By Hilary Wyatt, Tim Amyes
Formerly titled Audio Post-production in Video and picture, this 3rd version has been thoroughly revised and restructured to supply a step by step consultant to the pro concepts used to form a soundtrack during the construction strategy. protecting sound for either movie and tv, this variation contains some of the sensible suggestions and shortcuts utilized by skilled editors and mixers.
Part one explains the fundamentals of audio put up creation - how audio is recorded, how sound and imagine remain in sync, how audio may be exported from approach to method, and the way movie and video expertise works. half follows the trail of construction sound from its unique recording all over to the ultimate combine, and contains sections on enhancing sound with photograph, discussion, sound results and track enhancing, how one can run ADR and Foley checklist periods, and combining, utilizing many sensible examples.
Audio publish construction for tv and picture is aimed toward pros already operating within the undefined, rookies, scholars and people contemplating sound for movie and tv as a profession - actually an individual who wishes an perception into present specialist practices and a accomplished review of the sound publish creation method.
* displays present operating perform and covers the newest topical issues
* widely reorganized for optimum ease of use
* Illustrated all through and lines important workflow diagrams
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Extra info for Audio Post Production for Television and Film: An introduction to technology and techniques (3rd Edition)
Hard disk video and audio recorders. Telecine machines. Synchronization modes At the heart of a synchronizing system is the master. The actual running speed of the master is controlled either internally or externally – it is normally locked to a word clock or video reference and produces timecode which the slave machines must follow or chase. This master may be a workstation or possibly a video recorder. Master In a simple audio post production system, a video recorder (using tape or hard disk) and a digital audio workstation (without a picture facility) are locked by timecode.
For example, to represent value 6: Bit 1 is off; Bit 2 is on; Bit 4 is on; Bit 8 is off. Bits 2 and 4, which are switched on, add up to the numerical value 6. If the number 8 is required, only Bit 4 representing 8 is, of course, switched on. Obviously, if only the numbers 1 and 2 are required – such as units of hours on the clock – a group of only 2 bits is needed, not 4 bits, which extends to 8 and beyond. This means that, using a group of 4 bits, any decimal number from 0 to 9 can be coded (in fact, the maximum number is 15).
The video may well be the master and is operated either manually from its own controls, or remotely from the workstation controls. Videotape recorders are more difficult to control from external sources and can be slow to lock up if they are in slave mode. Their mechanical transports take time to run up into synchronization as the various servos come into play. Digital workstations without these mechanical restrictions can follow almost instantly. Only the size of their data buffers and their processing speed will affect their ability to synchronize quickly.
Audio Post Production for Television and Film: An introduction to technology and techniques (3rd Edition) by Hilary Wyatt, Tim Amyes