Sound for Digital Video (2nd Ed)

Sound for DV
Tomlinson Holman
Outline
I. Introduction
Why this work is worth doing, who it is aimed at, general format of the book (case study method); relationship to Sound for Film and Television
Going to art house films shows trailers demonstrate difference between pix and snd: pix usually better, sound often sacrificed
Even on studio pix, pic dominates such as mono The Rules of Attraction
Scope of DV
Not just a tape format
Minimum standards for audio
This book covers from DV to DVCProHD, because audio is similar across all DV-based formats
Digitizing the world
Pros, cons
Digital Video
Basic digital: why?
Four dimensions of a sound track
Frequency range
Dynamic Range
Spatial capability
Time
Digital sound and the four dimensions
Features of DV format tapes
Further distinguishing features among the formats
Footprint
Single-speed vs. DV's SP and LP modes
Locked vs. unlocked audio sample rate
Time code
User's bits
PAL
Interchangeability
Conclusion
II. Production Sound, aka Location Sound, Original Sound Recording
A dedicated sound person
Location scouting
Coverage
Scene coverage: basic technique
Boom
Lav
Planted
What can be done with an on-camera microphone?
How to use the two channels
Items other than voice recorded during production sound
Basic acoustics of sound and microphones
Microphone types by method of transduction
Electrodynamic/electrostatic distinguished
Other, rarer types
Powering mics
Microphone types by polar pattern
Differences among mics due to polar pattern
Short form advice
The radio part of radio mics
Microphone accessories
Booms/fishpoles
Shock mounts
Windscreens
Pop suppression
Cries and Whispers (capturing loud and soft sound)
Recording Level parallels to early Cinematography
Cries and Whispers simultaneously
Multiple level controls in the chain
Another kind of overload distortion and how to avoid it
Case studies