Wyatt, Hilary; Amyes, Tim

Audio Post Production for Television and Film : An Introduction To Technology And Techniques

Acknowledgements xi About the authors xiii Introduction to the third edition xv PART 1 AUDIO BASICS 1(76) Chapter 1 The evolution of audio post production 3(15) An overview 3(2) A little history: the development of technology and techniques 5(10) Where we are now: post production today 15(3) Chapter 2 Digital recording and processing 18(9) The digital audio process 20(1) Sampling rate and pulse code modulation 21(1) Quantizing level 21(1) Storing digital audio data 22(1) Compression 23(1) Buffers 23(1) Interconnecting between digital audio systems 24(3) Chapter 3 Synchronizing and controlling audio post production equipment 27(16) SMPTE/EBU timecode 28(3) Timecode and speed 31(1) Identification and labelling 32(1) Longitudinal timecode (LTC) 33(2) Vertical interval timecode (VITC) 35(2) Burnt-in timecode 37(1) MIDI timecode (MTC) 37(2) Controlling equipment through synchronization 39(1) Synchronization modes 39(3) The control of tape/film transports 42(1) Chapter 4 Audio transfers and file formats 43(15) Compression 43(1) Linear transfers 44(3) File transfers 47(6) File conversion software 53(3) Network systems 56(2) Chapter 5 Video, film and pictures 58(10) Film 58(1) Telecine 59(1) Video 59(3) Video compression 62(3) Film recording 65(1) Audio on video recorders 65(1) Viewing pictures in audio post production 66(1) Viewing images 66(1) Comparing film and video 67(1) Chapter 6 Film in audio post production 68(9) Film release 69(1) Conforming film 70(1) Film timecode 71(2) Sound on sprocketed film 73(1) Photographic film recording 73(1) Recording analogue optical soundtracks 74(1) Digital optical soundtracks 75(2) PART 2 THE POST PRODUCTION PROCESS 77(170) Chapter 7 Post production workflows 79(4) Chapter 8 Recording audio for post production 83(24) Aims 83(1) Types of microphone 83(2) Mono and stereo recording 85(1) Microphone position 86(3) Using multiple microphones 89(1) Production mixing 90(1) Studio and field recorders 91(8) Identing and logging takes 99(1) Studio-based recording 99(2) Field/location recording 101(6) Chapter 9 Editing picture and sound 107(21) An overview 107(1) Nun-linear editing 108(1) SV stem configuration 109(1) Video resolution 109(2) The editing process 111(4) Logging the rushes 115(1) Digitizing sound and picture 116(1) Syncing sound and picture 116(2) Editing audio in the timeline 118(1) Audio tools 119(3) Outputting the audio edit 122(4) Spotting the soundtrack 126(1) Handing over to the sound editors 127(1) Chapter 10 The digital audio workstation 128(22) An overview 128(1) Digital audio editing 128(1) System configuration 129(2) Hard drives 131(1) Drive configurations 132(3) Working with picture 135(1) System requirements and interconnectivity 136(4) Audio editing tools 140(1) Mixing tools 141(4) Backing up 145(1) Setting up a tracklaying workspace 146(1) Choosing the right workstation for the job 147(3) Chapter 11 Preparing for the mix: editing production sound 150(16) Aims 150(1) The conform 151(1) Checking sync 152(1) Starting the dialogue edit 152(2) Boom or personal mic? 154(1) Handling twin/multiple-track material 155(1) Handling M/S recordings 155(1) Techniques for improving audio edits 155(2) Dialogue editing software 157(1) ADR spotting 157(2) ADR cue sheets 159(1) ADR spotting software 160(1) Attending the ADR session 160(1) Editing ADR 160(1) ADR fitting software 161(1) Splitting the dialogues for the mix 162(1) Crowd spotting 163(1) Attending the crowd session 164(1) Editing the crowd 165(1) Chapter 12 Preparing for the mix: sound effects editing 166(14) Aims 166(1) Types of sound effect 167(1) Planning the tracklay 168(1) Sourcing sound effects 169(3) Starting the edit 172(1) Tracklaying for the surrounds 173(1) Tracklaying for the subs 174(1) Sound effects editing techniques 175(2) Sound effects plug-ins 177(1) Samplers and synthesizers 178(1) Presenting the tracks for the mix 178(2) Chapter 13 Post sync recording 180(8) Recording foley 180(2) Recording ADR 182(2) Crowd recording 184(1) Voice-over recording 185(1) Voice tracks for animation 186(1) ISDN (Integrated Switched Digital Network) 186(2) Chapter 14 Preparing for the mix: music 188(16) Aims 188(1) Types of music 189(1) Music and copyright 190(2) Planning the music 192(2) Sourcing music 194(10) Chapter 15 Monitoring and the environment 204(12) Monitoring loudspeakers 205(1) Stereo and multichannel sound 206(2) Acoustics and reverberation 208(1) Background noise 208(1) Workstation rooms 209(1) The importance of listening levels 209(3) Visual monitoring of recording levels 212(4) Chapter 16 Mixing and processing equipment 216(17) The mixing console 216(3) Types of mixing console 219(1) Inputs 220(5) Control of dynamics 225(5) Computerization of mixing operations 230(3) Chapter 17 The mix 233(14) Operation of the controller 234(1) Console automation 234(1) The virtual mix 235(1) Cue sheets 236(1) Mixing using DAWs 236(3) Mixing in surround 239(4) Compatible mixes for television 243(1) Layback 244(1) Music and Effects mixes 245(1) Delivery requirements 246(1) Chapter 18 The transmission and reproduction of audio post production material 247(8) The cinema chain 248(1) Digital television 249(1) Television transmission 249(1) Television chain - transmission 250(2) Metadata 252(1) Video on the web 252(1) Domestic video formats 253(2) Glossary 255(22) Index 277