Location Sound Bible How to Record Dialog for Your Production

ISBN-10: 1615931201
ISBN-13: 9781615931200
Edition: 2012
Authors: Ric Viers
List price: $26.95 Buy it from $21.44
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Book details

List price: $26.95
Copyright year: 2012
Publisher: Michael Wiese Productions
Publication date: 9/1/2012
Binding: Paperback
Pages: 426
Size: 6.00" wide x 9.25" long x 1.00" tall
Weight: 1.584
Language: English

Acknowledgments
Foreword
Preface
What Is Location Sound?
Sound Basics
Sound Waves
Frequency
Amplitude
Decibels
Sound Pressure Level
Signal Measurement
Amplitude Versus Volume
Phase
Echoes and Reverberation
Microphone Basics
Dynamic Microphones
Condenser Microphones
Frequency Response
Microphone Polar Patterns
On-Axis/Off-Axis Response
Inverse Square Law
Microphone Accessories
Shock Mounts
Wind Protection
Rain Protection
Microphones for Location Sound
Boom Microphones
Lavalier Microphones
Boundary Microphones
Plant Mics
Handheld Microphones
Lip Microphones
Camera Microphones
The All-Purpose Microphone
Microphone Placement
Boom Techniques
The Boom Operator
The Boom Pole
The Booma Sutra (Booming Positions)
Boom Operation
Cueing
Mixing with the Boom Pole
Lav Techniques
Lav Perspectives
Acoustical Challenges with Lavaliers
Hiding/Burying Lavs
3:1 Rule
Lav Placement
Double Miking
People Skills
Clothing Noise
Strain Relief
Lav Connectors
Colored Lavs
Mounting Techniques
Mounting Accessories
Wind Protection
Wireless Systems
Why Use Wireless Mics?
Radio Waves
Transmitters
Plug-On Transmitters/Cubes
Companding
Receivers
Wireless Antennas
Digital Wireless Systems
Batteries
Wireless Hops
Use Wireless Systems Sparingly
Plant Mic Techniques
Plant Mic Locations
Plant Mic Mounting Techniques
Microphone Selection
General Guidelines for Choosing Mics
Sound Perspective
Camera Angle Versus Camera Perspective
The Boom's Perspective
Traveling Dialog
Multi-Camera Perspective
Signal Flow
The Logical Path
The Physical Path
Troubleshooting
Recorders
Digital Audio
File Formats
Metadata
Digital Recorders
Two-Track Recorders
Recording to the Camera
Cameras with Multiple Channels
Consumer Cameras
Multitrack Recorder
ISO Tracks
The Mix Track
Track Assignment
Media Delivery
Meters
Calibrating Equipment
What to Look for in a Professional Recorder
Backup Recorders
Sync
Single System
Double System
Double System Protocol
Sound Reports/Sound Logs
Prepping Audio For Post
Timecode - Be Prepared to be Confused
Frame Rates
Drop-Frame
Record Run
Free Run
Setting up Timecode
Slates/Clapboard
Timecode Slates
Wild Sound
Room Tone
Wild Tracks
Wild Sound Effects
Voiceovers
Mixers
Types of Mixers
Mixer Basics
Mixer Setup
Mixing Techniques
Monitoring
Sound Quality
Sound Levels
Headphones
Monitoring a Multitrack Recorder
Confidence Monitoring
The Boom Operator's Feed
Communicating with the Boom Operator
Headphone Distribution
IFB
Comtek
Wireless Headphones
Power
Internal DC Power
External DC Power
External AC Power
Only Use Fresh Batteries!
Rechargeable Batteries
Battery Types
Building a Sound Package
Purchasing Gear
Working in the Field
Portability
Sound Bags
Cases/Protecting Gear
Traveling with Gear
Gear Maintenance
Owning Gear Versus Renting Gear
The Ten Location Sound Commandments
Applications
One-Man Band Productions
ENG
EFP
Feature Film Production
When the Sound Mixer is the Sound Designer
The Sound Crew
Set Etiquette
Understanding the Role of the Sound Mixer
Film Sets
Know When to Cut
Working with the Talent
NDAs
The Business of Show Biz
Freelancing
Getting Hired
Deal Memos
Rates
Overtime
Turnaround Time
Half-Day Rates
Travel
Working for "Credit"
Rental Rates
Cancellations
Billing
Collections
Firing a Client
That's a Wrap!
Index
About the Author

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