Holman, T: Sound for Digital Video

problems Logging Sound kit accessories III. Sound design Sound design defined Sound is constructed, not accidental Continuity Ambience/backgrounds Foley Layering Hard Effects Music Film sound styles Realism Stretched reality What is seen vs. what is heard: on- vs. off-screen Surrealism Montage Shifting levels of reality Sound design as an art Emotional memory Low frequencies mean threat Exaggerating reality Spotting IV. Connecting Up, Reference Levels Basic work flow with Firewire Types of audio interconnects: digital AES3 S/PDIF Problems arising on digital interfaces Types of audio interconnects: analog Mic/line/speaker level Line levels: -10/+4 Balanced and unbalanced connections File transfers V. Editing Non-linear editing defined Random access editing Non-destructive editing Visual waveform editing Edits and fade files File management Plug Ins/Processes Edit processes vs. mix processes Processes defined Process environments Track and channels Busses Pan pots Grouping Tracks Differences between picture and sound editing systems Picture-sound sync resolution How to Edit Block diagram of process Fine editing of production sound Where presence is used Documentary considerations Fixing bumps Sound effects Ambience/backgrounds Cutting music Scene changes Detailed analysis of scene changes in Love Actually VI. Mixing Editing and mixing are different, but converging The mixing hourglass Level-related processes Level controls Gain staging Hand compression Compression Limiting De-essing Noise gate Downward expander Processes related mainly to Frequency Equalization Filtering Combinations of level and frequency Time-baesd devices Reverberation Other time based effects: echo, duration change Other plug ins Dither Generator Pitch correction Panning Routing and limitations caused by it Busses, channels Delay compensation Voice limitation How to mix Start with dialogue The dialogue processing chain VII. Masters and Monitoring Delivery Master defined Choice of sound format on Delivery Masters Mono Stereo LtRt matrix surround 5.1 channel discrete surround Mastering for level Background on -12 versus -20 dBFS reference level Level calibration When you can't calibrate with test signals Best one-size-fits-all approach Mastering for DVD, Digital Broadcast, and Digital Satellite Television Post Production Masters Label Monitoring Film versus Video mixes VII. Sound Basic Video for Audio People Video Basic frame rates Under- and over-cranked camera Digital Video Basic digital Interconnecting video