Focal Press Book: Sound for Digital Video (2nd Edition, Hardcover)

Focal Press Book: Sound for Digital Video (2nd Edition, Hardcover)

Focal Press Book: Sound for Digital Video (2nd Edition, Hardcover)

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Product Highlights

  • Author: Tomlinson Holman, Arthur Baum
  • Paperback: 362 Pages
  • Publisher: Focal Press
  • Publication Date: November 2015
  • Hollywood-Style Audio Techniques
  • Production / Location Sound Recording
  • Sound Design
  • Editing & Mixing
  • Mastering & Monitoring
  • Companion Website with Exercises & Files
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Focal Press 9781138168060 overview

  • 1Description

In the 2nd Edition of Sound for Digital Video from Focal Press, industry experts Tomlinson Holman and Arthur Baum give you the tools and knowledge to apply recent advances in audio capture, video recording, editing workflows, and mixing to your own film or video. The book is full of techniques, tricks, and workflow secrets that you can apply to our own projects from pre-production through post-production. Whether you are an amateur filmmaker who wants to create great sound or an advanced professional in need of a reference guide, the book offers the guidance needed for you to take your independent film and video productions to the next level.

Author Bio
Tomlinson Holman is one of the most prominent figures in audio today. He is widely known for introducing new products and processes in the field, including the THX Sound System, Home THX, and the THX Digital Mastering program developed while he was Corporate Technical Director at Lucasfilm, Ltd. Mr. Holman has won career achievement awards from Cinema Audio Society and the Custom Electronics Design and Installation Association, as well as an Academy Award for Technical Achievement in 2001. His feature film credits include Indiana Jones and the Temple of Doom and Star Wars: Return of the Jedi, among others.

Arthur Baum received his bachelor's degree in physics and mathematics from Harvard University and went on to study film sound at the University of Southern California. He has mixed and recorded sound for several independent films, webisodes, and documentaries and has edited sound for television programs airing on Discovery Channel, Syfy Network, Cartoon Network, and Animal Planet. In addition to his work on independent and corporate projects, Mr. Baum has served on the faculty of the USC School of Cinematic Arts, teaching sound theory and technique to incoming film production students.
Updates for the 2nd Edition
  • A new feature on "true" 24p shooting and editing systems, as well as single vs. double-system recording
  • A strong focus on new media, including mini-DVDs, hard disks, memory cards, and standard and high-definition imagery
  • Discussion of camera selection, manual level control, camera and recorder inputs, location scouting, and pre-production planning
  • Instruction in connectors, real-time transfers, and file-based transfers from DVDs, hard drives, and solid state media.
  • Blu-ray and HD tape formats for mastering and distribution in addition to file-based, DV, and DVD masters.
  • A revamped companion website featuring recording and editing exercises, examples and sample tracks


Chapter 1 - Basic Concepts
  • Digital Video Landscape
  • Minimum Standards for Audio
  • The Four Dimensions of a Sound Track
  • Digital Sound
  • Features of Digital Video Recording Formats
Chapter 2 - Introduction to Digital Video
  • Basic Digital
  • Some Basic Video for Audio People
    • Frame Rates
    • Interlaced Video
    • "Film" Look
    • Resolution and Aspect Ratio
    • Under- and Over-Cranked Camera
  • Operational Matters
    • Quality Modes and Codecs
    • Interchangeability
    • Off-Line/Online
    • Time Code
    • User Bits
    • PAL Formats
    • Locked versus Unlocked Audio Sample Rate
  • Instant Playback
  • Interconnecting Video
  • Conclusion
Chapter 3 - Preproduction Planning
  • The First Big Step: A Dedicated Sound Person
  • Location Scouting
  • Choosing a Sound and Camera Workflow
    • Single-System Recording
    • Double-System Recording
    • Testing Sync
  • Mic, Line, and Speaker Level
  • Reference Levels and Headroom
  • Setting Up the Recording Chain
  • Line Levels
  • Mixing Balanced and Unbalanced Connections
Chapter 4 - Production Sound I: General Considerations
  • Coverage
  • Scene Coverage and Microphone Technique
  • What Can Be Done with an On-Camera Microphone?
  • How to Use the Two Channels
  • Other Items Recorded during Production Sound
  • Microphone Accessories
    • Booms / Fishpoles
    • Shock Mounts
    • Windscreens
    • Pop Suppression
  • Case Studies
    • Mounting Lavs
    • Radio Mic Usage
    • Disposable Mics
  • Production Sound Example
  • Boom Operator's Job
  • Common Problems
  • Logging
  • DV Production Sound Log
  • Sound Kit Accessories
Chapter 5 - Productions Sound II: Microphones
  • Power
  • Dynamic Microphones
  • Polar Patterns
    • Differences Between Microphones Having Various Types of Polar Patterns
  • The Radio Part of Radio Mics
Chapter 6 - Production Sound III: Dealing with the Output of Microphones
  • Recording Level Parallels to Early Cinematography
  • Cries
  • Whispers
  • Cries and Whispers
  • Multiple Level Controls in the Chain
  • Another Kind of Overload Distortion and How to Avoid It
  • Combining Features for Best Wind Performance
Chapter 7 - Media Management
  • What Counds as a Backup?
  • Types of Media
  • Streaming Transfers and File Transfers
    • Streaming Transfers
    • File Transfers
  • Audio File Formats
  • Managing Double-System Recordings
  • Syncing Footage
    • Time Code Autosync
    • PluralEyes and DualEyes to Autosync
    • Syncing by Hand with a Clapperboard Slate
    • If a Slate Wasn't Used (What to Do in Case of Emergency)
  • Common Problems in Digital Audio File Transfers for Sound
    • Accompanying Picture
Chapter 8 - Sound Design
  • Film Sound Styles
    • Realism
    • Stretched Reality
    • What is Seen versus What is Heard: On-Screen versus Off-Screen
    • Hyper-Reality
    • Surrealism
    • Montage
    • Shifting Levels of Reality
    • Sound Design as an Art
    • Spotting
Chapter 9 - Editing
  • Non-Linear Editing
  • Random-Access Editing
  • Non-Destructive Editing
  • Visual Waveform Editing
  • Edits and Fade Files
  • File Management
  • How to Edit
  • Fine Editing of Production Sound
  • Stealing Presence
  • Where Presence Is Used
  • Documentary Considerations
  • Fixing Bumps
  • Sound Effects
  • Ambience/Backgrounds
  • Foley Effects
  • Cutting Music
  • Scene Changes
  • Plug-Ins/Processes
  • Tracks and Channels
  • Busses
  • Pan Pots
  • Solo/Mute
  • Grouping Tracks
  • Differences Between Picture and Sound Editing Systems
  • Picture-Sound Sync Resolution
Chapter 10 - Mixing
  • The Mixing Hourglass
  • Audio Processes
    • Processes Related Mainly to Level
      • Level Controls
      • Gain Staging
      • Hand Compression
      • Compression
      • Limiting
      • De-esser
      • Noise Gate
      • Downward Expander
    • Processes Related Mainly to Frequency
      • Equalization
      • Filters
    • Combinations of Level and Frequency
    • Time Based Devices
      • Reverberation
      • Other Time-Based Effects
      • Other Plug-Ins
  • Panning
  • Routing, and Limitations Caused by Routing
    • Busses, Channels
    • Delay Compensation
    • Voice Limitation
  • How to Mix
Chapter 11 - Masters and Monitoring
  • Choice of Sound Format on Edit and Delivery Masters
  • Uses of Surround Sound
  • Mastering for Level
  • Background on - 20 versus - 12 dBFS Reference Level
  • Level Calibration
  • When You Can't Calibrate with Test Signals
  • Best One-Size-Fits-All Approach
  • Mastering for DVD, Blu-ray, Digital Broadcast, and Digital Satellite Television
  • Monitoring
  • Film versus Video Mixes


Table of Contents
  • 1Description

Focal Press 9781138168060 specs

Author Tomlinson Holman and Arthur Baum
Edition 2nd
Format Hardcover
Pages 362
Publisher Focal Press
Date Published November 2015
ISBN Number 9781138168060

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