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Audio Post Production for Television and Film, 3rd Edition

Book Description

Previously titled Audio Post-production in Video and Film, this third edition has been completely revised and restructured to provide a step-by-step guide to the professional techniques used to shape a soundtrack through the production process. Covering sound for both film and television, this edition includes many of the practical techniques and shortcuts used by experienced editors and mixers.

Part one explains the basics of audio post production - how audio is recorded, how sound and picture stay in sync, how audio can be exported from system to system, and how film and video technology works. Part two follows the path of production sound from its original recording right through to the final mix, and includes sections on editing sound with picture, dialogue, sound effects and music editing, how to run ADR and Foley record sessions, and mixing, using many practical examples.

Audio Post Production for Television and Film is aimed at professionals already working in the industry, newcomers, students and those considering sound for film and television as a career - in fact anyone who wants an insight into current professional practices and a comprehensive overview of the sound post production process.

Table of Contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright
  5. Contents
  6. Acknowledgements
  7. About the authors
  8. Introduction to the third edition
  9. Part 1: Audio Basics
    1. Chapter 1. The evolution of audio post production
      1. An overview
      2. A little history: the development of technology and techniques
      3. Where we are now: post production today
    2. Chapter 2. Digital recording and processing
      1. The digital audio process
      2. Sampling rate and pulse code modulation
      3. Quantizing level
      4. Storing digital audio data
      5. Compression
      6. Buffers
      7. Interconnecting between digital audio systems
    3. Chapter 3. Synchronizing and controlling audio post production equipment
      1. SMPTE/EBU timecode
      2. Timecode and speed
      3. Identification and labelling
      4. Longitudinal timecode (LTC)
      5. Vertical interval timecode (VITC)
      6. Burnt-in timecode
      7. MIDI timecode (MTC)
      8. Controlling equipment through synchronization
      9. Synchronization modes
      10. The control of tape/film transports
    4. Chapter 4. Audio transfers and file formats
      1. Compression
      2. Linear transfers
      3. File transfers
      4. File conversion software
      5. Network systems
    5. Chapter 5. Video, film and pictures
      1. Film
      2. Telecine
      3. Video
      4. Video compression
      5. Film recording
      6. Audio on video recorders
      7. Viewing pictures in audio post production
      8. Viewing images
      9. Comparing film and video
    6. Chapter 6. Film in audio post production
      1. Film release
      2. Conforming film
      3. Film timecode
      4. Sound on sprocketed film
      5. Photographic film recording
      6. Recording analogue optical soundtracks
      7. Digital optical soundtracks
  10. Part 2: The Post Production Process
    1. Chapter 7. Post production workflows
    2. Chapter 8. Recording audio for post production
      1. Aims
      2. Types of microphone
      3. Mono and stereo recording
      4. Microphone position
      5. Using multiple microphones
      6. Production mixing
      7. Studio and field recorders
      8. Identing and logging takes
      9. Studio-based recording
      10. Field/location recording
    3. Chapter 9. Editing picture and sound
      1. An overview
      2. Non-linear editing
      3. System configuration
      4. Video resolution
      5. The editing process
      6. Logging the rushes
      7. Digitizing sound and picture
      8. Syncing sound and picture
      9. Editing audio in the timeline
      10. Audio tools
      11. Outputting the audio edit
      12. Spotting the soundtrack
      13. Handing over to the sound editors
    4. Chapter 10. The digital audio workstation
      1. An overview
      2. Digital audio editing
      3. System configuration
      4. Hard drives
      5. Drive configurations
      6. Working with picture
      7. System requirements and interconnectivity
      8. Audio editing tools
      9. Mixing tools
      10. Backing up
      11. Setting up a tracklaying workspace
      12. Choosing the right workstation for the job
    5. Chapter 11. Preparing for the mix: editing production sound
      1. Aims
      2. The conform
      3. Checking sync
      4. Starting the dialogue edit
      5. Boom or personal mic?
      6. Handling twin/multiple-track material
      7. Handling M/S recordings
      8. Techniques for improving audio edits
      9. Dialogue editing software
      10. ADR spotting
      11. ADR cue sheets
      12. ADR spotting software
      13. Attending the ADR session
      14. Editing ADR
      15. ADR fitting software
      16. Splitting the dialogues for the mix
      17. Crowd spotting
      18. Attending the crowd session
      19. Editing the crowd
    6. Chapter 12. Preparing for the mix: sound effects editing
      1. Aims
      2. Types of sound effect
      3. Planning the tracklay
      4. Sourcing sound effects
      5. Starting the edit
      6. Tracklaying for the surrounds
      7. Tracklaying for the subs
      8. Sound effects editing techniques
      9. Sound effects plug-ins
      10. Samplers and synthesizers
      11. Presenting the tracks for the mix
    7. Chapter 13. Post sync recording
      1. Recording foley
      2. Recording ADR
      3. Crowd recording
      4. Voice-over recording
      5. Voice tracks for animation
      6. ISDN (Integrated Switched Digital Network)
    8. Chapter 14. Preparing for the mix: music
      1. Aims
      2. Types of music
      3. Music and copyright
      4. Planning the music
      5. Sourcing music
    9. Chapter 15. Monitoring and the environment
      1. Monitoring loudspeakers
      2. Stereo and multichannel sound
      3. Acoustics and reverberation
      4. Background noise
      5. Workstation rooms
      6. The importance of listening levels
      7. Visual monitoring of recording levels
    10. Chapter 16. Mixing and processing equipment
      1. The mixing console
      2. Types of mixing console
      3. Inputs
      4. Control of dynamics
      5. Computerization of mixing operations
    11. Chapter 17. The mix
      1. Operation of the controller
      2. Console automation
      3. The virtual mix
      4. Cue sheets
      5. Mixing using DAWs
      6. Mixing in surround
      7. Compatible mixes for television
      8. Layback
      9. Music and Effects mixes
      10. Delivery requirements
    12. Chapter 18. The transmission and reproduction of audio post production material
      1. The cinema chain
      2. Digital television
      3. Television transmission
      4. Television chain – transmission
      5. Metadata
      6. Video on the web
      7. Domestic video formats
  11. Glossary
  12. Index