Sound for Digital Video (Paperback)

Description:

The distinguishing feature of many low-budget films and TV shows is often the poor sound quality. Now, filmmakers shooting DV on a limited budget can learn from Tomlinson Holman, a film sound production pioneer, how to make their films sound like fully professional productions. Holman offers suggestions that you can apply to your own project from preproduction through postproduction and provides tips and solutions on production, editing, and mixing.

Holman, sound engineer on such films as Indiana Jones and the Temple of Doom and Star Wars: Return of the Jedi, is famous for his pioneering work in film sound production and for developing THX. Now, he brings his expertise to the relatively new field of sound for digital video productions. Once considered an amateur format, digital video is becoming the format of choice for some feature films and for many lower budget productions; this book will enable you to use this medium to create the most professional and effective sound possible.

 

 

Sound for DV
Tomlinson Holman
Outline
I. Introduction
Why this work is worth doing, who it is aimed at, general format of the book (case study method); relationship to Sound for Film and Television
Going to art house films shows trailers demonstrate difference between pix and snd: pix usually better, sound often sacrificed
Even on studio pix, pic dominates such as mono The Rules of Attraction
Scope of DV
Not just a tape format
Minimum standards for audio
This book covers from DV to DVCProHD, because audio is similar across all DV-based formats
Digitizing the world
Pros, cons
Digital Video
Basic digital: why?
Four dimensions of a sound track
Frequency range
Dynamic Range
Spatial capability
Time
Digital sound and the four dimensions
Features of DV format tapes
Further distinguishing features among the formats
Footprint
Single-speed vs. DV’s SP and LP modes
Locked vs. unlocked audio sample rate
Time code
User’s bits
PAL
Interchangeability
Conclusion
II. Production Sound, aka Location Sound, Original Sound Recording
A dedicated sound person
Location scouting
Coverage
Scene coverage: basic technique
Boom
Lav
Planted
What can be done with an on-camera microphone?
How to use the two channels
Items other than voice recorded during production sound
Basic acoustics of sound and microphones
Microphone types by method of transduction
Electrodynamic/electrostatic distinguished
Other, rarer types
Powering mics
Microphone types by polar pattern
Differences among mics due to polar pattern
Short form advice
The radio part of radio mics
Microphone accessories
Booms/fishpoles
Shock mounts
Windscreens
Pop suppression
Cries and Whispers (capturing loud and soft sound)
Recording Level parallels to early Cinematography
Cries and Whispers simultaneously
Multiple level controls in the chain
Another kind of overload distortion and how to avoid it
Case studies
Mounting lavs
Radio mic usage
Combining features for best wind performance
Disposable mics
Example from DVD
Boom operator’s job
Common problems
Logging
Sound kit accessories
III. Sound design
Sound design defined
Sound is constructed, not accidental
Continuity
Ambience/backgrounds
Foley
Layering
Hard Effects
Music
Film sound styles
Realism
Stretched reality
What is seen vs. what is heard: on- vs. off-screen
Surrealism
Montage
Shifting levels of reality
Sound design as an art
Emotional memory
Low frequencies mean threat
Exaggerating reality
Spotting
IV. Connecting Up, Reference Levels
Basic work flow with Firewire
Types of audio interconnects: digital
AES3
S/PDIF
Problems arising on digital interfaces
Types of audio interconnects: analog
Mic/line/speaker level
Line levels: –10/+4
Balanced and unbalanced connections
File transfers
V. Editing
Non-linear editing defined
Random access editing
Non-destructive editing
Visual waveform editing
Edits and fade files
File management
Plug Ins/Processes
Edit processes vs. mix processes
Processes defined
Process environments
Track and channels
Busses
Pan pots
Grouping Tracks
Differences between picture and sound editing systems
Picture-sound sync resolution
How to Edit
Block diagram of process
Fine editing of production sound
Where presence is used
Documentary considerations
Fixing bumps
Sound effects
Ambience/backgrounds
Cutting music
Scene changes
Detailed analysis of scene changes in Love Actually
VI. Mixing
Editing and mixing are different, but converging
The mixing hourglass
Level-related processes
Level controls
Gain staging
Hand compression
Compression
Limiting
De-essing
Noise gate
Downward expander
Processes related mainly to Frequency
Equalization
Filtering
Combinations of level and frequency
Time-baesd devices
Reverberation
Other time based effects: echo, duration change
Other plug ins
Dither
Generator
Pitch correction
Panning
Routing and limitations caused by it
Busses, channels
Delay compensation
Voice limitation
How to mix
Start with dialogue
The dialogue processing chain
VII. Masters and Monitoring
Delivery Master defined
Choice of sound format on Delivery Masters
Mono
Stereo
LtRt matrix surround
5.1 channel discrete surround
Mastering for level
Background on –12 versus –20 dBFS reference level
Level calibration
When you can’t calibrate with test signals
Best one-size-fits-all approach
Mastering for DVD, Digital Broadcast, and Digital Satellite Television
Post Production Masters Label
Monitoring
Film versus Video mixes
VII. Sound Basic Video for Audio People
Video
Basic frame rates
Under- and over-cranked camera
Digital Video
Basic digital
Interconnecting video

描述：
許多低預算電影和電視節目的特點通常是聲音品質差。現在，預算有限的數位影片製片人可以從電影音效製作先驅Tomlinson Holman那裡學習，如何使他們的影片聽起來像是完全專業的製作。Holman提供了建議，您可以從前期製作到後期製作中應用於自己的項目，並提供有關製作、編輯和混音的技巧和解決方案。

Holman是《印第安納瓊斯與毀滅神殿》和《星際大戰：絕地大反攻》等電影的音效工程師，以他在電影音效製作方面的開創性工作和THX的開發而聞名。現在，他將自己的專業知識帶到了相對較新的數位影片音效領域。數位影片曾被視為業餘格式，但現在它正在成為一些特色電影和許多低預算製作的首選格式；這本書將使您能夠利用這種媒介創造出最專業和最有效的音效。

目錄：
DV的音效
Tomlinson Holman
大綱
I. 簡介
為什麼這項工作值得做，它針對的對象是誰，書的一般格式（案例研究法）；與電影和電視音效的關係
去藝術電影院看電影預告片，展示影像和聲音之間的差異：影像通常更好，聲音經常被犧牲
即使在工作室電影中，圖像佔主導地位，例如單聲道的《愛情的規則》
DV的範圍
不僅僅是一種錄影帶格式
音頻的最低標準
本書涵蓋從DV到DVCProHD，因為所有基於DV的格式的音頻相似
數位化世界
優點，缺點
數位影片
基本數位：為什麼？
聲音軌道的四個維度
頻率範圍
動態範圍
空間能力
時間
數位音效和四個維度
DV格式錄影帶的特點
不同格式之間的進一步區別特點
足跡
單速度與DV的SP和LP模式
鎖定與未鎖定的音頻採樣率
時間碼
用戶位元
PAL
互換性
結論
II. 製作音效，又稱現場音效，原始音頻錄製
專門的音效人員
場地勘察
覆蓋範圍
場景覆蓋：基本技術
Boom麥克風
Lav麥克風
固定麥克風
攝像機上的麥克風可以做什麼？
如何使用兩個聲道
製作音效期間錄製的除了聲音之外的項目
聲音和麥克風的基本聲學
按照轉換方法區分的麥克風類型
區分電動和靜電的其他稀有類型
供電麥克風
按極性圖案區分的麥克風類型
由於極性圖案而產生的麥克風之間的差異
簡短的建議
無線麥克風的無線部分
麥克風配件
Boom / fishpoles
防震支架
風罩
防止爆音
大聲和小聲聲音的捕捉
錄音水平與早期攝影技術的相似之處
同時捕捉大聲和小聲聲音
鏈路中的多個音量控制
另一種過載失真及其避免方法
案例研究
安裝Lav麥克風
無線麥克風的使用
結合功能以獲得最佳的防風性能
一次性麥克風
DVD的例子
Boom操作員的工作
常見問題
記錄
音效套件配件
III. 音效設計
定義音效設計
音效是構建的，而不是