Patrick Winters

Sound Design for Low & No Budget Films

• Gebundenes Buch

Produktbeschreibung

Don't let your indie film be sabotaged by bad sound! One of the weakest technical aspects of a low or no-budget short or feature film is usually the sound, and in Sound Design for Low and No Budget Films, author Patrick Winters explains what filmmakers need to do to fix that. Learn how to improve the sound quality of your low-budget film with specific tools and practices for achieving a better soundtrack including detailed, step-by-step explanations of how to edit your production track, create a sound design, record and edit ADR, Foley and sound effects, music, and much more. Focusing on the essential details indie filmmakers need to know, Winters teaches you how to turn a thin and distracting sound track into one that makes your film shine.

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Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 262
• Erscheinungstermin: 24. Januar 2017
• Englisch
• Gewicht: 771g
• ISBN-13: 9781138214033
• ISBN-10: 1138214035
• Artikelnr.: 45160406

Autorenporträt

Patrick Winters has been working in sound design for 30 years and teaching sound design for 12 years. He has personal experience working on major motion pictures as well as creating his own short films, stretching minimal budgets to get the best sound tracks possible.

Inhaltsangabe

Table of Contents
Preface
Acknowledgments
1. Introduction
* Purpose
* Sound Definition
* Sound's Abilities
* Sound Supervisor
* Contracts, Agreements and Licenses
2. Location Sound: How Was That for Sound?
1. Common Mistakes
2. Single System
3. Double System
4. Timecode
5. Smart Slate
6. Boom and Lavaliere
7. Wired and Wireless
8. Wide Shots and Close-Ups
9. Two-plus Camera Set-Up
10. Exercise
11. Sample Sound Report Form
3. Sound Design
12. Defined
13. Introduction
14. Movie Examples
15. Recording
16. Creating
17. Editing and Processing
18. Mixing
19. Exercises
4. Dialogue Editing: It's Work, Not Magic
20. Introduction
21. Picture Lock
22. Collecting Materials
23. File Management
24. The Process
25. Cleaning
26. Smoothing
27. Editing
28. Split Tracks
29. Room Tone
30. Fixing Issues
31. Processing
32. Exercise
5. ADR: What Did They Say?
33. Introduction
34. Spotting
35. Microphones
36. Working with Actors
37. Production ADR Recording
38. Post-Production ADR Recording
39. Editing
40. Exercise
41. ADR Cue Sheet Form
6. Walla/Group /Loop Group/Group ADR/Rhubarb: Why Can't I Hear Them?
42. Introduction
43. Group Leaders
44. Research and Scripting
45. Walla
46. Specifics
47. Callouts
48. Efforts
49. Screams
50. Performing
51. Recording
52. Editing
53. Resources
54. Exercise
7. Narration: It Isn't Dialogue
55. Introduction
56. Purposes
57. Pre-Production
58. Recording
59. Editing
60. Processing
61. Exercise
8. Sound Effects: Creating Reality
62. Sound Effect Functions
63. Types of Sound Effects
64. The Grey Area (Foley and Sound Effects)
65. Production Sound Effects
66. Location Sound Effects
67. Custom-Recorded Sound Effects
68. Foley Sound Effects
69. Library Sound Effects
70. Spotting
71. Creating
72. Recording
73. Editing
74. Processing
75. Exercise
9. Foley: Who or What is Foley?
76. Foley History
77. Overview
78. Spotting and Cueing
79. Synchronized Recording
80. Microphones
81. Performance
82. Moves or Cloth
83. Specifics or Props
84. Pats and Grabs
85. Footsteps
86. Libraries
87. Editing
88. Sound Effect Resources
89. Exercise
10. Backgrounds: What's an Ambience, Atmosphere or Background?
* Introduction
* Spotting
* Production Sound
* Room Tone
* Recording
* Library
* Editing
* Layering
* Processing
* Exercise
11. Musical Score: In The Mood?
90. Introduction
91. Making Notes
92. Spotting Session
93. Cues
94. Hits or Hit Points
95. Tempo Map
96. Click Tracks and Guide Tracks
97. Temp Scores
98. Music Software
99. Scoring
100. Theme and Motif
101. Titles, Montage and Credits
102. Composing, Arranging, Orchestrating and Instrumentation
103. Recording Performance (Tracking)
104. Digital Music
105. GarageBand
106. Song Score, Pop Music and Source Music
107. Cue Packages
108. Bands
109. Musicals
110. Library Music: Hard Drives, CD's and Downloads
111. Editing
112. Stems
113. Mixing
114. Deliverables
115. Exercise
12. Mixing Myself Preparation
116. Introduction
117. Preparing Your Mixing Room
118. Reference Levels
119. Room Monitor Calibration
120. NLE or DAW
121. Mixing In-The-Box By Myself
122. Session Set-Up
123. Stereo, LCR or Surround?
13. Pre-Mixing or Predubbing and DSP
124. Introduction
125. Mixing Preparation
126. Track Layout
127. Virtual Mixing
128. Mix Tools
129. Levels
130. Gain Staging
131. Fades
132. Panning
133. Constant Gain or Constant Power
134. Equalization
135. Compression
136. Normalizing
137. Noise Gate
138. Expansion
139. Exciter
140. De-Esser
141. Noise Reduction
142. Reverberation and Delays
143. De-Verberation
144. Effects and Filters
145. Limiter
146. Premixing
147. Buses, Auxes, Sends and Returns
148. VCA Faders
149. Master Fader
150. Metering
151. Two Pops and Tail Pops
152. Dialogue and ADR PreMix
153. Foley Premix
154. Sound Effects Premix
155. Design Effects Premix
156. Backgrounds Premix
157. Music Premix
158. Temp Mix
14. Mixing Myself
159. Introduction
160. Set-Up
161. Getting Started
162. Dialogue First
163. ADR
164. Sound Effects
165. Ambiences
166. Foley
167. Music
168. DME Stems and M&E
169. Master Output
170. Quick and Dirty Mix
15. Studio Mix
171. Introduction
172. Mixer Interview
173. Mix Preparation
174. Premixes
175. Stems
176. Mixing
177. Run Through
178. Dialogue Mixing
179. Sound Effects Mixing
180. Foley Mixing
181. Ambience Mixing
182. Music Mixing
16. Deliverables
183. Introduction
184. Film
185. DCP
186. DVD/Blu-Ray
187. Streaming
188. Broadcast Television
189. Marketing
190. Archiving
17. Summary
191. Clean Production Sound
192. Creating Sound Design
193. Mixing
194. Conclusion
195. Internet Resources
Glossary
Bibliography
Index