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

By Jay Rose

Make your movie or video undertaking sound pretty much as good because it seems to be with this whole education direction through audio guru Jay Rose. You get 1000s undefined, real-world thoughts that you should hire from preproduction during the ultimate combine. this can be a solution-oriented advisor with FAQs, how-tos, assistance, and time savers.

You'll get a primer on how sound and electronic audio paintings in addition to technical setups, directions, and genuine strategies 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 variations among conventional video soundtracks and dialog-driven storytelling.

* Having hassle with the sound in your video undertaking? find the answer during this best-selling guide.
* contains time-tested instructions 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 talents.

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

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After a few generations, we have nothing left but a blob with whiskers. But if we invent a digital code that stands for CAT, we can make as many successive copies as we want. Three letters aren’t enough information to identify our specific kitty as well as the photo does. But with enough digital coding, we can spell out every one of his feline details. 2 A multigenerational cat, analog and digital. Digital Audio Hides Its Mistakes If one of the analog cat pictures got scratched before its copy was made, we’d be stuck with the scratch forever, but we’d still recognize our furry friend.

But they can cause major problems if you want to record or critically listen in the room, because of how they combine with the original sound. Think of the compression–rarefaction cycle of a sound like the phases of the moon. A moon goes through continuous cycles from dark to bright and back, just as a sound wave cycles between pressure and partial vacuum. In fact, the word phase refers to the timing of any repeating phenomenon: the moon, sound waves, or even rotating engine parts. Now, if we had two moons in our sky and each was in its full phase at the same time, we’d have a very bright night.

Most desktop video editors never reach this kind of precision, and dither isn’t available. 12 But when the hand moves rapidly, have to make decisions about its use. ” Chapter 2 • How Digital Audio Works • 31 But if a program gives you the option of dither when converting 16-bit files to 8 bits for older multimedia systems, turn it on. As 20- and 24-bit digital audio equipment becomes more common in the video studio, you’ll want to use dithering whenever you move to a lower bit depth. But don’t dither when you transfer a file to the same bit depth; that just adds noise.

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