Audio Postproduction for Film and Video, Second Edition (DV by Jay Rose

By Jay Rose

New to this edition:* learn the way many Hollywood techniques--previously impractical on video--can aid resolve difficulties on smaller productions* increased cookbook recipes part* Technically up to date throughoutMake your soundtracks pretty much as good as your photos with this compendium audio ideas that may be tailored to laptop submit. focusing on sound after the shoot, this publication positive aspects many sensible examples, cookbook recipes, and tutorials. Audio idea, while precious, is gifted in undeniable English with lots of visible analogies.FAQs, complete factors, and from-the-trenches guidance handle the total variety of techniques from wiring and to trying out the ultimate combine. The one-hour audio CD good points platform-independent diagnostics, demonstrations, and instructional tracks. beginners will find out how to enhance their soundtrack--even after the actors have long past domestic. skilled manufacturers will find out how to clear up technical and artistic difficulties quickly.You'll get recipes and step by step directions on how to:* construct an effective and trustworthy audio publish setup* plan and finances a superb soundtrack* get sound into your NLE with out wasting caliber or sync* edit voices and tune* checklist Foley and ADR* locate song and use it successfully* locate and create your personal sound results* form sounds with equalization, reverb, noise aid, and extra* produce the ultimate combine* try the ultimate product for varied mediaPlease stopover at the author's web site for added assets: www.dplay.com/book/app * well known DV journal columnist Jay Rose makes it effortless to enhance your soundtrack* comprises "cookbook recipes"--step-by-step suggestions for universal audio processing operations* One-hour audio CD comprises platform-independent diagnostics, demonstrations, and instructional tracks to load into your NLE

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Most consumer line- and mic-level wiring accomplishes this with a single conductor for each audio channel, surrounded by a foil or braid shield that serves both as the return conductor and a barrier to high-frequency noise. This scheme, unbalanced wiring, is cheap and moderately effective. Unfortunately, the shield isn’t very good at stopping power-line hum, timecode, or crosstalk from other audio channels. The solution is to have two separate but identical wires, twisted very close to each other, inside the shield.

Each time a signal goes through a different processor or is stored on another generation of analog tape, it gets slightly noisier or more distorted. In the days before digital recording, a movie soundtrack could go through dozens of processing circuits and six magnetic or optical generations between stage and moviegoer. Finding the best compromise between noise and distortion was a constant battle. 0 Ϫ1 Ϫ2 Ϫ3 But computer data doesn’t deteriorate that 0 1 2 3 4 5 6 7 8 9 10 Milliseconds way. 14 e-mailed to a publisher.

Mic signals are so small that they’re easily polluted by external noise. Gotcha Balanced wiring requires balanced equipment. Balanced wires don’t actually reject the noise; that magic happens in whatever the wires get plugged into. Both the signal source and the destination need special circuits for balancing. These circuits can be expensive and are usually left out of prosumer equipment. While unbalanced wiring doesn’t offer this protection, it doesn’t have to be noisy if you plan it properly.

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