Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
257
result(s) for
"Rose, Jay"
Sort by:
Producing great sound for film and video : expert tips from preproduction to final mix
\"Make your film and video projects sound as good as they look with this popular guide. Learn practical, timesaving ways to get better recordings, solve problems with existing audio, create compelling tracks, and boost your filmmaking to the next level! In this fourth edition of Producing Great Sound for Film and Video, audio guru Jay Rose revises his popular text for a new generation of filmmakers. You'll find real world advice and practical guidelines for every aspect of your soundtrack: planning and budgeting, field and studio recording, editing, sound effects and music, audio repair and processing, and mixing. The combination of solid technical information and a clear, step-by-step approach has made this the go-to book for producers and film students for over a decade. This new edition includes: - Insights and from-the-trenches tips from film and video professionals - Advice on how to get the best results from new equipment including DSLRs and digital recorders - Downloadable diagnostics and audio examples you can edit on your own computer - Instruction for dealing with new regulations for wireless mics and broadcast loudness - Techniques that work with any software or hardware - An expanded \"How Do I Fix This?\" section to help you solve problems quickly - An all new companion website (www.GreatSound.info) with audio and video tutorial files, demonstrations, and diagnostics Whether you're an aspiring filmmaker who wants rich soundtracks that entertain and move an audience, or an experienced professional looking for a reference guide, Producing Great Sound for Film and Video, Fourth Edition has the information you need\"-- Provided by publisher.
Book
Mixology methods
While your computer has only one mouse and can move only one on-screen slider at a time, most of us have plenty of fingers. So manufacturers developed hardware controllers, with multiple sliders and knobs that can be moved by different fingers simultaneously. Behringer's BCF-2000 is a simple one. While it's about as big as a laptop and costs less than $200, it can add real mixing control to most audio programs and many NLEs. The controls on it that look like a mixer are actually digital encoders. Each time you move one, the box sends that movement to the computer via USB, where a system-level driver sends it to the rubber bands and on-screen faders. When you play back - and here's the great part - the rubber bands talk back to the controller. Tiny motors move the faders, and duplicate what you've done with your fingers. This doesn't affect the sound, since there's no actual audio in the controller, but provides visual and tactile feedback. Many controllers have sliders for just eight tracks in their base configuration. Since a film can involve dozens of simultaneous tracks, these controllers use bank switches that assign the eight to different groups of tracks at a time. You can program all of the dialog, then move over on the \"console\" to adjust sound effects or scoring. Good audio software even lets you set up custom banks of track, group and master faders, all recallable from the controller. It's the modern equivalent of the old Hollywood practice of premixing, where all the dialog tracks would be mixed to one piece of magnetic film and all the sound effects to another, to simplify the final mix. Except there's no quality loss from multiple generations, and it's easy to go back to change a premix later. Even if you've got a control surface and lots of responsive faders under your fingers, there will be times your fingers haven't moved exactly the way you want them. You might have done an elaborate transition between two scenes perfectly, but missed where the picture dissolves by a few frames. Or you might want to adjust the level of just a single word or note. That's when it pays to remember that your software is really using control points on rubber-band volume lines, even if you're accessing them with virtual or real faders. Here are some techniques for fine-tuning those points.
Journal Article