By Jay Rose
In generating nice Sound for movie and Video, [/b]Fourth Edition[/b] audio guru Jay Rose revises his renowned textual content for a brand new iteration of filmmakers. You’ll examine useful, time-saving how you can get well recordings, remedy issues of latest audio, create compelling tracks, and improve your filmmaking to the subsequent level!
Here you’ll locate real-world suggestion and useful instructions for each element of your soundtrack: making plans and budgeting, box and studio recording, enhancing, sound results and tune, audio fix, processing, and combining. Rose’s blend of reliable technical details and a transparent, step by step process has made this the go-to booklet for manufacturers and picture scholars for over a decade.
New during this edition:
• Insights and from-the-trenches information from most sensible professionals
• directions for purchasing the simplest effects from new DSLRs and electronic recorders
• An all-new significant other web site www.GreatSound.info with downloadable diagnostics, examples, and routines that you should try
• What you must learn about new rules for instant mics and broadcast loudness
• An extended "How Do I repair This?" part that will help you remedy difficulties quickly
• even if you’re an aspiring filmmaker who desires greater tracks, or an skilled expert trying to find a reference, generating nice Sound for movie and Video, Fourth variation has the knowledge you need.
Please stopover at the book's spouse web site for additional information and significant other documents: http://www.GreatSound.info
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Additional info for Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix (4th Edition)
11 You might be able to do that math in your head, but it’s still a lot of zeroes to whip around. And we picked some very easy numbers for our example. Announcers can talk at any loudness, and volume knobs are continuously variable, so real-world numbers are never this convenient. 12 I’ve rounded both these logs to the nearest tenth. They’re actually a few thousandths different from what I’ve written . . but it’s certainly close enough for audio purposes. 13 I have no idea why Bell Labs decided to spell Alexander Graham’s name with only one L.
Chapter 1 • HOW SOUND WORKS • 11 The myths of frequency response One way to rate the quality of a sound system is to measure the highest frequency it can carry. For a system to be considered good quality, we usually expect it to handle harmonics up to 20 kHz. But in a lot of cases, this much range isn’t necessary. 5 Frequencies higher than the limit cause problems with the broadcast system, so they’re generally cut off at the transmitter. 5 kHz. Theater sound systems weren’t designed to handle much more than that.
20 • PRODUCING GREAT SOUND FOR FILM AND VIDEO Think of two babies crying simultaneously, instead of just one . . and then two jet planes instead of one. We’d hear both increases as “twice as loud,” even though the extra jet added a lot more sound pressure than the second baby. Our ears listen to ratios and fractions, rather than absolute numbers. * ROSE’S RULES Bottom line The software and equipment you use to manipulate sounds works in terms of voltage, representing pressure. So to double an electrical volume, we turn its knob up 6 dB.