By Jay Rose

In generating nice Sound for movie and Video, [/b]Fourth Edition[/b] audio guru Jay Rose revises his renowned textual content for a brand new iteration of filmmakers. You’ll examine functional, time-saving how you can recover recordings, clear up issues of current audio, create compelling tracks, and enhance your filmmaking to the subsequent level!

Here you’ll locate real-world recommendation and useful instructions for each point of your soundtrack: making plans and budgeting, box and studio recording, enhancing, sound results and tune, audio fix, processing, and combining. Rose’s mix of good technical info and a transparent, step by step process has made this the go-to ebook for manufacturers and movie scholars for over a decade.

New during this edition:
• Insights and from-the-trenches suggestions from best professionals
• directions for purchasing the simplest effects from new DSLRs and electronic recorders
• An all-new spouse web site www.GreatSound.info with downloadable diagnostics, examples, and workouts so that you can try
• What you want to learn about new laws for instant mics and broadcast loudness
• An extended "How Do I repair This?" part that can assist you resolve difficulties quickly
• even if you’re an aspiring filmmaker who desires greater tracks, or an skilled specialist trying to find a reference, generating nice Sound for movie and Video, Fourth variation has the knowledge you need.

Please stopover at the book's significant other site for additional info and better half records: http://www.GreatSound.info

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Additional info for Producing Great Sound for Film and Video: Expert Tips from Preproduction to Final Mix (4th Edition)

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Media Composer, Premiere, and Final Cut Pro are among the most popular NLEs. Chapter 1 • HOW SOUND WORKS • 21 On top of that, average volume over several minutes contributes to our sense of a film’s loudness: a scene with a single very loud gunshot surrounded by soft sound effects will seem softer, overall, than a scene with continuous music that’s actually a tiny bit softer than the gunshot. It’s not hard to build a meter that takes all these factors into account. Having this kind of tool is definitely necessary if you’re mixing for network television.

3 shows this difference with our cat pictures. Those catastrophic failures may be rare, but they do happen. As with any other data, it’s just common sense to make backup copies of any video or audio material you might ever want to keep. Chapter 2 • HOW DIGITAL AUDIO WORKS • 35 Digital media can be copied very quickly When I wrote the first edition of this book, digital audio and video recording used rotating heads writing slanted tracks on moving magnetic tape. The systems were finicky and often fragile, but worst was the fact that it was almost impossible to make high-speed copies or fast transfers.

Computerized editing may be faster or less messy than splicing (in a few cases, it’s slower), but that’s not why professional media adopted digital. Historically, creating media involves a lot of copying. Pieces of movie film are copied onto other pieces of film for special effects, composite masters, and release prints. Analog videotape was edited by copying individual shots from one video deck to another. Most music originates as multitrack recordings, and has its tracks copied in various combinations onto a stereo or surround master; the master is frequently copied a few more times before reaching a format that consumers can play.

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