Audio Post Production for Television and Film An introduction to technology and techniques 3rd Edition by Hilary Wyatt, Tim Amyes ISBN 1138459771 9781138459779

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ISBN 10: 1138459771 
ISBN 13: 9781138459779
Author: Hilary Wyatt, Tim Amyes

Previously titled Audio Post-production in Video and Film, this third edition has been completely revised and restructured to provide a step-by-step guide to the professional techniques used to shape a soundtrack through the production process. Covering sound for both film and television, this edition includes many of the practical techniques and shortcuts used by experienced editors and mixers. Part one explains the basics of audio post production – how audio is recorded, how sound and picture stay in sync, how audio can be exported from system to system, and how film and video technology works. Part two follows the path of production sound from its original recording right through to the final mix, and includes sections on editing sound with picture, dialogue, sound effects and music editing, how to run ADR and Foley record sessions, and mixing, using many practical examples. Audio Post Production for Television and Film is aimed at professionals already working in the industry, newcomers, students and those considering sound for film and television as a career – in fact anyone who wants an insight into current professional practices and a comprehensive overview of the sound post production process.

Audio Post Production for Television and Film An introduction to technology and techniques 3rd Table of contents:

Part 1 Audio Basics
Chapter 1 The evolution of audio post production
An overview
A little history: the development of technology and techniques
Where we are now: post production today
Chapter 2 Digital recording and processing
The digital audio process
Sampling rate and pulse code modulation
Quantizing level
Storing digital audio data
Compression
Buffers
Interconnecting between digital audio systems
Chapter 3 Synchronizing and controlling audio post production equipment
SMPTE/EBU timecode
Timecode and speed
Identification and labelling
Longitudinal timecode (LTC)
Vertical interval timecode (VITC)
Burnt-in timecode
MIDI timecode (MTC)
Controlling equipment through synchronization
Synchronization modes
The control of tape/film transports
Chapter 4 Audio transfers and file formats
Compression
Linear transfers
File transfers
File conversion software
Network systems
Chapter 5 Video, film and pictures
Film
Telecine
Video
Video compression
Film recording
Audio on video recorders
Viewing pictures in audio post production
Viewing images
Comparing film and video
Chapter 6 Film in audio post production
Film release
Conforming film
Film timecode
Sound on sprocketed film
Photographic film recording
Recording analogue optical soundtracks
Digital optical soundtracks
Part 2 The Post Production Process
Chapter 7 Post production workflows
Chapter 8 Recording audio for post production
Aims
Types of microphone
Mono and stereo recording
Microphone position
Using multiple microphones
Production mixing
Studio and field recorders
Identing and logging takes
Studio-based recording
Field/location recording
Chapter 9 Editing picture and sound
An overview
Non-linear editing
System configuration
Video resolution
The editing process
Logging the rushes
Digitizing sound and picture
Syncing sound and picture
Editing audio in the timeline
Audio tools
Outputting the audio edit
Spotting the soundtrack
Handing over to the sound editors
Chapter 10 The digital audio workstation
An overview
Digital audio editing
System configuration
Hard drives
Drive configurations
Working with picture
System requirements and interconnectivity
Audio editing tools
Mixing tools
Backing up
Setting up a tracklaying workspace
Choosing the right workstation for the job
Chapter 11 Preparing for the mix: editing production sound
Aims
The conform
Checking sync
Starting the dialogue edit
Boom or personal mic?
Handling twin/multiple-track material
Handling M/S recordings
Techniques for improving audio edits
Dialogue editing software
ADR spotting
ADR cue sheets
ADR spotting software
Attending the ADR session
Editing ADR
ADR fitting software
Splitting the dialogues for the mix
Crowd spotting
Attending the crowd session
Editing the crowd 
Chapter 12 Preparing for the mix: sound effects editing
Aims
Types of sound effect
Planning the tracklay
Sourcing sound effects
Starting the edit
Tracklaying for the surrounds
Tracklaying for the subs
Sound effects editing techniques
Sound effects plug-ins
Samplers and synthesizers
Presenting the tracks for the mix
Chapter 13 Post sync recording
Recording foley
Recording ADR
Crowd recording
Voice-over recording
Voice tracks for animation
ISDN (Integrated Switched Digital Network)
Chapter 14 Preparing for the mix: music
Aims
Types of music
Music and copyright
Planning the music
Sourcing music
Chapter 15 Monitoring and the environment
Monitoring loudspeakers
Stereo and multichannel sound
Acoustics and reverberation
Background noise
Workstation rooms
The importance of listening levels
Visual monitoring of recording levels
Chapter 16 Mixing and processing equipment
The mixing console
Types of mixing console
Inputs
Control of dynamics
Computerization of mixing operations
Chapter 17 The mix
Operation of the controller
Console automation
The virtual mix
Cue sheets
Mixing using DAWs
Mixing in surround
Compatible mixes for television
Layback
Music and Effects mixes
Delivery requirements
Chapter 18 The transmission and reproduction of audio post production material
The cinema chain
Digital television
Television transmission
Television chain – transmission
Metadata
Video on the web
Domestic video formats

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