By Jay Rose
Make your movie or video undertaking sound nearly as good because it appears to be like with this entire education direction by way of audio guru Jay Rose. You get hundreds of thousands undefined, real-world strategies so that you can hire from preproduction throughout the ultimate combine. it is a solution-oriented advisor with FAQs, how-tos, suggestions, and time savers.
You'll get a primer on how sound and electronic audio paintings in addition to technical setups, directions, and actual suggestions for:
* budgeting, scheduling, and preproduction planning
* microphones and room acoustics
* recording conversation, voice-overs, ADR, and effects
* postproduction hardware
* degrees and digitizing
* operating with song and sound effects
* generating the ultimate mix
New to this edition:
* details at the most modern cameras and box recorders
* offerings among unmarried- and double-system, and electronic workflows
* the variations among conventional video soundtracks and dialog-driven storytelling.
* Having hassle with the sound in your video undertaking? uncover the answer during this best-selling guide.
* comprises time-tested directions and suggestions that paintings it doesn't matter what or software program package deal you use
* The audio CD contains diagnostics, demos, and instructional tracks to hone your abilities.
Read Online or Download Producing Great Sound for Film and Video (3rd Edition) (DV Expert Series) PDF
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Extra resources for Producing Great Sound for Film and Video (3rd Edition) (DV Expert Series)
Sample text
Unfortunately, audio sources often extend beyond the Nyquist limit. Many good analog recordings, and even the live mics in broadcast stations, can carry sound above 17 kHz. When frequencies higher than Nyquist hit a digital input circuit, strange things start to happen. The signal gets combined with the sample frequency, and the mathe- Chapter 2 • How Digital Audio Works • 33 matical result implies additional signals that are unrelated to any musical harmonics. Any sine wave above Nyquist will simultaneously imply two aliases, which are other waves that could fit the same data.
At 6 dB per bit, a 7-bit signal has only a 42-dB range between the loudest and the softest sound possible—less than an AM radio broadcast. It would be unfair to compare this low-quality digital example with the finest audiophile equipment, so let’s level the playing field. Chapter 2 • How Digital Audio Works • 29 An analog system’s dynamic range is the difference between the loudest signal it can handle and the noise made by the system itself. 9. 10. 7. 9 Analog noise at −42 dB, a quality ambiguous, because the analog noise equivalent to 7-bit digital audio.
The playback system turns them all back into analog audio, creating a combination of squeaks and whistles accompanying the high frequencies. It isn’t pretty, as you can hear from the example on track 6 of the CD included in this book. The solution is to use an aliasing filter: a circuit that absolutely blocks any frequency higher than half the sample rate and doesn’t affect any frequency below it. With the input blocked above the Nyquist limit, there won’t be any aliases. The only problem is that a perfect filter like this can’t exist.