9781615931200

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

by
  • ISBN13:

    9781615931200

  • ISBN10:

    1615931201

  • Format: Paperback
  • Copyright: 9/1/2012
  • Publisher: Ingram Pub Services
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Summary

Ric Viers, author of The Sound Effects Bible, explains how to achieve Hollywood-quality sound that will make your productions stand out from the rest. From audio basics and microphone selection to the business side of show biz, this book takes you behind the scenes of Viers' work on feature films, television shows, broadcast news, courtroom dramas, and music videos. Book jacket.

Author Biography

Ric Viers, the world's largest independent producer of sound effects libraries, is known as the "Rock and Roll Professor of Sound." He has worked in the film and television industry for more than fifteen years. His location sound credits include hundreds of productions for nearly every major television network, Universal Studios, Dateline, Good Morning America, Disney, and many others.

Table of Contents

Acknowledgmentsp. xii
Forewordp. xiii
Prefacep. xv
What Is Location Sound?p. 1
Sound Basicsp. 5
Sound Wavesp. 5
Frequencyp. 6
Amplitudep. 7
Decibelsp. 7
Sound Pressure Levelp. 8
Signal Measurementp. 8
Amplitude Versus Volumep. 10
Phasep. 10
Echoes and Reverberationp. 11
Microphone Basicsp. 13
Dynamic Microphonesp. 13
Condenser Microphonesp. 14
Frequency Responsep. 16
Microphone Polar Patternsp. 18
On-Axis/Off-Axis Responsep. 19
Inverse Square Lawp. 20
Microphone Accessoriesp. 21
Shock Mountsp. 21
Wind Protectionp. 22
Rain Protectionp. 24
Microphones for Location Soundp. 25
Boom Microphonesp. 25
Lavalier Microphonesp. 30
Boundary Microphonesp. 32
Plant Micsp. 33
Handheld Microphonesp. 33
Lip Microphonesp. 34
Camera Microphonesp. 35
The All-Purpose Microphonep. 36
Microphone Placementp. 37
Boom Techniquesp. 45
The Boom Operatorp. 45
The Boom Polep. 47
The Booma Sutra (Booming Positions)p. 52
Boom Operationp. 57
Cueingp. 60
Mixing with the Boom Polep. 65
Lav Techniquesp. 67
Lav Perspectivesp. 67
Acoustical Challenges with Lavaliersp. 69
Hiding/Burying Lavsp. 69
3:1 Rulep. 70
Lav Placementp. 70
Double Mikingp. 71
People Skillsp. 72
Clothing Noisep. 72
Strain Reliefp. 74
Lav Connectorsp. 74
Colored Lavsp. 76
Mounting Techniquesp. 77
Mounting Accessoriesp. 81
Wind Protectionp. 83
Wireless Systemsp. 85
Why Use Wireless Mics?p. 85
Radio Wavesp. 86
Transmittersp. 89
Plug-On Transmitters/Cubesp. 92
Compandingp. 93
Receiversp. 93
Wireless Antennasp. 94
Digital Wireless Systemsp. 97
Batteriesp. 98
Wireless Hopsp. 99
Use Wireless Systems Sparinglyp. 100
Plant Mic Techniquesp. 103
Plant Mic Locationsp. 105
Plant Mic Mounting Techniquesp. 113
Microphone Selectionp. 115
General Guidelines for Choosing Micsp. 115
Sound Perspectivep. 117
Camera Angle Versus Camera Perspectivep. 118
The Boom's Perspectivep. 118
Traveling Dialogp. 119
Multi-Camera Perspectivep. 120
Signal Flowp. 121
The Logical Pathp. 121
The Physical Pathp. 124
Troubleshootingp. 132
Recordersp. 135
Digital Audiop. 135
File Formatsp. 138
Metadatap. 139
Digital Recordersp. 139
Two-Track Recordersp. 141
Recording to the Camerap. 142
Cameras with Multiple Channelsp. 146
Consumer Camerasp. 146
Multitrack Recorderp. 149
ISO Tracksp. 150
The Mix Trackp. 150
Track Assignmentp. 151
Media Deliveryp. 153
Metersp. 154
Calibrating Equipmentp. 155
What to Look for in a Professional Recorderp. 156
Backup Recordersp. 157
Syncp. 159
Single Systemp. 159
Double Systemp. 160
Double System Protocolp. 161
Sound Reports/Sound Logsp. 165
Prepping Audio For Postp. 169
Timecode - Be Prepared to be Confusedp. 170
Frame Ratesp. 170
Drop-Framep. 172
Record Runp. 174
Free Runp. 174
Setting up Timecodep. 175
Slates/Clapboardp. 177
Timecode Slatesp. 177
Wild Soundp. 179
Room Tonep. 180
Wild Tracksp. 180
Wild Sound Effectsp. 181
Voiceoversp. 182
Mixersp. 185
Types of Mixersp. 185
Mixer Basicsp. 188
Mixer Setupp. 203
Mixing Techniquesp. 205
Monitoringp. 209
Sound Qualityp. 209
Sound Levelsp. 209
Headphonesp. 212
Monitoring a Multitrack Recorderp. 218
Confidence Monitoringp. 219
The Boom Operator's Feedp. 220
Communicating with the Boom Operatorp. 222
Headphone Distributionp. 222
IFBp. 224
Comtekp. 227
Wireless Headphonesp. 228
Powerp. 229
Internal DC Powerp. 229
External DC Powerp. 230
External AC Powerp. 230
Only Use Fresh Batteries!p. 231
Rechargeable Batteriesp. 233
Battery Typesp. 234
Building a Sound Packagep. 237
Purchasing Gearp. 237
Working in the Fieldp. 240
Portabilityp. 242
Sound Bagsp. 242
Cases/Protecting Gearp. 247
Traveling with Gearp. 248
Gear Maintenancep. 249
Owning Gear Versus Renting Gearp. 250
The Ten Location Sound Commandmentsp. 255
Applicationsp. 291
One-Man Band Productionsp. 291
ENGp. 292
EFPp. 296
Feature Film Productionp. 297
When the Sound Mixer is the Sound Designerp. 299
The Sound Crewp. 299
Set Etiquettep. 305
Understanding the Role of the Sound Mixerp. 305
Film Setsp. 314
Know When to Cutp. 316
Working with the Talentp. 317
NDAsp. 319
The Business of Show Bizp. 321
Freelancingp. 323
Getting Hiredp. 324
Deal Memosp. 325
Ratesp. 326
Overtimep. 327
Turnaround Timep. 328
Half-Day Ratesp. 329
Travelp. 330
Working for "Credit"p. 331
Rental Ratesp. 332
Cancellationsp. 333
Billingp. 334
Collectionsp. 335
Firing a Clientp. 338
That's a Wrap!p. 341
Indexp. 344
About the Authorp. 355
Table of Contents provided by Ingram. All Rights Reserved.

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