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Sound design for low and no budget films /
This book describes the one of the weakest technical aspects of a low or no budget short or feature film is usually the sound, and in Sound Design for Low and No Budget Films, author Patrick Winters explains what filmmakers need to do to fix that. Learn how to improve the sound quality of your low b...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Routledge,
2017.
|
| Temas: | |
| Acceso en línea: | Texto completo (Requiere registro previo con correo institucional) |
Tabla de Contenidos:
- Cover
- Title
- Copyright
- Dedication
- Contents
- Preface
- Acknowledgments
- CHAPTER 1 Introduction
- a. Purpose
- b. Sound Definition
- c. Sound's Abilities
- d. Sound Supervisor
- e. Contracts, Agreements and Licenses
- CHAPTER 2 Location Sound: How Was That for Sound?
- a. Common Mistakes
- b. Single System
- c. Double System
- d. Timecode
- e. Slate
- f. Smart Slate
- g. Boom and Lavaliere
- h. Wired and Wireless
- i. Wide Shots and Close-Ups
- j. Two-Plus Camera Set-Up
- k. Exercise
- l. Sample Sound Report Form
- CHAPTER 3 Sound Design
- a. Defined
- b. Introduction
- c. Movie Examples
- d. Recording
- e. Creating
- f. Editing and Processing
- g. Mixing
- h. Exercises
- CHAPTER 4 Dialogue Editing: It's Work, Not Magic
- a. Introduction
- b. Picture Lock
- c. Collecting Materials
- d. File Management
- e. The Process
- f. Cleaning
- g. Smoothing
- h. Editing
- i. Splitting Tracks
- j. Room Tone
- k. Fixing Issues
- l. Processing
- m. Exercise
- CHAPTER 5 ADR: What Did They Say?
- a. Introduction
- b. Spotting
- c. Microphones
- d. Working with Actors
- e. Production ADR Recording
- f. Post-Production ADR Recording
- g. Editing
- h. Exercise
- i. ADR Cue Sheet Form
- CHAPTER 6 Walla/Group/Loop Group/Group ADR/Rhubarb: Why Can't I Hear Them?
- a. Introduction
- b. Group Leaders
- c. Research and Scripting
- d. Walla
- e. Specifics
- f. Callouts
- g. Efforts
- h. Screams
- i. Performing
- j. Recording
- k. Editing
- l. Resources
- m. Exercise
- CHAPTER 7 Narration: It Isn't Dialogue
- a. Introduction
- b. Purposes
- c. Pre-Production
- d. Recording
- e. Editing
- f. Processing
- g. Exercise
- CHAPTER 8 Sound Effects: Creating Reality
- a. Sound Effect Functions
- b. Types of Sound Effects
- c. The Grey Area (Foley and Sound Effects).
- D. Production Sound Effects
- e. Location Sound Effects
- f. Custom-Recorded Sound Effects
- g. Foley Sound Effects
- h. Library Sound Effects
- i. Spotting
- j. Creating
- k. Recording
- l. Editing
- m. Processing
- n. Exercise
- CHAPTER 9 Foley: Who or What is Foley?
- a. Foley History
- b. Overview
- c. Spotting and Cueing
- d. Synchronized Recording
- e. Microphones
- f. Performance
- g. Moves or Cloth
- h. Specifics or Props
- i. Pats and Grabs
- j. Footsteps
- k. Libraries
- l. Editing
- m. Sound Effect Resources
- n. Exercise
- CHAPTER 10 Backgrounds: What's an Ambience, Atmosphere or Background?
- a. Introduction
- b. Spotting
- c. Production Sound
- d. Room Tone
- e. Recording
- f. Library
- g. Editing
- h. Layering
- i. Processing
- j. Exercise
- CHAPTER 11 Musical Score: In the Mood?
- a. Introduction
- b. Making Notes
- c. Spotting Session
- d. Cues
- e. Hits or Hit Points
- f. Tempo Map
- g. Click Tracks and Guide Tracks
- h. Temp Scores
- i. Music Software
- j. Scoring
- k. Theme and Motif
- l. Titles, Montage and Credits
- m. Composing, Arranging, Orchestrating and Instrumentation
- n. Mock-Ups
- o. Recording Performance (Tracking)
- p. Digital Music
- q. GarageBand
- r. Song Score, Pop Music and Source Music
- s. Cue Packages
- t. Bands
- u. Musicals
- v. Library Music: Hard Drives, CDs and Downloads
- w. Editing
- x. Stems
- y. Mixing
- z. Deliverables
- aa. Exercise
- CHAPTER 12 Mixing Myself Preparation
- a. Introduction
- b. Preparing Your Mixing Room
- c. Reference Levels
- d. Room Monitor Calibration
- e. NLE or DAW
- f. Mixing In-the-Box by Myself
- g. Session Set-Up
- h. Stereo, LCR or Surround?
- CHAPTER 13 Premixing or Predubbing and DSP
- a. Introduction
- b. Mix Preparation
- c. Track Layout
- d. Virtual Mixing
- e. Mix Tools
- f. Levels.
- G. Gain Staging
- h. Fades
- i. Panning
- j. Constant Gain or Constant Power
- k. Equalization
- l. Compression
- m. Normalizing
- n. Noise Gate
- o. Expansion
- p. Exciter
- q. De-Esser
- r. Noise Reduction
- s. Reverberation and Delays
- t. De-Verberation
- u. Effects and Filters
- v. Limiter
- w. Premixing
- x. Buses, Auxes, Sends and Returns
- y. VCA Faders
- z. Master Fader
- aa. Metering
- bb. 2-Pops and Tail Pops
- cc. Dialogue and ADR Premix
- dd. Foley Premix
- ee. Sound Effects Premix
- ff. Design Effects Premix
- gg. Backgrounds Premix
- hh. Music Premix
- ii. Temp Mix
- CHAPTER 14 Mixing Myself
- a. Introduction
- b. Set-Up
- c. Getting Started
- d. Dialogue First
- e. ADR
- f. Sound Effects
- g. Ambiences
- h. Foley
- i. Music
- j. DME, Stems and M&E
- k. Master Output
- l. Quick and Dirty Mix
- CHAPTER 15 Studio Mix
- a. Introduction
- b. Mixer Interview
- c. Mix Preparation
- d. Premixes
- e. Stems
- f. Mixing
- g. Run Through
- h. Dialogue Mixing
- i. Sound Effects Mixing
- j. Foley Mixing
- k. Backgrounds Mixing
- l. Music Mixing
- CHAPTER 16 Deliverables
- a. Introduction
- b. Film
- c. DCP
- d. DVD/Blu-ray
- e. Streaming
- f. Broadcast Television
- g. Marketing
- h. Archiving
- CHAPTER 17 Summary
- a. Clean Production Sound
- b. Creating Sound Design
- c. Mixing
- d. Conclusion
- e. Internet Resources
- Glossary
- Bibliography
- Index.