Download PDF by Jay Rose, C.A.S (Auth.): Audio Postproduction for Film and Video

By Jay Rose, C.A.S (Auth.)

ISBN-10: 0240809718

ISBN-13: 9780240809717

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They’re unobtrusive, and can provide excellent isolation. But making them accurate requires careful engineering (and often, custom molding for the user’s ear), so good ones are expensive. Monitor Switching Any good studio recording console has a mono test switch, which temporarily combines the stereo channels and routes them to both speakers. This is essential because phase problems can make parts of a mix sound hollow, or even disappear completely, for mono listeners. A few programs have a similar mono test feature in software.

And the cases are made out of denser, more rigid materials. 6 “Dot-one” isn’t a marketing handle or version number. It’s actually the decimal fraction “point one”: the Nyquist Limit (see Chapter 1) says bass frequencies need a much lower sampling rate than the other channels, so they use only 1/10th the data. Monitoring Learn to trust your ears. Assemble a CD with some well-recorded but unprocessed dialog in various voices, some music typical of the kind you use in productions, and a few sections of good voice-music mixes from films you respect.

8 This obviously isn’t practical in an audience situation. 7 Standard ITU surround layout. 8. (The room is symmetrical, so I drew only one side. ) Since the front speakers are in a straight line, their relative distances to each viewer will depend on where each is sitting. This is a compromise—relative volume and timing from the Left and Right Mains will vary depending on position—but accommodates a larger audience. Since theatrical dialog is almost always mixed to the Center speaker, everybody will hear voices coming from the center of the screen.

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Audio Postproduction for Film and Video by Jay Rose, C.A.S (Auth.)


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