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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 | |