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| Preface | |
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| Basic Concepts | |
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| Digital Video Landscape | |
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| Minimum Standards for Audio | |
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| The Four Dimensions of a Sound Track | |
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| Digital Sound | |
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| Features of Digital Video Recording Formats | |
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| Introduction to Digital Video | |
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| Basic Digital | |
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| Some Basic Video for Audio People | |
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| Frame Rates | |
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| Interlaced Video | |
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| "Film" Look | |
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| Resolution and Aspect Ratio | |
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| Under- and Over-Cranked Camera | |
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| Operational Matters | |
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| Quality Modes and Codecs | |
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| Interchangeability | |
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| Off-Line/Online | |
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| Time Code | |
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| User Bits | |
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| PAL Formats | |
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| Locked versus Unlocked Audio Sample Rate | |
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| Instant Playback | |
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| Interconnecting Video | |
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| Conclusion | |
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| Preproduction Planning | |
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| The First Big Step: A Dedicated Sound Person | |
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| Location Scouting | |
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| Choosing a Sound and Camera Workflow | |
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| Single-System Recording | |
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| Double-System Recording | |
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| Testing Sync | |
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| Mic, Line, and Speaker Level | |
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| Reference Levels and Headroom | |
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| Setting Up the Recording Chain | |
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| Line Levels | |
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| Mixing Balanced and Unbalanced Connections | |
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| Production Sound I: General Considerations | |
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| Coverage | |
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| Scene Coverage and Microphone Technique | |
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| What Can Be Done with an On-Camera Microphone? | |
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| How to Use the Two Channels | |
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| Other Items Recorded during Production Sound | |
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| Microphone Accessories | |
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| Booms/Fishpoles | |
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| Shock Mounts | |
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| Windscreens | |
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| Pop Suppression | |
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| Case Studies | |
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| Mounting Lavs | |
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| Radio Mic Usage | |
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| Disposable Mics | |
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| Production Sound Example | |
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| Boom Operator's Job | |
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| Common Problems | |
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| Logging | |
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| DV Production Sound Log | |
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| Sound Kit Accessories | |
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| Production Sound II: Microphones | |
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| Power | |
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| Dynamic Microphones | |
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| Polar Patterns | |
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| Differences Between Microphones Having Various Types of Polar Patterns | |
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| The Radio Part of Radio Mies | |
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| Production Sound III: Dealing with the Output of Microphones | |
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| Recording Level Parallels to Early Cinematography | |
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| Cries | |
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| Whispers | |
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| Cries and Whispers | |
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| Multiple Level Controls in the Chain | |
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| Another Kind of Overload Distortion and How to Avoid It | |
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| Combining Features for Best Wind Performance | |
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| Media Management | |
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| What Counts as a Backup? | |
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| Types of Media | |
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| Streaming Transfers and File Transfers | |
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| Streaming Transfers | |
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| File Transfers | |
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| Audio File Formats | |
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| Managing Double-System Recordings | |
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| Syncing Footage | |
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| Time code Autosync | |
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| PluralEyes and DualEyes to Autosync | |
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| Syncing by Hand with a Clapperboard Slate | |
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| If a Slate Wasn't Used (What to Do in Case of Emergency) | |
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| Common Problems in Digital Audio File Transfers for Sound Accompanying Picture | |
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| Sound Design | |
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| Film Sound Styles | |
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| Realism | |
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| Stretched Reality | |
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| What is Seen versus What is Heard: On-Screen versus Off-Screen | |
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| Hyper-reality | |
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| Surrealism | |
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| Montage | |
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| Shifting Levels of Reality | |
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| Sound Design as an Art | |
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| Spotting | |
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| Editing | |
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| Non-Linear Editing | |
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| Random-Access Editing | |
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| Non-Destructive Editing | |
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| Visual Waveform Editing | |
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| Edits and Fade Files | |
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| File Management | |
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| How to Edit | |
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| Fine Editing of Production Sound | |
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| Stealing Presence | |
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| Where Presence Is Used | |
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| Documentary Considerations | |
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| Fixing Bumps | |
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| Sound Effects | |
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| Ambience/Backgrounds | |
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| Foley Effects | |
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| Cutting Music | |
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| Scene Changes | |
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| Plug-Ins/Processes | |
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| Tracks and Channels | |
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| Busses | |
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| Pan Pots | |
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| Solo/Mute | |
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| Grouping Tracks | |
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| Differences Between Picture and Sound Editing Systems | |
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| Picture-Sound Sync Resolution | |
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| Mixing | |
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| The Mixing Hourglass | |
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| Audio Processes | |
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| Processes Related Mainly to Level | |
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| Level Controls | |
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| Gain Staging | |
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| Hand Compression | |
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| Compression | |
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| Limiting | |
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| De-esser | |
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| Noise Gate | |
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| Downward Expander | |
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| Processes Related Mainly to Frequency | |
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| Equalization | |
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| Filters | |
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| Combinations of Level and Frequency | |
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| Time-Based Devices | |
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| Reverberation | |
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| Other Time-Based Effects | |
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| Other Plug-Ins | |
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| Panning | |
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| Routing, and Limitations Caused by Routing | |
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| Busses, Channels | |
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| Delay Compensation | |
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| Voice Limitation | |
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| How to Mix | |
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| Masters and Monitoring | |
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| Choice of Sound Format on Edit and Delivery Masters | |
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| Uses of Surround Sound | |
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| Mastering for Level | |
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| Background on -20 versus -12 dBFS Reference Level | |
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| Level Calibration | |
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| When You Can't Calibrate with Test Signals | |
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| Best One-Size-Fits-All Approach | |
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| Mastering for DVD, Blu-ray, Digital Broadcast, and Digital Satellite Television | |
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| Monitoring | |
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| Film versus Video Mixes | |
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| Index | |