Audio Postproduction
for the DV Filmmaker
by Jay Rose

Book with 1-hour Audio CD
CMP Books, October 2002
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Table of Contents

Introduction     ix

1 Help!     1

Problems with Sound Quality     1
Lipsync Problems     9
Edit and Mix Problems     10
Random Strangenesses     12
It Just Doesn't Sound as Good as the Movies     14

2 Vibrations to Volts to Bits     15

How Sound Works     16
Loudness     24
Analog Audio     28
Digital Audio     31
Digital vs Analog     37

3 The Studio: Acoustics and Monitoring     41

Facility Goals     42
Acoustics     43
Monitoring     49

4 The Studio: Equipment and Wiring     61

Hardware for Audio     61
Wiring for Audio Post     69
Guerilla Problem Solving     80

5 The Studio Audio Software     85

Basics of Editing     86
Audio Software     88
File Exchange and Networking     95

6 Planning the Track     101

Different Media Are Heard Differently     101
Spread Things Around     106
Preproduction for Postproduction     111
The Postproduction Sequence     115

7 Getting Audio into the Computer     117

Transfer Technology     118
Digital Audio Transfers     119
Analog Audio Recording     121
Synchronization     131
Troubleshooting the Transfer     143

8 Voice-over Recording and Dialog Replacement     149

Voice-over Perspective     149
What's Needed for Voice-over Recording     150
The Human Factors     161
ADR     166

9 Editing Dialog     171

Waveform-based Techniques     172
Audio-based Editing     174
Learning How to Listen Quickly     181
Phonetic-based Editing     183
Some More Tips for Great Edits     190
Room Tone or Presence     191
Restoring Lipsync by Eye     192

10 Finding and Editing Music     195

Getting the Music     197
Music Editing     208

11 Working with Sound Effects     223

Sound Effect Sources     225
Placing and Editing Sound Effects     237
Sound Effects Design     243

12 Equalization     245

Frequency Bands     247
Equalizer Characteristics and Types     252
Tuning an Equalizer     260
Equalizer Cookbook     262

13 Dynamics Control     265

Characteristics and Controls     266
Types of Dynamics Processors     276
Dynamics Cookbook     282

14 Time-Domain Effects     289

The Short Delays     291
Long Delays     298
Reverberation     300

15 Time and Pitch Manipulation     307

Speed-based Effects     308
Changing Pitch and Time Independently     312
Time and Pitch Cookbook     319

16 Noise Reduction     325

Noise Reduction Facts     325
Single-ended Processing     331
Noise Reduction Examples     336

17 Other Effects     341

Stereo Simulation     342
Other Phase-inversion Tricks     348
Modulation and Harmonics     353
Harmonic Exciters     356
Cookbook: Creating New Effects     358

18 The Mix     365

What a Mix Needs     366
Controlling levels     374
Putting Things in Perspective     377
Time-savers     385
Mixing Elsewhere     388
Layback     392

19 After the Mix     393

Testing the Track     393
Data Compression and Streaming     395
Release Formats     401
Afterword     404

Appendix A Glossary     409

Appendix B About the CD     417

Track Listing     417
Notes on the CD     423
Index     425


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©2002 Jay Rose 11