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Table Of Contents

An overview
A little history: the development of technology and techniques
Where we are now: post production today
The digital audio process
Sampling rate and pulse code modulation
Quantizing level
Storing digital audio data
Interconnecting between digital audio systems
SMPTE/EBU timecode
Timecode and speed
Identification and labelling
Longitudinal timecode (LTC)
Vertical interval timecode (VITC)
Burnt-in timecode
MIDI timecode (MTC)
Controlling equipment through synchronization
Synchronization modes
The control of tape/film transports
Linear transfers
File transfers
File conversion software
Network systems
Video compression
Film recording
Audio on video recorders
Viewing pictures in audio post production
Viewing images
Comparing film and video
Film release
Conforming film
Film timecode
Sound on sprocketed film
Photographic film recording
Recording analogue optical soundtracks
Digital optical soundtracks
Types of microphone
Mono and stereo recording
Microphone position
Using multiple microphones
Production mixing
Studio and field recorders
Identing and logging takes
Studio-based recording
Field/location recording
Non-linear editing
System configuration
Video resolution
The editing process
Logging the rushes
Digitizing sound and picture
Syncing sound and picture
Editing audio in the timeline
Outputting the audio edit
Spotting the soundtrack
Handing over to the sound editors
Digital audio editing
Hard drives
Drive configurations
Working with picture
System requirements and interconnectivity
Audio editing tools
Mixing tools
Backing up
Setting up a tracklaying workspace
Choosing the right workstation for the job
The conform
Checking sync
Starting the dialogue edit
ADR cue sheets
ADR spotting software
Attending the ADR session
Editing ADR
ADR fitting software
Splitting the dialogues for the mix
Crowd spotting
Attending the crowd session
Editing the crowd
Types of sound effect
Planning the tracklay
Sourcing sound effects
Starting the edit
Tracklaying for the surrounds
Tracklaying for the subs
Sound effects editing techniques
Sound effects plug-ins
Samplers and synthesizers
Presenting the tracks for the mix
Recording foley
Recording ADR
Crowd recording
Voice-over recording
Voice tracks for animation
ISDN (Integrated Switched Digital Network)
Types of music
Music and copyright
Planning the music
Sourcing music
Monitoring loudspeakers
Stereo and multichannel sound
Acoustics and reverberation
Background noise
Workstation rooms
The importance of listening levels
Visual monitoring of recording levels
The mixing console
Types of mixing console
Control of dynamics
Computerization of mixing operations
Operation of the controller
Console automation
The virtual mix
Mixing using DAWs
Mixing in surround
Compatible mixes for television
Music and Effects mixes
Delivery requirements
The cinema chain
Digital television
Television transmission
Television chain – transmission
Video on the web
Domestic video formats
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Audio Post Production for Television and Film

Audio Post Production for Television and Film



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Published by Luis Fer

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Published by: Luis Fer on Jan 22, 2012
Copyright:Attribution Non-commercial


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