Previously titled Audio Post-production in Video and Film, this third edition has been completely revised and restructured to provide a step-by-step guide to the professional techniques used to shape a soundtrack through the production process. Covering sound for both film and television, this edition includes many of the practical techniques and shortcuts used by experienced editors and mixers.
Part one explains the basics of audio post production - how audio is recorded, how sound and picture stay in sync, how audio can be exported from system to system, and how film and video technology works. Part two follows the path of production sound from its original recording right through to the final mix, and includes sections on editing sound with picture, dialogue, sound effects and music editing, how to run ADR and Foley record sessions, and mixing, using many practical examples.
Audio Post Production for Television and Film is aimed at professionals already working in the industry, newcomers, students and those considering sound for film and television as a career - in fact anyone who wants an insight into current professional practices and a comprehensive overview of the sound post production process.
Hilary Wyatt is a freelance Dialogue Supervisor and Sound Effects Editor. She began her career in 1987, creating sound effects and editing music for a number of long running British 'cult' animation series. Since then Hilary has worked as a Sound Effects Editor on a wide range of productions including commercials, documentary, drama and feature films. In 1999 she supervised the dialogues on the British gangster film 'Sexy Beast', and has since as worked as Dialogue Supervisor on a number of British and American features. Recent credits include 'Jojo In the Stars'(Animation) 'Dr Zhivago' (TV) 'Bright Young Things', 'Dear Frankie'and 'White Noise'. Tim Amyes has many years experience in post-production, covering the whole production chain. As well as being a former sound supervisor at Scottish Television, Tim has worked at two other companies in the British ITV network, both as a sound recordist and dubbing mixer. He has been involved in industry training from the start, serving as one of the original members of Skillset, which was set-up to provide training standards (NVQs) for the UK television and film industries. He has also served on both national industry and union training committees, and advised on the recent Scottish Screen/BFI publication An Introduction to Film Language. Currently Tim Amyes lectures in audio, produces specialist corporate videos, and writes, having sold documentary scripts to both the BBC and ITV. A keen film enthusiast, he is a past member of the Scottish Film Archive's advisory committee.
Introduction; The evolution of audio post production; Digital recording and processing; Synchronizing and controlling audio post production equipment; Audio transfers and file formats; Video, film and pictures; Film in audio post production; Post production workflows; Recording audio for post-production; Editing picture and sound; The Digital audio workstation; Preparing for the mix: editing production sound; Preparing for the mix: sound effects editing; Post sync recording; Preparing for the mix: music; Monitoring and the environment; Mixing and processing equipment; The mix; The Transmission and reproduction of audio post-production material; Glossary