ABC 190
ADC (analog to digital converter)
Ader, Clemente 161
Advanced Authoring Format (AAF) 95–
AI see artificial intelligence (AI)
AIFF (Audio Interchange File Format) –, 72, 81–
Aiono, Alex 178
AKG K240 series 112
Alexander Graham Bell Association for the Deaf and Hard of Hearing 191
Amazon 186
Amazon Prime 169
Ambeo VR microphone 163, 164
ambiances: droning sound and 120
and hard effects 120
musical tone and 120; see also soundscapes
ambisonic audio 161–
AmbiX 167
American Council of the Blind 186
American Federation of Television and Radio Artists S(AG-AFTRA) 76
American Society of Composers, Authors and Publishers (ASCAP) 128, 133, 136
Americans with Disabilities Act 186
American University 132
amplitude ,
anachronistic sounds 32–
analog recordings
Any Given Sunday 59
APM Music 155
Aquarium of the Pacific 180
archival footage, designing sound for 120
artificial intelligence (AI) 162, 183, 191, 193, 196
The Art of Dungeons & Dragons 140
Asana 13, 105
ASCAP see American Society of Composers, Authors and Publishers (ASCAP)
Assis, Ana Monte 178
ATH R70x 112
Atlanta History Center 180
audio: ambisonic 161–
backing up 48–50
binaural 161–
conforming 95–, 96
Decibel Full Scale (dbFS)
Decibel True Peak (dbTP)
delivery formats for immersive experiences 168–70
exporting, for mix 96–, 97
measuring
tips for mixing in your video editing suite 123–
audio agencies 142
audio description: and access for blind and visually impaired audiences 184–
beginning of 186
defined 185
sound storytelling and 185
workflow of 188–
AudioEase 176
Altiverb 176
360-Pan Suite 181
audio field mixers 62
audio file formats –
AIFF (Audio Interchange File Format)
mp3 files (an MPEG compression)
WAV (Waveform Audio File Format)
Audio Network library 149, 155
audio recorders 60–
audio slates 73–
Audio-Technica: AKG K240 series 112
Aurora 3D sound technology 168–
authenticity: and nonfiction storytelling 23
Avantone Power Cubes 113
AVID Pro-L 124
AVX Wireless MKE2 microphone 52, 53
Barco 168–
Basecamp 13, 105
Bates, Tyler 152
“Beat the Street” 178
Bell, Alexander Graham , 161
Bennett, Nancy 166, 178
Beyerdynamic DT 880 112
Beyerdynamic DT 990 112
bi-directional microphones 56–
Biewen, John 23, 62
“big room mix” 91
binaural audio 161–
bit depth , 81
Blackmagic Design 177
blind and visually impaired audiences: access for 184–
audio description for 184–
Blue Skies 17
“body mic” 52–
Brave 169
British National Research Development Corporation 163
Broadcast Music, Inc. (BMI) 133, 136
broadcast platform 12
b-roll-interview-b-roll strategy 39
b-roll sound strategies 66–
budgeting for music 156–
budgeting process: for documentary 90
key variables 88–
for sound mixing 88–90
camera-mounted microphones 55–
Captioned Film Act (1958) 190
captioning: and access for deaf and hearing impaired audiences 190–
perspectives on, from deaf audiences 191–
process 193
CaptiView system 191
cardioids 54–
Carman, Robbie 11
Center for Media and Social Impact at American University 132
chamber music 91
Changa, Avinash 178
Chesapeake Film Festival 149
collaboration 13–14, 105–
Collins, Michael 195
common audio deliverables 124–
OTT 124–
theatrical 124–
typical assets to be delivered for network 124–
communication 13–14, 105–
composer: licensing music from 138
Compulsory License 133
content creator: corporate 157
license definitions to know as 133–
talent release and 139
Conti, Bill 136
Core Sound 163
Cornell University 132
costs: of music licenses 129–30
creative process 105–
crew (production): emotional preparation 42
preparing 42–
technical preparation 42
Dante sound card 164
DaVinci Resolve 105, 177
DAW see Digital Audio Workstation (DAW)
dbFS see Decibel Full Scale (dbFS)
dbTP see Decibel True Peak (dbTP)
deaf and hearing impaired audiences: access for 190–
captioning and 190–
perspectives on captioning from 191–
DeBoy, David 178
Decibel Full Scale (dbFS)
decibels (dbs)
Decibel True Peak (dbTP)
Design for the Edges: Video for the Blind and Deaf 191
designing sound for archival footage 120
dialogue sequences, sound coverage in 66
digital aliasing ,
Digital Audio Workstation (DAW) 97, 110, 164, 172, 175, 181
digital file formats –
Digital Millennium Copyright Act (DMCA) 135–
digital sound
distribution platforms: “mono-compatible” mix for 90
DMCA see Digital Millennium Copyright Act (DMCA)
documentary 89
budgeting and planning stages for 90
Dolby Atmos® 30, 110, 160, 168–, 170–, 176, 178, 180
Dolby Laboratories 170, 191
Dolby Vision® 110, 177
drama, and sound 18–19
Du Velger Selv/It’s Up to You 19
Edit Decision List (EDL) 97
Elias, Jonathan 149
environmental noise 113
Epidemic Sound library 157
Errors and Omissions Insurance (E&O) 141
European Union 138
Evans, Dave 193
EW112P G4 microphone 53
Fab-Filter Compressors 124
Fab-Filter EQ 124
Facebook 167, 181, 191
Facebook 360 tools 172, 175, 180
Fairlight audio (Blackmagic Design) 177
fair use doctrine 131–
Federal Communications Commission (FCC) 186
feedback, providing 108–10
field audio 37
field microphones 51–
field recording tools 57–63
audio field mixers 62
audio recorders 60–
headphones 60
mobile phones microphones 57–
parabolic dishes 58–
sound blankets 63
file backups 101
file naming 71–
Final Cut Pro X 96, 97
finalizing your mix 121–, 122
First National Conference on Television for the Hearing Impaired 190
First Order Ambisonics 165
Flickr 33–, 35
Flux by Spat (software tool) 164
Focal Spirit Professionals 112
Foley, Jack 117
Foley Artists 117
Foley libraries 118
Foley sound 11, 117–19, 118
recording, in the field 67–
foreign language translations 194–
Foster, Stephen 128
Foursquare 36
Frame io 13–14, 105, 106
“Franken-bytes” 23–
frequency –; see also pitch
Friends 17
Froenhoffer 170
Fruchtman, Rob 149
Furse-Malham or FuMa (protocol) 167
Gallaudet College, Gallaudet University 190
Gallaudet University 190
Gerzon, Michael 163
The Girl Effect 148
Gomes, Michele 20
Go Mic Mobile wireless system 58
Google 105, 166, 181
Google Maps 35, 36–
Google Sheet 107
Google Street View 35
“Gotta Fly Now” 136
Guaragna, Salvatore Antonio see Warren, Harry
Guardians of the Galaxy 152
Gunn, James 152–
Hahn, Todd 145, 154
Half the Sky: Turning Oppression into Opportunity for Women Worldwide (documentary film) 189
Half the Sky: Turning Oppression into Opportunity for Women Worldwide (Kristof and WuDunn) 189
Halo 176
Harpex software 175
HDR 177
HDR-10 177
headphones 60, 111–14
Heller, Kristina 179
Hertz ,
Hertz, Heinrich Rudolf
Higher Order Ambisonics (HOA) 165, 166
Hinsen, Katie 191
Hulu 169
human voice: and microphone positioning 63–
nonfiction storytelling through 63–
overtones
recording
undertones
humor: and music score 18
Hussenot, Alexandra 179
Immersionn (VR exploration portal site) 179
immersive mix 175–
immersive nonfiction storytelling 159
immersive platforms 167–
immersive sound 159
nonfiction applications for 178–81
immersive technologies 159
in-camera microphones 54–
instrumentation, and music scores 146–
International Organization for Standardization (ISO) standards 73
International System of Units (SI)
interview: B-roll-Interview-B-roll strategy 39
and research 45
scheduling 41
timing 38–41
iTunes 169
iZotope 124
lavalier microphones 52–
Leebaert, Melissa 77
Leone, Sergio 153
Let the Fire Burn 18, 29
Levinson, Adam 162
licensing: music (see music licensing)
music from composer 138
stock music and sound effects 137–
Lighthaus 178
lighting app 36–
LightTrac 36
lip sync dubbing 195
live music: strategies for recording 68
live performances in video 136–
live remote reviews 110–11
location scouting: digital tools 33
primary audio considerations for 28
for sound 28
location sound: authentic to key characters 30–
and field microphones 51–
and narrative arc 29–30
schedule adapting for 37
social media resources 36
to support setting as a character 29
technical planning 46–
using map apps to plan for 35–
see also sound
Location Sound Bible: How to Record Professional Dialog for Film and TV 51
loudness (LKFS)
Lucas, George 168
machine learning 162, 183, 191
Master Use License 134
Mechanical License 133–
“media localization” 195
Men Without Hats 140
metadata 71–
Metastage 179
meter: described 22
microphones: bi-directional 56–
camera-mounted 55–
field 51–
hiding 65
in-camera 54
lavalier 52–
mobile phones 57–
shotgun/boom 54–
Midler, Bette 139
Mitchell, Elvis 153
mixers: audio field 62
mobile phones microphones 57–
“Mod Squad” 190
Monday.com 105
monitoring your mix 111–14
headphones 111–14
playback 111–14
speakers 111–14
“mono-compatible” mix 90
“The Monster Mash” 140
Morgan, Nate 149
Morricone, Ennio 153
Mouthan, Benny 107
Moving Stories 149
MPEG-H 170
mp3 files (an MPEG compression) –, 43, 61, 73, 78, 81–
multiple omni microphones 173
music: budgeting for 156–
chamber 91
as connective tissue 149–50
copyright holder and publisher 133
as element of surprise 149
live 68
stock (see stock music)
Music and Effects track (M&E track) 92–
music licensing: budgets 142–
cost of 129–30
important questions to answer before 134–
intellectual property attorney and 142
music clearing agent and 142
tips on 142–
music mix planning 98–100, 99–100
music rights: brief history of 127–
cost of music licenses 129–30
fair use 131–
types of 129
using agent or handling yourself 140–
music scores 18
budgeting for music 156–
choosing instrumentation 146–
elements of strong 145–
music as connective tissue 149–50
music as element of surprise 149
planning for 92–
scoring to cut vs. cutting to score 152–
strategies for selecting stock music 155–
tips for 157–
using rhythm in 148–
workflow for creating music track 150–
working with composer 153–
music track, workflow for creating 150–
narration 75
creative decisions regarding 78
session, preparing for 79–80
tips for 83–
voiceover (see voiceover narration)
narrator: choosing 75–
preparing for narration session 79–80
Næss, Kajsa 19
National Bureau of Standards 190
National Federation of the Blind 184
Netflix 169, 186
Nike Foundation 148
noise floor
nonfiction applications, for immersive sound 178–81
nonfiction storytelling 118
characters and location sound 30–
immersive 159
sound edit and 114
and sound effects 27–
technological changes and 159
through human voice 63–; see also storytelling
nonprofit organizations 140
notes 108–10
from blind viewer 189
collaboration 109–10
Nuendo 175, 180
Nugen 176
Oculus Rift 178
Once Upon a Time in the West 153
Open Media Framework (OMF) 96–
Open Street Map 35
organization: of audio in post production 93–, 94
of clips 95
of sound files 10
O’Rourke, Beto 144
Osder, Jason 18
Outini, Itto 189
Outlook 105
Over the Top (OTT) platform 12
overtones
pacing 22
parabolic dishes 58–
Performing Rights Organization (PRO) 133
“Peter and the Wolf” 147
The Phantom of the Opera 117
Photo Pills 36
piano 146, 148
Picket, Bobby 140
pitch –; see also frequency
Pixar 169
playback 111–14
post-production (audio) –10, 28, 32, 38, 71–, 179, 181
budget and scheduling 88–90
distribution platforms 90–
organization 93–
planning music mix 98–100
spotting session 107
pre-interviews: conducting 44–
importance of 45
and storytelling 44
Premium Beat 155
PRO see Performing Rights Organization (PRO)
Producing Great Sound for Film and Video 51
Prokofiev, Sergei 147
Pro Tools 172, 175, 180–
“P&W” (Pension & Welfare) 76
Ravenal, Cornelia 149
Reaper 175
recordings: analog ,
Foley sound, in the field 67–
human voice
live music, strategies for 68
wild sound, in the field 67–
record sample rate 82
Red Book Audio
Red Tails 168
“Red Umbrella” moments 121, 126
Rendering and Mastering Unit (RMU) 172
research, and interview 45
Resonance Audio (software tool) 166
rhythm 145–
music scores and 148–
stories and 92
Right of Publicity: applies to voices 138–
“Roar” 136
Rocky 136
Rode 56
NT-FS1 Ambisonic microphone 180
Rogosin, Josh 163
room tone 41–
Rose, Jay 51
Rumble Fish 142
“Safety Dance” 140
sample rate 81
Samson 58
Samsung 181
SAP track see Secondary Audio Programming (SAP) track
Saving Sea Turtles 20
Sax, Wendy 149
Scattering CJ 17, 108
Scene on Radio 23
scheduling, of sound team 88–90
“Schindler’s List” 145
scoring to cut vs. cutting to score 152–
Screen Actors Guild 76
scripting, for sound 22–
Seavey, Nina Gilden 109
Secondary Audio Programming (SAP) track 185
Second Order Ambisonics 165
Sennheiser 52, 53, 53, 56, 60, 163, 179
SESAC 133
shotgun/boom microphones 54–
signature sound 17
silence: importance of 67
Six Degrees of Freedom (SDOF VR) 159
Sixth Order Ambisonics 165
Skype 110
Slack 14, 105
Slagle, Kelley 140
Snyder, Joel 185
social media location sound resources 36
social sharing tools 33–, 35
Södersten, Mikael 149–50
Sony 60, 170, 191
sound: authenticity in 23–
coverage in dialogue sequences 66
creation
and drama 18–19
finishing, steps in –10
and humor 17–18
location scouting for 28
on run—tricks and tools 70–
sample
scouting tools and strategies 33
scripting for 22–
and silence 20
and storytelling , 15–26
sound blankets 63
sound design 116–17
for archival footage 120
challenges of 24
choosing people for 85–
tips for 125–
use in storytelling 25
sound designer 85–
sound devices 60, 62
sound edit 10, 114–15
sound effects 21–
categories of 21
examples of 21
licensing 137–
planning for 92–
and storytelling 21
sound environments: challenging 69–70
extremely loud people 70
filming off-speed 69
sensitive situations 69–70
windy situations 70
working with children 69
sound libraries 25
sound mix –11
steps in –10
tips for 125–
sound mixers see mixers
Sound on Film Conference 170
Sound Pressure Level (SPL)
soundscapes 120; see also ambiances
Sound Shark 59
sound ups 64
sound waves: defined
Source Connect 14, 106
Spartacus 117
Spat Flux 175
spatial audio 159–82
ambisonic audio 161–
audio delivery formats for immersive experiences 168–70
audio differences between 2-D, surround, and immersive platforms 167–
binaural audio 161–
defined 159
Dolby Atmos® 170–
gathering field assets for spatial mixing 173–
immersive mix 175–
nonfiction applications for immersive sound 178–81
tips 181–
spatial mixing: gathering field assets for 173–
speakers 111–14
spotting session 107–
Stanton, John 191, 192
stock music: checking all versions 156
checking license agreement 156
endings matter 156
licensing 137–
listening with headphones 155–
making use of filters 155
pricing 155
searching by composer names 156
story arc, presence of 156
strategies for selecting 155–
Stone, Oliver 32
storytelling: opportunities for 16–17
and playback environments 11
and pre-interviews 44
and sound , 15–26
and sound effects 21; see also nonfiction storytelling
Streambox 14, 106
studio monitors 112
Subtitle Edit (online tool) 191
Sun Seeker 36
Sun Surveyor 36
surround sound 13, 30, 91, 167–
sweetening and initial mix pass 115–16
Sync Licenses 134, 137
“sync” sound
talent releases 139, 141
Tascam 60–
technical planning 46–
tempo: described 22
Tempo Media 193
tetrahedral microphones 163, 164, 166, 173–
TetraMic 163
“theatrical” dubbing 195
théâtrophone 161, 161
Third Order Ambisonics 165
360 Reality Audio system 170
timed narration 196
Ting, Jenny 20
Tin Pan Alley 128
Tom Waits v. Frito Lay, Inc. 139
T-Pain 178
transitional effects 121
Trello 13, 105
Trello Board 105, 106, 107
2-D technology 167–
UCLA Entertainment Law Review 193
undertones
United Nations-style dubbing 195–
Universitat Autonoma de Barcelona, Barcelona, Spain 185
Urban, Karol 108
U.S. Copyright Act 131
US Copyright Office 127
U.S. Department of Transportation 192
van den Boom, Anneliene 178
video: distribution platforms for 90–
live performances in 136–
video editing suite: tips for mixing audio in 123–
videos accessibility: audio description for blind and visually impaired audiences 184–
for blind and visually impaired audiences 184–
captioning for deaf and hearing impaired audiences 190–
captioning process 193
costs 196
making foreign language translations 194–
notes from blind viewer 189
perspectives on captioning from deaf audiences 191–
tips for accessibility 197
Vimeo 13, 14, 105, 128
visual social sharing tools 33–, 35
voiceover narration: choosing narrator 75–
management 80–
preparing for narration session 79–80
voiceover professionals 79–80, 82
voices, and Right of Publicity 138–
Voices/Peace 20
Walmart 178
Warren, Harry 128
wav (Waveform Audio File Format) –, 82
Waze 36–
Weber, Mark 59, 68
Weisel, Eli 145
WeMakeVR 178, 179
“Why Movie and Television Producers Should Stop Using Copyright as an Excuse Not to Caption Song Lyrics” 193
wild sound , 37, 38
described 38
recording, in the field 67–
uses of 38
Wipster 13–14, 105, 126
Wolfe, Damion 146
word length
workflow for creating music track 150–
World Health Organization 184, 190
“World Music” 147
WuDunn, Sheryl 189
YouTube 128, 136–, 157, 167, 181, 191
Zaxcom 60
zoom 56–, 60–
ZYLIA: Ambisonics Converter Plugins 181
Studio PRO 181
ZM-1 3rd order ambisonics microphone 163