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Sound for Digital Video

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Alpgiray M. Uğurlu

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Sections

Scope of Digital Video
Scope of Digital Video 3
Minimum Standards for Audio
The Four Dimensions of a Sound Track
Digital Sound
Features of DV Format Tapes
Basic Digital
Operational Matters
Operational Matters 19
Off-Line/Online
Time Code
User Bits
PAL Formats
Further Distinguishing Features Among the Formats
Locked Versus Unlocked Audio Sample Rate
Footprint
Interchangeability
Some Basic Video for Audio People
Frame Rates
Some Basic Video for Audio People 29
Video Cameras
Under- and Over-Cranked Camera
Interconnecting Video
Conclusion
Conclusion 41
The First Big Step: A Dedicated Sound Person
Location Scouting
Coverage
Scene Coverage
What Can Be Done with an On-Camera Microphone?
What Can Be Done with an On-Camera Microphone? 53
How to Use the Two Channels
How to Use the Two Channels 55
Other Items Recorded During Production Sound
Other Items Recorded During Production Sound 59
Microphone Accessories
Booms/Fishpoles
Shock Mounts
Windscreens
Pop Suppression
Case Studies
Mounting Lavs
Radio Mic Usage
Disposable Mics
Production Sound Example
The Boom Operator’s Job
The Boom Operator’s Job 75
Common Problems
Logging
Sound Kit Accessories
The Director’s Cut
Power
Dynamic Microphones
Polar Patterns
Polar Patterns 85
The Radio Part of Radio Mics
The Radio Part of Radio Mics 95
Output of Microphones
Recording Level Parallels to Early Cinematography
Recording Level Parallels to Early Cinematography 103
Cries
Whispers
Cries and Whispers
Multiple Level Controls in the Chain
Multiple Level Controls in the Chain 119
Combining Features for Best Wind Performance
Combining Features for Best Wind Performance 123
Analog Interconnection
Line Levels
Mixing Balanced and Unbalanced Connections
File Transfers
Audio File Formats
Film Sound Styles
Film Sound Styles 167
Realism
Stretched Reality
Hyper-Reality
Surrealism
Montage
Shifting Levels of Reality
Sound Design as an Art
Spotting
Nonlinear Editing
Random-Access Editing
Nondestructive Editing
Nondestructive Editing 187
Visual Waveform Editing
Edits and Fade Files
Edits and Fade Files 189
File Management
Plug-ins/Processes
Plug-ins/Processes 191
Tracks and Channels
Busses
Pan Pots
Solo/Mute
Grouping Tracks
Differences Between Picture and Sound Editing Systems
Picture-Sound Sync Resolution
How to Edit
Fine Editing of Production Sound
Fine Editing of Production Sound 203
Stealing Presence
Stealing Presence 205
Where Presence Is Used
Documentary Considerations
Fixing Bumps
Sound Effects
Ambience/Backgrounds
Foley Effects
Cutting Music
Scene Changes
The Mixing Hourglass
Audio Processes
Processes Related Mainly to Level
Level Controls
Gain Staging
Hand Compression
Compression
Limiting
De-esser
Noise Gate
Downward Expander
Processes Related Mainly to Frequency
Equalization
Filters
Time-Based Devices
Reverberation
Other Time-Based Effects
Other Plug-Ins
Panning
Routing and Limitations Caused by It
Busses, Channels
Delay Compensation
Routing and Limitations Caused by It 249
Voice Limitation
How to Mix
Choice of Sound Format on Edit and Delivery Masters
Choice of Sound Format on Edit and Delivery Masters 259
Uses of Surround Sound
Mastering for Level
Mastering for Level 267
Level Calibration
Level Calibration 269
When You Can’t Calibrate with Test Signals
Best One-Size-Fits-All Approach
Monitoring
Film Versus Video Mixes
Film Versus Video Mixes 287
Index
CD Tracks

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Category:	Uncategorized.
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Upload Date:	07/25/2011
Copyright:	Attribution Non-commercial
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