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| Acknowledgments | |
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| Introduction | |
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| About This Book and Audio Postproduction | |
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| How to Create a Great Soundtrack (in a Quarter of a Page) | |
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| Audio Basics | |
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| How Sound Works | |
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| Music-Sicle? | |
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| The Life of a Sound | |
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| Fast Pressure Changes are Heard as Sounds | |
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| Somewhat Slower Pressure Changes are Heard as Envelopes | |
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| Slow Changes of Pressure are Loudness | |
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| Echoes in Small Rooms | |
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| Very Slow Changes of Pressure are Weather | |
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| How Digital Audio Works | |
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| Why Digital? | |
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| Turning Analog to Digital | |
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| Audio Data Reduction | |
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| Audio on a Wire | |
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| Analog Wiring | |
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| Digital Wiring | |
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| Planning and Prepro | |
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| Planning for Sound | |
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| The Need for Sound | |
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| Think About The Overall Track | |
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| Elements of the Soundtrack | |
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| Spoken Words | |
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| Music | |
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| Sound Effects | |
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| Special Effects and Processing | |
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| The Layers of a Track | |
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| Budgeting, Scheduling, and Preproduction | |
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| Budgeting for Sound | |
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| Allow Time for Sound | |
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| Checking Locations | |
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| Production Sound | |
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| Microphones and Room Acoustics | |
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| About Microphones | |
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| Rooms and Recording | |
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| Production Mic Technique | |
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| What Kind of Mic to Use? | |
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| Using Boom Mics | |
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| Using Lavalieres | |
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| Controlling Wind Noise | |
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| Using Wireless | |
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| Room Tone | |
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| Production Recording | |
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| Getting Audio Into a Recorder | |
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| Camera Settings | |
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| Double System | |
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| Mixers and Preamps | |
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| Connecting to the Recorder | |
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| Adjusting the Volume | |
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| Recording Voice-Overs, ADR, and Effects | |
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| Engineering a Voice Recording | |
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| Directing The Voice-over | |
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| Recording Sound Effects | |
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| Postproduction | |
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| Postproduction Workflow | |
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| Linear and Nonlinear Editing | |
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| Postproduction Hardware | |
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| Monitoring | |
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| Computer Input/Output | |
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| The Mixer | |
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| Moving Signals Around the Editing Suite | |
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| Wiring The Postproduction Suite | |
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| Mixing -10 Dbv and +4 Dbu Equipment | |
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| Levels and Digitizing | |
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| Digital Audio Transfers | |
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| Digitizing Analog Signals | |
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| Metering and Lineup Tones | |
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| Synchronization | |
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| Editing Voices | |
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| The Right Tools for Editing Voice | |
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| Cutting in Silences | |
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| Sounds with Hard Attacks | |
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| Hearing Phonemes | |
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| Theatrical Film Dialog | |
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| The Tricks | |
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| Keeping Track of Sync | |
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| A Final Exercise | |
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| Working with Music | |
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| Deciding What Music You'll Need | |
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| Sources of Music | |
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| Selecting Music from a Library | |
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| Music Editing | |
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| Sound Effects | |
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| We Don't Need No Stinkin' Reality | |
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| Sources for Sound Effects | |
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| Choosing Effects | |
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| Placing Sound Effects | |
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| Processing | |
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| How any Effect can Wreck a Sound | |
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| When to Apply Processing | |
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| Equalizers | |
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| Compressors | |
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| Reverberation | |
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| Noise Reduction | |
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| Combining Effects | |
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| Learning More | |
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| The Mix | |
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| Setting up for the Mix | |
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| Preparing for Someone Else to Mix | |
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| After the Mix | |
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| The Last Thing You Should Do | |
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| "Help! It Doesn't Sound Right!" | |
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| Problems With On-Camera Dialog | |
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| Too Many Background Noises | |
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| Dialog Problems Introduced by the Recorder | |
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| Postproduction Audio Issues | |
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| Narration Problems | |
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| Computer Doesn't Play Audio Well | |
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| Editing Problems | |
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| Mix Problems | |
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| The Mix Sounded Great on the Desktop or Mixing Studio, but Bad on the Air or in the Conference Room | |
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| The Mix Proportions Were Right, but It Was Too Soft/Loud/Distorted on the Air | |
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| Some Elements Sound Fine in Stereo, but Disappear when the Tape Is Broadcast, Played on VHS, or Seen on the Web | |
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| Other Common Questions | |
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| Glossary | |
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| Resources | |
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| Organizations | |
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| CD Contents | |
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| Index | |