This book guides readers through a series of exercises to better understand the relationships between the gear and practices required for optimal recordings and mixes. Rather than merely explain the concepts of sound wave propagation, the electronics of how sound is recorded, or the acoustics of sound reverberation in spaces, these exercises are designed to demonstrate and reinforce these crucial ideas.
This systematic approach from simple recording through sound editing and mixing gives aspiring sound technicians valuable hands/ears-on experience so they can achieve the same professional quality as those working in the industry!
|Publisher:||Jones & Bartlett Learning|
|Sold by:||Barnes & Noble|
|File size:||7 MB|
Table of Contents
ChapterChapter 1 Plan for Sound ChapterChapter 2 Tools for Recording ChapterChapter 3 Recording Audio and Working On-Set ChapterChapter 4 Don't Just Get the Shot ChapterChapter 5 Preparing Audio for Editing ChapterChapter 6 Organizing and Editing Sound with Final Cut Express ChapterChapter 7 Sound Editing in Digital Audio Workstations ChapterChapter 8 The Dialog Edit ChapterChapter 9 Voice-Over Recording ChapterChapter 10 Recording and Editing Dialogue Replacement ChapterChapter 11 Sound Design ChapterChapter 12 The Foley Process ChapterChapter 13 The Music Score ChapterChapter 14 Mixing, Filters, and Effects ChapterChapter 15 Outputting Sound and Backing Up
Most Helpful Customer Reviews
This is a smartly-written, uniquely accessible account of the quirky world of audio acquisition and production for film and video. A well-healed veteran of the film audio discipline, Woody Woodhall manages not only to diligently cover the nuts and bolts of producing and posting audio for film, but he goes well beyond, providing valuable insight to prevent the would-be audio techician from costly mistakes and oversights. That said, he keeps things simple and straightforward enough to digest and move on to the more important step of practicing the techniques described. As with any production-related book, 'Audio Production and PostProduction' covers the tools and techniques required to produce a quality film soundtrack. Unlike other books, it discusses the intangibles that might trip up the uninitiated. Rather than immediately delving into the technical elements, the author covers the equally essential aspects of planning, crew dynamics and resource management (to name a few.) He does all of this while maintaining an objective-oriented approach, taking the time and space to ensure the reader understands how it all relates to the goal of a quality audio project and indeed to the film itself to ultimately tell the story. What's remarkable about this comprehensive perspective is the simple yet universal manner in which it is eloquently written. For example, rather than getting mired down in a technical overview of the most expensive, cutting-edge piece of editing software (likely to be obsolete upon first reading), the author relates editing principles to Final Cut Express, assuming that, even without an operator's manual, the reader can easily relate the techniques to their chosen platform in minutes. It's an example of the concise, methodical approach employed throughout the book where no page or line feels wasted (nor any of the reader's time, regardless of experience.) Simply put (acknowledging it's too late for that), if it's not in here you probably don't need it- a thorough, enjoyable read.
The biggest telltale clue that a digital filmmaker is a rank amateur is the poor quality of the soundtrack. Fix that!