Index

Note: Bold page numbers refer to tables; italic page numbers refer to figures.

  • ABC 190

  • ADC (analog to digital converter) 6

  • Ader, Clemente 161

  • Advanced Authoring Format (AAF) 95–8

  • AI see artificial intelligence (AI)

  • AIFF (Audio Interchange File Format) 7–8, 72, 81–2

  • 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

  • ambisonic audio 161–7

  • 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 4, 5

    • defined 4

    • measurement 4

  • anachronistic sounds 32–3

  • analog recordings 2

    • digital conversion 6

  • 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 161–7

    • backing up 48–50

    • binaural 161–7

    • conforming 95–6, 96

    • Decibel Full Scale (dbFS) 5

    • Decibel True Peak (dbTP) 5

    • delivery formats for immersive experiences 168–70

    • exporting, for mix 96–8, 97

    • measuring 5

    • tips for mixing in your video editing suite 123–6

  • audio agencies 142

  • audio description: and access for blind and visually impaired audiences 184–9

    • beginning of 186

    • defined 185

    • sound storytelling and 185

    • workflow of 188–9

  • AudioEase 176

    • Altiverb 176

    • 360-Pan Suite 181

  • audio field mixers 62

  • audio file formats 7–8

    • AIFF (Audio Interchange File Format) 7

    • mp3 files (an MPEG compression) 7

    • WAV (Waveform Audio File Format) 7

  • Audio Network library 149, 155

  • audio recorders 60–1

  • audio slates 73–4

  • Audio-Technica: AKG K240 series 112

  • Aurora 3D sound technology 168–9

  • authenticity: and nonfiction storytelling 23

    • in sound 23–5

  • Avantone Power Cubes 113

  • AVID Pro-L 124

  • AVX Wireless MKE2 microphone 52, 53

  • Barco 168–9

  • Basecamp 13, 105

  • Bates, Tyler 152

  • “Beat the Street” 178

  • Bell, Alexander Graham 4, 161

  • Bennett, Nancy 166, 178

  • Beyerdynamic DT 880 112

  • Beyerdynamic DT 990 112

  • bi-directional microphones 56–7

  • Biewen, John 23, 62

  • “big room mix” 91

  • binaural audio 161–7

  • bit depth 7, 81

  • Blackmagic Design 177

  • blind and visually impaired audiences: access for 184–9

    • audio description for 184–9

  • Blue Skies 17

  • “body mic” 52–4

  • 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 66–7

  • budgeting for music 156–8

  • budgeting process: for documentary 90

    • key variables 88–9

    • for sound mixing 88–90

  • camera-mounted microphones 55–6

  • Captioned Film Act (1958) 190

  • captioning: and access for deaf and hearing impaired audiences 190–1

    • perspectives on, from deaf audiences 191–3

    • process 193

  • CaptiView system 191

  • cardioids 54–5

  • 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, 105–6

  • Collins, Michael 195

  • common audio deliverables 124–6

    • OTT 124–5

    • theatrical 124–5

    • typical assets to be delivered for network 124–5

  • communication 13–14, 105–6

  • composer: licensing music from 138

    • working with 153–5

  • Compulsory License 133

  • content creator: corporate 157

    • license definitions to know as 133–4

    • talent release and 139

  • Conti, Bill 136

  • Core Sound 163

  • Cornell University 132

  • costs: of music licenses 129–30

    • videos accessibility 196

  • creative process 105–6

  • crew (production): emotional preparation 42

    • preparing 42–4

    • technical preparation 42

  • 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 131–2

  • Federal Communications Commission (FCC) 186

  • feedback, providing 108–10

  • field audio 37

  • field microphones 51–7

  • field recording tools 57–63

    • audio field mixers 62

    • audio recorders 60–1

    • headphones 60

    • mobile phones microphones 57–8

    • parabolic dishes 58–9

    • sound blankets 63

  • file backups 101

  • file naming 71–4

  • Final Cut Pro X 96, 97

  • finalizing your mix 121–3, 122

  • First National Conference on Television for the Hearing Impaired 190

  • First Order Ambisonics 165

  • Flickr 33–4, 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 67–8

  • foreign language translations 194–6

  • Foster, Stephen 128

  • Foursquare 36

  • Frame io 13–14, 105, 106

  • “Franken-bytes” 23–4

  • frequency 3–4; 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, 36–7

  • Google Sheet 107

  • Google Street View 35

  • “Gotta Fly Now” 136

  • Guaragna, Salvatore Antonio see Warren, Harry

  • Guardians of the Galaxy 152

  • Gunn, James 152–3

  • 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

    • and sound recording 4

  • Heller, Kristina 179

  • Hertz 3, 4

  • Hertz, Heinrich Rudolf 3

  • Higher Order Ambisonics (HOA) 165, 166

  • Hinsen, Katie 191

  • Hulu 169

  • human voice: and microphone positioning 63–4

    • nonfiction storytelling through 63–5

    • overtones 3

    • recording 8

    • undertones 3

  • humor: and music score 18

  • Hussenot, Alexandra 179

  • Immersionn (VR exploration portal site) 179

  • immersive mix 175–8

  • immersive nonfiction storytelling 159

  • immersive platforms 167–8

  • immersive sound 159

    • nonfiction applications for 178–81

  • immersive technologies 159

  • in-camera microphones 54–5

  • instrumentation, and music scores 146–8

  • International Organization for Standardization (ISO) standards 73

  • International System of Units (SI) 3

  • interview: B-roll-Interview-B-roll strategy 39

    • and research 45

    • scheduling 41

    • timing 38–41

  • iTunes 169

  • iZotope 124

  • Jacobsen, Svenn 19

  • JFK 32

  • Jungle Punks 142

  • Kalin, Andrea 17

  • Katy Perry 136

  • Killer Tracks 155

  • Klover 59

  • Kontakt 118, 119

  • Kristof, Nicolas 189

  • lavalier microphones 52–4

  • 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 137–8

  • Lighthaus 178

  • lighting app 36–7

  • LightTrac 36

  • lip sync dubbing 195

  • live music: strategies for recording 68

  • live performances in video 136–7

  • live remote reviews 110–11

  • location scouting: digital tools 33

    • primary audio considerations for 28

    • for sound 28

  • location sound: authentic to key characters 30–2

    • and field microphones 51–7

    • and narrative arc 29–30

    • schedule adapting for 37

    • social media resources 36

    • to support setting as a character 29

    • technical planning 46–8

    • using map apps to plan for 35–6

    • see also sound

  • Location Sound Bible: How to Record Professional Dialog for Film and TV 51

  • loudness (LKFS) 5

  • Lucas, George 168

  • machine learning 162, 183, 191

  • Master Use License 134

  • Mechanical License 133–4

  • “media localization” 195

  • Men Without Hats 140

  • metadata 71–4

  • Metastage 179

  • meter: described 22

    • and pacing 22

  • microphones: bi-directional 56–7

    • camera-mounted 55–6

    • field 51–7

    • hiding 65

    • in-camera 54

    • lavalier 52–4

    • mobile phones 57–8

    • shotgun/boom 54–5

  • Midler, Bette 139

  • Mitchell, Elvis 153

  • mixers: audio field 62

    • choosing 85–7

  • mobile phones microphones 57–8

  • “Mod Squad” 190

  • Monday.com 105

  • monitoring your mix 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) 7–8, 43, 61, 73, 78, 81–2

  • multiple omni microphones 173

  • music: budgeting for 156–8

    • 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) 92–3

  • music licensing: budgets 142–3

    • cost of 129–30

    • important questions to answer before 134–5

    • intellectual property attorney and 142

    • music clearing agent and 142

    • tips on 142–3

  • music mix planning 98–100, 99–100

  • music rights: brief history of 127–8

    • cost of music licenses 129–30

    • fair use 131–2

    • types of 129

    • using agent or handling yourself 140–1

  • music scores 18

    • budgeting for music 156–8

    • choosing instrumentation 146–8

    • elements of strong 145–6

    • music as connective tissue 149–50

    • music as element of surprise 149

    • planning for 92–3

    • scoring to cut vs. cutting to score 152–3

    • strategies for selecting stock music 155–6

    • tips for 157–8

    • using rhythm in 148–9

    • workflow for creating music track 150–2

    • working with composer 153–5

  • music track, workflow for creating 150–2

  • narration 75

  • narrator: choosing 75–9

    • 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 7

  • nonfiction applications, for immersive sound 178–81

  • nonfiction storytelling 118

    • characters and location sound 30–2

    • immersive 159

    • sound edit and 114

    • and sound effects 27–8

    • technological changes and 159

    • through human voice 63–5; 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) 96–8

  • Open Street Map 35

  • organization: of audio in post production 93–4, 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 3

  • Ravenal, Cornelia 149

  • Reaper 175

  • recordings: analog 2, 6

    • Foley sound, in the field 67–8

    • human voice 8

    • live music, strategies for 68

    • wild sound, in the field 67–8

  • record sample rate 82

  • Red Book Audio 6

  • Red Tails 168

  • “Red Umbrella” moments 121, 126

  • Rendering and Mastering Unit (RMU) 172

  • research, and interview 45

  • Resonance Audio (software tool) 166

  • rhythm 145–7

    • music scores and 148–9

    • stories and 92

  • Right of Publicity: applies to voices 138–9

  • “Roar” 136

  • Rocky 136

  • Rode 56

    • NT-FS1 Ambisonic microphone 180

  • Rogosin, Josh 163

  • room tone 41–2

  • Rose, Jay 51

  • Rumble Fish 142

  • “Safety Dance” 140

  • sample rate 81

    • defined 6

    • measuring 6

  • 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 152–3

  • Screen Actors Guild 76

  • scripting, for sound 22–3

  • 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 54–5

  • signature sound 17

  • silence: importance of 67

    • and sound 20

  • 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 33–4, 35

  • Södersten, Mikael 149–50

  • Sony 60, 170, 191

  • sound: authenticity in 23–5

    • coverage in dialogue sequences 66

    • creation 2

    • and drama 18–19

    • finishing, steps in 9–10

    • and humor 17–18

    • location scouting for 28

    • on run—tricks and tools 70–1

    • sample 9

    • scouting tools and strategies 33

    • scripting for 22–3

    • and silence 20

    • and storytelling 1, 15–26

  • sound blankets 63

  • sound design 116–17

    • for archival footage 120

    • challenges of 24

    • choosing people for 85–7

    • tips for 125–6

    • use in storytelling 25

  • sound designer 85–7

  • sound devices 60, 62

  • sound edit 10, 114–15

  • sound effects 21–2

    • categories of 21

    • examples of 21

    • licensing 137–8

    • planning for 92–3

    • 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 9–11

  • steps in 9–10

  • tips for 125–6

  • sound mixers see mixers

  • Sound on Film Conference 170

  • Sound Pressure Level (SPL) 4

    • distance and 4

  • soundscapes 120; see also ambiances

  • Sound Shark 59

  • sound ups 64

  • sound waves: defined 2

    • graphic of 3

    • sources of 2

  • Source Connect 14, 106

  • Spartacus 117

  • Spat Flux 175

  • spatial audio 159–82

    • ambisonic audio 161–7

    • audio delivery formats for immersive experiences 168–70

    • audio differences between 2-D, surround, and immersive platforms 167–8

    • binaural audio 161–7

    • defined 159

    • Dolby Atmos® 170–3

    • gathering field assets for spatial mixing 173–5

    • immersive mix 175–8

    • nonfiction applications for immersive sound 178–81

    • tips 181–2

  • spatial mixing: gathering field assets for 173–5

  • speakers 111–14

  • spotting session 107–8

  • Stanton, John 191, 192

  • stock music: checking all versions 156

    • checking license agreement 156

    • endings matter 156

    • licensing 137–8

    • listening with headphones 155–6

    • making use of filters 155

    • pricing 155

    • searching by composer names 156

    • story arc, presence of 156

    • strategies for selecting 155–6

  • Stone, Oliver 32

  • storytelling: opportunities for 16–17

  • Streambox 14, 106

  • studio monitors 112

  • Subtitle Edit (online tool) 191

  • Sun Seeker 36

  • Sun Surveyor 36

  • surround sound 13, 30, 91, 167–8

  • sweetening and initial mix pass 115–16

  • Sync Licenses 134, 137

  • “sync” sound 2

  • talent releases 139, 141

  • Tascam 60–1

  • technical planning 46–8

  • tempo: described 22

    • and pacing 22

  • Tempo Media 193

  • tetrahedral microphones 163, 164, 166, 173–4

  • 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 167–8

  • UCLA Entertainment Law Review 193

  • undertones 3

  • United Nations-style dubbing 195–6

  • Universitat Autonoma de Barcelona, Barcelona, Spain 185

  • Urban, Karol 108

  • U.S. Copyright Act 131

    • Section 107 of 131

  • US Copyright Office 127

  • U.S. Department of Transportation 192

  • van den Boom, Anneliene 178

  • video: distribution platforms for 90–1

    • live performances in 136–7

  • video editing suite: tips for mixing audio in 123–6

  • videos accessibility: audio description for blind and visually impaired audiences 184–9

    • for blind and visually impaired audiences 184–9

    • captioning for deaf and hearing impaired audiences 190–1

    • captioning process 193

    • costs 196

    • making foreign language translations 194–6

    • notes from blind viewer 189

    • perspectives on captioning from deaf audiences 191–3

    • tips for accessibility 197

  • Vimeo 13, 14, 105, 128

  • visual social sharing tools 33–4, 35

  • voiceover narration: choosing narrator 75–9

    • management 80–4

    • preparing for narration session 79–80

  • voiceover professionals 79–80, 82

    • working with 82–3

  • voices, and Right of Publicity 138–9

  • Voices/Peace 20

  • Walmart 178

  • Warren, Harry 128

  • wav (Waveform Audio File Format) 7–8, 82

  • Waze 36–7

  • 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 2, 37, 38

    • described 38

    • recording, in the field 67–8

    • uses of 38

  • Wipster 13–14, 105, 126

  • Wolfe, Damion 146

  • word length 7

  • workflow for creating music track 150–2

  • World Health Organization 184, 190

  • “World Music” 147

  • WuDunn, Sheryl 189

  • Zaxcom 60

  • zoom 56–7, 60–1

  • ZYLIA: Ambisonics Converter Plugins 181

    • Studio PRO 181

    • ZM-1 3rd order ambisonics microphone 163

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