Producing Great Sound for Film and Video, 4th Edition

Book description

In Producing Great Sound for Film and Video, Fourth Edition audio guru Jay Rose revises his popular text for a new generation of filmmakers. You’ll learn practical, time-saving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level!

Here you’ll find real-world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair, processing, and mixing. Rose’s combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade.

New in this edition:

  • Insights and from-the-trenches tips from top professionals

  • Instructions for getting the best results from new DSLRs and digital recorders

  • An all-new companion website with downloadable diagnostics, examples, and exercises for you to try

  • What you need to know about new regulations for wireless mics and broadcast loudness

  • An expanded "How Do I Fix This?" section to help you solve problems quickly

Whether you’re an aspiring filmmaker who wants better tracks, or an experienced professional looking for a reference, Producing Great Sound for Film and Video, Fourth Edition has the information you need.

Please visit the book's companion website for more information and companion files:


Table of contents

  1. Cover
  2. Half Title
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. Table of Contents
  7. Acknowledgments
  8. Introduction
    1. It’s not rocket science
    2. How this book is organized
    3. About this book and Audio Postproduction
    4. What’s new in the fourth edition
    5. Staying up-to-date
    6. How to Create a Great Soundtrack (in a Quarter of a Page)
  9. Section I Audio Basics
    1. Chapter 1: How Sound Works
      1. Music-sicle?
      2. Frequency: it matters how often you do it
      3. Somewhat slower pressure changes are heard as envelopes
      4. Slow changes of pressure are loudness
      5. The speed of sound makes a big difference
      6. Directionality
      7. Very slow pressure changes
    2. Chapter 2 How Digital Audio Works
      1. Why digital?
      2. Turning analog to digital
      3. Audio data reduction
    3. Chapter 3 Audio on a Wire
      1. Analog wiring
      2. Digital wiring
      3. Audio over IP
  10. Section II Planning And Pre-Pro
    1. Chapter 4 Planning for Sound
      1. The need for sound
      2. How a good soundtrack can help
      3. Think about the overall track
      4. Elements of the soundtrack
      5. Spoken words
      6. Music
      7. Sound effects
      8. Silence
      9. Special effects and processing
      10. The layers of a track
    2. Chapter 5 Budgeting, Scheduling, and Pre-production
      1. Budgeting for sound
      2. Allow time for sound
      3. Checking locations
  11. Section III Production Sound
    1. Chapter 6 Microphones and Room Acoustics
      1. About microphones
      2. Rooms and recording
    2. Chapter 7 Production Mic Technique
      1. Which mic should you use?
      2. Using boom mics
      3. Lavaliere mics
      4. Controlling wind noise
      5. Using wireless
      6. Roomtone
    3. Chapter 8 Production Recording
      1. Where’s the track?
      2. Getting audio into a recorder
      3. Camera settings
      4. Double-system
      5. Mixers and preamps
      6. Adjusting the volume
    4. Chapter 9 Recording Voice-Overs, ADR, and Effectsis on the companion website:
  12. Section IV Postproduction
    1. Chapter 10 Postproduction Workflow
      1. Organizing and keeping track of audio in an NLE
      2. Audio options beyond the NLE
      3. Organizing postproduction audio
    2. Chapter 11 Postproduction Hardware
      1. Monitoring
      2. Computer input/output
      3. The mixer
      4. Other handy gear
      5. Moving signals around the editing suite
      6. Wiring the postproduction suite
      7. Mixing –10 dBV and +4 dBU equipment
    3. Chapter 12 Levels and Digitizing
      1. Digital audio transfers
      2. Digitizing analog signals
      3. Metering and lineup tones
      4. Synchronization
    4. Chapter 13 Editing Voices
      1. Establishing sync
      2. Editing dialog
      3. How to edit dialog
      4. Editing I: cutting in silences
      5. Editing II: sounds with hard attacks
      6. Editing III: hearing phonemes
      7. Editing IV: theatrical film dialog
      8. Editing V: the tricks
      9. Editing VI: keeping track of sync
      10. A final exercise
    5. Chapter 14 Working with Music
      1. Deciding what music you’ll need
      2. Selecting music from a library
      3. Music editing
    6. Chapter 15 Sound Effects
      1. Silence is not golden
      2. Sources for sound effects
      3. Building a library
      4. Choosing the right effect
      5. Placing sound effects
      6. Making effects sound more effective
    7. Chapter 16 Processing
      1. How any effect can wreck a sound
      2. When to apply processing
      3. Equalizers
      4. Compressors
      5. Reverberation
      6. Noise reduction
      7. Combining effects
    8. Chapter 17 The Mix
      1. How to mix
      2. Techniques of mixing
      3. Loudness and broadcast standards
      4. Preparing for someone else to mix
      5. After the mix
    9. Chapter 18: “Help! It Doesn’t Sound Right!”
      1. General production issues
      2. Postproduction audio issues
      3. Problems that surface during editing
      4. Mix problems
      5. Other common questions
      6. How do I get started in the film/video sound business?
  13. Appendix A: Glossary
  14. Appendix B: Resources
  15. Index

Product information

  • Title: Producing Great Sound for Film and Video, 4th Edition
  • Author(s): Jay Rose
  • Release date: August 2014
  • Publisher(s): Routledge
  • ISBN: 9781317936916