Contents
The Four Dimensions of a Sound Track
Features of Digital Video Recording Formats
Chapter 2 Introduction to Digital Video
Some Basic Video for Audio People
Under- and Over-Cranked Camera
Locked versus Unlocked Audio Sample Rate
Chapter 3 Preproduction Planning
The First Big Step: A Dedicated Sound Person
Choosing a Sound and Camera Workflow
Setting Up the Recording Chain
Mixing Balanced and Unbalanced Connections
Chapter 4 Production Sound I: General Considerations
Scene Coverage and Microphone Technique
What Can Be Done with an On-Camera Microphone?
Other Items Recorded during Production Sound
Chapter 5 Production Sound II: Microphones
Differences Between Microphones Having Various Types of Polar Patterns
Chapter 6 Production Sound III: Dealing with the Output of Microphones
Recording Level Parallels to Early Cinematography
Multiple Level Controls in the Chain
Another Kind of Overload Distortion and How to Avoid It
Combining Features for Best Wind Performance
Streaming Transfers and File Transfers
Managing Double-System Recordings
PluralEyes and DualEyes to Autosync
Syncing by Hand with a Clapperboard Slate
If a Slate Wasn’t Used (What to Do in Case of Emergency)
Common Problems in Digital Audio File Transfers for Sound Accompanying Picture
What is Seen versus What is Heard: On-Screen versus Off-Screen
Fine Editing of Production Sound
Differences Between Picture and Sound Editing Systems
Processes Related Mainly to Level
Processes Related Mainly to Frequency
Combinations of Level and Frequency
Routing, and Limitations Caused by Routing
Chapter 11 Masters and Monitoring
Choice of Sound Format on Edit and Delivery Masters
Background on –20 versus –12 dBFS Reference Level
When You Can’t Calibrate with Test Signals
Best One-Size-Fits-All Approach
Mastering for DVD, Blu-ray, Digital Broadcast, and Digital Satellite Television