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Sound for digital video

Author: Tomlinson Holman
Publisher: Oxford : Focal Press, ©2005.
Edition/Format:   Print book : EnglishView all editions and formats

Once considered an amateur format, digital video is becoming the choice for some feature films and for lower budget productions. This book enables to use this medium to create the professional and  Read more...


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Document Type: Book
All Authors / Contributors: Tomlinson Holman
ISBN: 9780240807201 0240807200
OCLC Number: 137202281
Notes: Includes index.
Description: xv, 306 pages : illustrations ; 23 cm + 1 CD-ROM
Contents: Sound for DVTomlinson HolmanOutlineI. IntroductionWhy this work is worth doing, who it is aimed at, general format of the book (case study method); relationship to Sound for Film and TelevisionGoing to art house films shows trailers demonstrate difference between pix and snd: pix usually better, sound often sacrificedEven on studio pix, pic dominates such as mono The Rules of AttractionScope of DVNot just a tape formatMinimum standards for audioThis book covers from DV to DVCProHD, because audio is similar across all DV-based formatsDigitizing the worldPros, consDigital VideoBasic digital: why?Four dimensions of a sound trackFrequency rangeDynamic RangeSpatial capabilityTimeDigital sound and the four dimensionsFeatures of DV format tapesFurther distinguishing features among the formatsFootprintSingle-speed vs. DV's SP and LP modesLocked vs. unlocked audio sample rateTime codeUser's bitsPALInterchangeabilityConclusionII. Production Sound, aka Location Sound, Original Sound RecordingA dedicated sound personLocation scoutingCoverageScene coverage: basic techniqueBoomLavPlantedWhat can be done with an on-camera microphone?How to use the two channelsItems other than voice recorded during production soundBasic acoustics of sound and microphonesMicrophone types by method of transductionElectrodynamic/electrostatic distinguishedOther, rarer typesPowering micsMicrophone types by polar patternDifferences among mics due to polar patternShort form adviceThe radio part of radio micsMicrophone accessoriesBooms/fishpolesShock mountsWindscreensPop suppressionCries and Whispers (capturing loud and soft sound)Recording Level parallels to early CinematographyCries and Whispers simultaneouslyMultiple level controls in the chainAnother kind of overload distortion and how to avoid itCase studiesMounting lavsRadio mic usageCombining features for best wind performanceDisposable micsExample from DVDBoom operator's jobCommon problemsLoggingSound kit accessoriesIII. Sound designSound design definedSound is constructed, not accidentalContinuityAmbience/backgroundsFoleyLayeringHard EffectsMusicFilm sound stylesRealismStretched realityWhat is seen vs. what is heard: on- vs. off-screenSurrealismMontageShifting levels of realitySound design as an artEmotional memoryLow frequencies mean threatExaggerating realitySpottingIV. Connecting Up, Reference LevelsBasic work flow with FirewireTypes of audio interconnects: digitalAES3S/PDIFProblems arising on digital interfacesTypes of audio interconnects: analogMic/line/speaker levelLine levels: -10/+4Balanced and unbalanced connectionsFile transfersV. Editing Non-linear editing definedRandom access editingNon-destructive editingVisual waveform editingEdits and fade filesFile managementPlug Ins/ProcessesEdit processes vs. mix processesProcesses definedProcess environmentsTrack and channelsBussesPan potsGrouping TracksDifferences between picture and sound editing systemsPicture-sound sync resolutionHow to EditBlock diagram of processFine editing of production soundWhere presence is usedDocumentary considerationsFixing bumpsSound effectsAmbience/backgroundsCutting musicScene changesDetailed analysis of scene changes in Love ActuallyVI. MixingEditing and mixing are different, but convergingThe mixing hourglassLevel-related processesLevel controlsGain stagingHand compressionCompressionLimitingDe-essingNoise gateDownward expanderProcesses related mainly to FrequencyEqualizationFilteringCombinations of level and frequencyTime-baesd devicesReverberationOther time based effects: echo, duration changeOther plug insDitherGeneratorPitch correctionPanningRouting and limitations caused by itBusses, channelsDelay compensationVoice limitationHow to mixStart with dialogueThe dialogue processing chainVII. Masters and MonitoringDelivery Master definedChoice of sound format on Delivery MastersMonoStereoLtRt matrix surround5.1 channel discrete surroundMastering for levelBackground on -12 versus -20 dBFS reference levelLevel calibrationWhen you can't calibrate with test signalsBest one-size-fits-all approachMastering for DVD, Digital Broadcast, and Digital Satellite TelevisionPost Production Masters LabelMonitoringFilm versus Video mixesVII. Sound Basic Video for Audio PeopleVideoBasic frame ratesUnder- and over-cranked cameraDigital VideoBasic digitalInterconnecting video
Responsibility: Tomlinson Holman.


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"Even if your projects will never reach the complexity of a Hollywood feature, you can learn a lot from this book. It is clearly written, and Holman doesn't hesitate to share his encyclopedic Read more...

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