Authors: David Lewis Yewdall
ISBN-13: 9780240808659, ISBN-10: 0240808657
Format: Paperback
Publisher: Elsevier Science
Date Published: April 2007
Edition: (Non-applicable)
Practical Art of Motion Picture Sound embraces the subject of sound for films. Based on the experience of the author and other top sound craftspeople, this book provides numerous real-life examples and relevant technical data. It also is firmly grounded in practical techniques and it will show you an appreciation of all the processes involved in creating motion picture sound, from how to achieve great sound despite a small budget and less-than-perfect recording conditions to steps you will need to take to create an artful audio experience.
This edition is completely revised and expanded, and the most popular sound editing systems, Pro Tools and Final Cut Pro, are covered in-depth. The accompanying NEW DVD presents demonstration material as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and common industry practices.
Among other topics, Practical Art of Motion Picture Sound, Third Edition includes:
• Preproduction planning
• Production tips
• Sound design
• Sound editing
• ADR and looping
• Using Pro Tools
• Using Nagra’s analog and digital systems
• Custom recording sound effects
* NEW! Accompanying DVD with an ADR/Looping practice session, video interview with Ray Harryhausen, and more than 1000 photos and charts with audio clips
* Written by an experienced craftsman and professor who brings his experience in the movie biz as well as in front of the classroom to life
* Gives a complete overview of film sound, including motion picture protocol, budgeting info, and technical information about recording
A Memorial to Excellence | ||
Ch. 1 | The Empowerment of Sound | 1 |
Ch. 2 | Our Amateur Beginnings | 6 |
Ch. 3 | The First Tuesday Night in February | 17 |
Ch. 4 | Success or Failure: Before the Camera Even Rolls | 21 |
Ch. 5 | The Challenging Battlefield of Production | 48 |
Ch. 6 | From the Set to the Laboratory | 79 |
Ch. 7 | Picture Editorial and Use of the Sound Medium | 97 |
Ch. 8 | Temp Dubs and Test Screenings: A Critical Objective View | 125 |
Ch. 9 | Spotting the Picture for Sound and Music | 130 |
Ch. 10 | Custom Recording Sound Effects: The Real Fun and Adventure | 137 |
Ch. 11 | The Sound Librarian: Curator of an Audio Empire | 166 |
Ch. 12 | Sound Design Myths and Realities | 199 |
Ch. 13 | Sound Editorial: Sync-Sync, Chop-Chop | 216 |
Ch. 14 | Dialog Editors: Hollywood's Unsung Heroes | 251 |
Ch. 15 | ADR and Looping: Getting the Lips to Flap in Sync | 267 |
Ch. 16 | Foley: The Art of Footsteps, Props, and Cloth Movement | 294 |
Ch. 17 | Nonlinear: The Digital Workstation | 329 |
Ch. 18 | The Music Composer: Audio Collaboration or Mud and Destruction | 399 |
Ch. 19 | The Rerecording Stage: Predubbing and the Final Mix | 412 |
Ch. 20 | 5.1 and Emerging Audio Technologies | 434 |
Ch. 21 | The Venerable Nagra IV-S (Analog) | 451 |
Ch. 22 | The Digital Nagra V - Direct to Disk | 478 |
Glossary | 493 | |
The Audio CD | 506 | |
Index | 511 |