The Location Sound Bible

by Viers, Ric

• ISBN13: 9781615931200
• ISBN10: 1615931201
• eBook ISBN(s): 9781615931460
• Format: Paperback
• Copyright: 2012-09-01
• Publisher: Michael Wiese Productions
• More Book Details
• Purchase Benefits

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

Acknowledgments	p. xii
Foreword	p. xiii
Preface	p. xv
What Is Location Sound?	p. 1
Sound Basics	p. 5
Sound Waves	p. 5
Frequency	p. 6
Amplitude	p. 7
Decibels	p. 7
Sound Pressure Level	p. 8
Signal Measurement	p. 8
Amplitude Versus Volume	p. 10
Phase	p. 10
Echoes and Reverberation	p. 11
Microphone Basics	p. 13
Dynamic Microphones	p. 13
Condenser Microphones	p. 14
Frequency Response	p. 16
Microphone Polar Patterns	p. 18
On-Axis/Off-Axis Response	p. 19
Inverse Square Law	p. 20
Microphone Accessories	p. 21
Shock Mounts	p. 21
Wind Protection	p. 22
Rain Protection	p. 24
Microphones for Location Sound	p. 25
Boom Microphones	p. 25
Lavalier Microphones	p. 30
Boundary Microphones	p. 32
Plant Mics	p. 33
Handheld Microphones	p. 33
Lip Microphones	p. 34
Camera Microphones	p. 35
The All-Purpose Microphone	p. 36
Microphone Placement	p. 37
Boom Techniques	p. 45
The Boom Operator	p. 45
The Boom Pole	p. 47
The Booma Sutra (Booming Positions)	p. 52
Boom Operation	p. 57
Cueing	p. 60
Mixing with the Boom Pole	p. 65
Lav Techniques	p. 67
Lav Perspectives	p. 67
Acoustical Challenges with Lavaliers	p. 69
Hiding/Burying Lavs	p. 69
3:1 Rule	p. 70
Lav Placement	p. 70
Double Miking	p. 71
People Skills	p. 72
Clothing Noise	p. 72
Strain Relief	p. 74
Lav Connectors	p. 74
Colored Lavs	p. 76
Mounting Techniques	p. 77
Mounting Accessories	p. 81
Wind Protection	p. 83
Wireless Systems	p. 85
Why Use Wireless Mics?	p. 85
Radio Waves	p. 86
Transmitters	p. 89
Plug-On Transmitters/Cubes	p. 92
Companding	p. 93
Receivers	p. 93
Wireless Antennas	p. 94
Digital Wireless Systems	p. 97
Batteries	p. 98
Wireless Hops	p. 99
Use Wireless Systems Sparingly	p. 100
Plant Mic Techniques	p. 103
Plant Mic Locations	p. 105
Plant Mic Mounting Techniques	p. 113
Microphone Selection	p. 115
General Guidelines for Choosing Mics	p. 115
Sound Perspective	p. 117
Camera Angle Versus Camera Perspective	p. 118
The Boom's Perspective	p. 118
Traveling Dialog	p. 119
Multi-Camera Perspective	p. 120
Signal Flow	p. 121
The Logical Path	p. 121
The Physical Path	p. 124
Troubleshooting	p. 132
Recorders	p. 135
Digital Audio	p. 135
File Formats	p. 138
Metadata	p. 139
Digital Recorders	p. 139
Two-Track Recorders	p. 141
Recording to the Camera	p. 142
Cameras with Multiple Channels	p. 146
Consumer Cameras	p. 146
Multitrack Recorder	p. 149
ISO Tracks	p. 150
The Mix Track	p. 150
Track Assignment	p. 151
Media Delivery	p. 153
Meters	p. 154
Calibrating Equipment	p. 155
What to Look for in a Professional Recorder	p. 156
Backup Recorders	p. 157
Sync	p. 159
Single System	p. 159
Double System	p. 160
Double System Protocol	p. 161
Sound Reports/Sound Logs	p. 165
Prepping Audio For Post	p. 169
Timecode - Be Prepared to be Confused	p. 170
Frame Rates	p. 170
Drop-Frame	p. 172
Record Run	p. 174
Free Run	p. 174
Setting up Timecode	p. 175
Slates/Clapboard	p. 177
Timecode Slates	p. 177
Wild Sound	p. 179
Room Tone	p. 180
Wild Tracks	p. 180
Wild Sound Effects	p. 181
Voiceovers	p. 182
Mixers	p. 185
Types of Mixers	p. 185
Mixer Basics	p. 188
Mixer Setup	p. 203
Mixing Techniques	p. 205
Monitoring	p. 209
Sound Quality	p. 209
Sound Levels	p. 209
Headphones	p. 212
Monitoring a Multitrack Recorder	p. 218
Confidence Monitoring	p. 219
The Boom Operator's Feed	p. 220
Communicating with the Boom Operator	p. 222
Headphone Distribution	p. 222
IFB	p. 224
Comtek	p. 227
Wireless Headphones	p. 228
Power	p. 229
Internal DC Power	p. 229
External DC Power	p. 230
External AC Power	p. 230
Only Use Fresh Batteries!	p. 231
Rechargeable Batteries	p. 233
Battery Types	p. 234
Building a Sound Package	p. 237
Purchasing Gear	p. 237
Working in the Field	p. 240
Portability	p. 242
Sound Bags	p. 242
Cases/Protecting Gear	p. 247
Traveling with Gear	p. 248
Gear Maintenance	p. 249
Owning Gear Versus Renting Gear	p. 250
The Ten Location Sound Commandments	p. 255
Applications	p. 291
One-Man Band Productions	p. 291
ENG	p. 292
EFP	p. 296
Feature Film Production	p. 297
When the Sound Mixer is the Sound Designer	p. 299
The Sound Crew	p. 299
Set Etiquette	p. 305
Understanding the Role of the Sound Mixer	p. 305
Film Sets	p. 314
Know When to Cut	p. 316
Working with the Talent	p. 317
NDAs	p. 319
The Business of Show Biz	p. 321
Freelancing	p. 323
Getting Hired	p. 324
Deal Memos	p. 325
Rates	p. 326
Overtime	p. 327
Turnaround Time	p. 328
Half-Day Rates	p. 329
Travel	p. 330
Working for "Credit"	p. 331
Rental Rates	p. 332
Cancellations	p. 333
Billing	p. 334
Collections	p. 335
Firing a Client	p. 338
That's a Wrap!	p. 341
Index	p. 344
About the Author	p. 355
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