (a softwhoosh).
- As branches and limbs break, they vibrate. The vibration is transferred to nearby molecules (crackle).
- When the thick trunk gets close to the ground, it squeezes a lot of molecules in a hurry (bang).
- When the trunk lands, the ground vibrates and moves molecules next to it (thud).
- 1 Unless you’re making a science-fiction film. It’s an accepted movie convention that explosions, rocket fly-bys, and other events make noise in the vacuum of space. Sci-fi filmmakers also generally ignore another fundamental rule of physics, as you’ll learn in a couple of pages.
The Speed of Sound
- 2 Actually, sound travels 1,087 feet per second at 32° Fahrenheit, gaining about 1.1 foot per second per degree, with minor variations based on pressure and humidity. We round it to 1,100 feet per second. That’s close enough for filmmaking.