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Sound for Film and Television, 3rd Edition

Name: Sound for Film and Television, 3rd Edition
Author: Tomlinson Holman
ISBN: 9781136046094

by Tomlinson Holman

November 2012

Intermediate to advanced

262 pages

15h 15m

English

Routledge

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Cover
Halftitle
Title
Copyright
Contents
Preface to the Third Edition
Introduction
1. Objective Sound
An Old Story Properties of Physical Sound Propagation A Medium Is Required Speed of Sound Amplitude Wavelength and Frequency Importance of Sine Waves Sympathetic Vibration and Resonance Phase Influences on Sound Propagation Room Acoustics Sound Fields in Rooms Sum of Effects Standing Waves Noise Scaling the Dimensions
2. Psychoacoustics
Introduction The Physical Ear Hearing Conservation Auditory Sensitivity Versus Frequency Threshold Value—the Minimum Audible Field Equal-Loudness Curves What’s Wrong With the Decibel—Magnitude Scaling Loudness Versus Time Spectrum of a Sound Critical Bands of Hearing Frequency Masking Temporal Masking Pitch Spatial Perception Transients and the Precedence Effect Influence of Sight on Sound Localization Localization in Three Dimensions: Horizontal, Vertical, and Depth The Cocktail Party Effect (Binaural Discrimination) Auditory Pattern and Object Perception Information Used to Separate Auditory Objects Gestalt Principles Speech Perception Speech for Film and Television Influence of Sight on Speech Intelligibility The Edge of Intelligibility Conclusion
3. Audio Fundamentals
Audio Defined Tracks and Channels Signals: Analog and Digital Paradigms: Linear Versus Nonlinear Level Microphone Level Line Level Speaker Level Level Comparison Analog Interconnections Impedance Bridging versus Matching Connectors Quality Issues Dynamic Range: Headroom and Noise Linear and Nonlinear Distortion Wow and Flutter Digital Audio-Specific Problems

4. Capturing Sound
Introduction Microphones in General Production Sound for Fiction Films Preproduction—Location Scouting Microphone Technique—Mono Distance Effect Microphone Directionality Microphone Perspective The Boom—Why, Isn’t That Old Fashioned? Booms and Fishpoles Boom and Fishpole Operation Checklist for Boom/Fishpole Operation Planted Microphones Lavaliere Microphones Using Multiple Microphones Typical Monaural Recording Situations Microphone Technique—Stereo Background Techniques Recommendations Microphone Damage Worldized and Futzed Recording Other Telephone Recordings
5. Microphone Technicalities
Pressure Microphones Boundary-Layer Microphones Wind Susceptibility Pressure-Gradient Microphones Wind Susceptibility Combinations of Pressure and Pressure-Gradient Responding Microphones Super- and Hypercardioids Subcardioid Variable-Directivity Microphones Interference Tube (Shotgun or Rifle Microphone) Microphone Types by Method of Transduction Carbon Ceramic Electrodynamic (Commonly Called “Dynamic”) Microphone Electrostatic (Also Known as Condenser or Capacitor) Microphone Microphone Types by Directivity (Polar Pattern) Microphone Specifications Sensitivity Frequency Response Choice of Microphone Frequency Response Polar Pattern and Its Uniformity with Frequency Equivalent Acoustic Noise Level and Signal-to-Noise Ratio Maximum Undistorted Sound Pressure Level Dynamic Range Susceptibility to Wind Noise Susceptibility to Pop Noise Susceptibility to Handling Noise Susceptibility to Magnetic Hum Fields Impedance Power Requirements Microphone Accessories Pads High-Pass (Low-Cut) Filters Shock and Vibration Mounts Mic Stands Mic Booms and Fishpoles Windscreens Silk Discs Microphone Cables and Connectors
6. Handling the Output of Microphones
What is the Output of a Microphone? Analog Microphones Where to Put the Pad/Gain Function Case History Quiet Sounds Impedance Digital Microphones Digital Microphone Level The Radio Part of Radio Mics Selecting Radio Mics Radio Mics in Use Frequency Coordination Minimizing Signal Dropouts and Multipath Added Gain Staging Complications in Using Radio Mics Radio Mics Conclusion
7. Production Sound Mixing
Introduction Single- Versus Double-system Sound Combined Single and Double System Next Decision for Single-system Setups: On-camera Or Separate MIX Facilities? For Double-system Setups: Separate Mixer and Recorder Or Combined? Production Sound Consoles: Processes Accommodating Microphone Dynamic Range Other Processes Production Sound Mixers: Signal Routing Examples Small Mixers Small Mixer/Recorders A Production Sound Mixer and Separate Recorder Production Sound Mixer/Recorders Production Sound Equipment On a Budget Cueing Systems, IFB, and IEM Equipment Interactions Radio Frequency Interactions Audio Frequency Range Interactions: Inputs Audio Frequency Range Interactions: Outputs Initial Setup Toning Heads of “Reels” Slating Mixing Level Setting Coverage Dialog Overlaps Crowd Scenes Logging Shooting to Playback Other Technical Activities in Production Set Politics
8. Sync, Sank, Sunk
In Case of Emergency Introduction A Little History Telecine or Scanner Transfer The European Alternative Smpte Time Code Sync Types of Time Code Time Code Slates Jam Syncing Syncing Sound on the Telecine Latent Image Edge Numbers Synchronizers Machine Control Time Code Midnight Time Code Recording Method Time Code For Video Conclusion Locked Versus Unlocked Audio The 2 Pop Principle of Traceability
9. Transfers
Introduction Digital Audio Transfers Transfers into Digital Audio Workstations Types of Transfers File Transfers Audio File Formats Common Problems in Digital Audio File Transfers for Film and Television Streaming Digital Audio Transfers Problems Affecting Streaming Transfers Audio Sample Rate Revert to Analog Digital Audio Levels Analog Transfers Analog-To-Digital and Digital-To-Analog Systems
10. Sound Design
Where Does Sound Design Come From? Sound Styles Example Of Sound Design Evolution Sound Design Conventions Observing Sound
11. Editing
Introduction Overall Scheme Computer-based Digital Audio Editing Digital Editing Mechanics Types of Cuts Fade Files Cue-Sheet Conventions Feature Film Production Syncing Dailies Dialog Editing Specialization Sound-Effects Editing Specialization Music-Editing Specialization Scene Changes Premix Operations for Sound Editors Television Sitcom Documentary and Reality Production Bit Slinging Back to Our Story
12. Mixing
Introduction Sound Source Devices Used in Rerecording Mixing Consoles Processes Level Multiple Level Controls in Signal Path Dynamic Range Control Processes Primarily Affecting Frequency Response Processes Primarily Affecting the Time Domain Combination Devices Configuration Early Rerecording Consoles Adding Mix in Context Busing Patching Panning Auxiliary and Cue Buses Automation Punch-In/Punch-Out (Insert) Recording
13. From Print Masters to Exploitation
Introduction Print Master Types Print Masters for Various Digital Formats Low-Bitrate Audio Print Masters for Analog Soundtracks Other Types of Delivered Masters for Film Uses Digital Cinema Masters for Video Release Television Masters Sound Negatives Theater and Dubbing Stage Sound Systems A-Chain and B-Chain Components Theater Sound Systems Theater Acoustics Sound Systems for Video Home Theater Desktop Systems Toward the Future
Appendix I. Working with Decibels
Appendix II. Filmography
Appendix III. The Eleven Commandments of Film Sound
Appendix IV. Bibliography
Glossary
Index
The Companion Website
Instructions for accompanying DVD

Content preview from Sound for Film and Television, 3rd Edition

Chapter 2 Psychoacoustics

INTRODUCTION

Many issues in human perception of sound are a direct result of the physical acoustics of the head, outer ears, ear canal, and so forth, interacting with sound fields. Although not strictly in the realm of psychoacoustics, this kind of physical acoustics occurs only because a person is present in a sound field, so we will take it up here. The head is a rather large object, acoustically speaking, so there are many interactions between the head and a sound field. A sound wave arriving from the front must “spread around” the head from the front to the sides through diffraction, interact with the outer ear structure principally through reflection, progress down the resonant ear canal to the ear drum, and so ...

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Audio Post Production for Television and Film, 3rd Edition

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Sound for Film and Television, 3rd Edition

by Tomlinson Holman

Chapter 2

Psychoacoustics

INTRODUCTION

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