Producing Great Sound for Film and Video (3rd Edition) (DV by Jay Rose

By Jay Rose

Make your movie or video venture sound nearly as good because it seems with this whole education path by means of audio guru Jay Rose. You get 1000's undefined, real-world recommendations for you to hire from preproduction throughout the ultimate combine. it is a solution-oriented consultant with FAQs, how-tos, tips, and time savers.

You'll get a primer on how sound and electronic audio paintings in addition to technical setups, guidance, and genuine options for:
* budgeting, scheduling, and preproduction planning
* microphones and room acoustics
* recording conversation, voice-overs, ADR, and effects
* postproduction hardware
* degrees and digitizing
* operating with song and sound effects
* generating the ultimate mix

New to this edition:
* info at the most recent cameras and box recorders
* offerings among unmarried- and double-system, and electronic workflows
* the diversities among conventional video soundtracks and dialog-driven storytelling.

* Having hassle with the sound in your video venture? uncover the answer during this best-selling guide.
* comprises time-tested directions and proposals that paintings it doesn't matter what or software program package deal you use
* The audio CD contains diagnostics, demos, and educational tracks to hone your abilities.

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Producing Great Sound for Film and Video (3rd Edition) (DV Expert Series)

Make your movie or video undertaking sound pretty much as good because it seems to be with this entire education path by means of audio guru Jay Rose. You get 1000's undefined, real-world concepts that you should hire from preproduction during the ultimate combine. it is a solution-oriented advisor with FAQs, how-tos, suggestions, and time savers.

Additional info for Producing Great Sound for Film and Video (3rd Edition) (DV Expert Series)

Example text

But the law still holds up fairly well in the real world: If you can get closer to a sound source and farther from interfering sounds or reflective surfaces, you’ll record it better. 14, but increase the distance to the wall, the inverse-square law reduces the amount of cancellation. 16 shows how this works. The first rule explains why camera-mounted microphones rarely do a good job of rejecting interference or echoes. The camera is usually too far away from the sound source. The second rule is the principle behind the “nearfield” speakers that sit on the console of just about every recording studio in the world.

5 kHz) recorded on one channel only. Set it so the sound comes out of one speaker at a moderately low volume, and get three or four feet away from the speaker in almost any room. Move your head a foot or so in either direction, and you’ll hear the sound get louder and softer. Or hold your head steady with the reflecting object facing your ear and about a foot away, and then move the object. You’ll hear the sound change volume as you do. This works best when you’re in a normal room with hard walls and surfaces like a desk that can reflect sound.

DVDs and some digital broadcasting can carry higher frequencies. But every bit of data can cost money, particularly when storage or long-distance transmission is involved, and broadcast plants have to be rewired to higher data standards. There’s little incentive for broadcasters to invest in extra bandwidth, because it isn’t seen to bring in additional revenue. Once you’ve decided on the highest frequency your project will need to support, double it (to allow for the Nyquist limit), add a safety margin, and choose the closest standard rate.

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