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LEADER 00000cam  2200481Ii 4500 
001    748269171 
003    OCoLC 
005    20181116042611.2 
006    m     o  d         
007    cr unu|||||||| 
008    110829s2012    maua    o     001 0 eng d 
019    765144271|a1055395537|a1058133287 
020    9781598632552|q(electronic bk.) 
020    1598632558|q(electronic bk.) 
020    |z9781598632545 
020    |z159863254X 
035    (OCoLC)748269171|z(OCoLC)765144271|z(OCoLC)1055395537
       |z(OCoLC)1058133287 
037    CL0500000110|bSafari Books Online 
040    UMI|beng|epn|erda|cUMI|dYDXCP|dCOO|dB24X7|dHEBIS|dOCLCQ
       |dDEBSZ|dOCLCF|dOCLCQ|dLIV|dOCLCQ|dCEF|dINT|dVT2|dAU@
       |dOCLCQ 
049    MAIN 
050  4 TK7881.4|b.F57 2012 
082 04 781.49|223 
100 1  Fisher, Jeffrey P.|q(Jeffrey Paul),|d1963-|0http://
       id.loc.gov/authorities/names/n93121997 
245 10 Soundtrack success :|ba digital storyteller's guide to 
       audio post-production /|cJeffrey P. Fisher. 
264  1 Boston, MA :|bCourse Technology,|c2012. 
300    1 online resource (xvii, 309 pages) :|billustrations 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
505 00 |gMachine generated contents note:|tDialogue --
       |tBackground Sounds --|tSound Effects --|tSound Design --
       |tMusic --|tPutting It All Together --|tWorkflow --|tDVD 
       Education --|tDialogue Rules --|tPlan Ahead --|tFinal Mix 
       Matters --|tNarrative Elements --|tDiegetic and Non-
       Diegetic Sounds --|tListening versus Hearing --|tFigure/
       Ground --|tCause and Effect --|tEntrainment --|tSoundtrack
       Core Elements --|tFixing and Sweetening --|tControlling 
       Noise --|tEnsuring Consistency --|tEnriching the Listening
       Experience --|tChecklist for Soundtrack Success --|tSound 
       Transitions --|tEar Candy --|tQuiet Scenes --|tSports-
       izing --|tAnalyze This --|tComponents of Sound --|tAnalog 
       Basics --|tSound Perception --|tDigital Diatribe --|tSound
       Starts --|tSound Channels --|tWrap Up --|tPicture 
       Editorial versus Sound Editorial --|tDivvy Up the Work --
       |tWorkflow Approach --|tSpotting Session --|tWorking with 
       Production Dialogue --|tWorking with Sound Effects and 
       Backgrounds --|tWorking with Music --|tPutting It All 
       Together --|tTechnical Issues --|tOvercoming Production 
       Woes --|tLocation, Location, Location --|tCapturing Room 
       Tone --|tTop Mistakes Made in the Field --|tFix It in Post
       ... Not! --|tNoise --|tDistortion --|tAcoustic Anomalies -
       -|tDistant Miking --|tLive One-of-a-Kind Content --
       |tPrinted Effects --|tMore Noise Issues --|tPracticing 
       Noise Avoidance --|tWild Tracks and Shooting for Sound --
       |tDeadening the Sound --|tAdding Noise in Post --|tDealing
       with Wind Noise --|tChoosing a Mic --|tMore Noise Sources 
       --|tChecklist for Production Sound Success --|tDynamic 
       Mics --|tCondenser Mics --|tRibbon Mics --|tPickup 
       Patterns --|tMic Rules --|tChoose the Right Mic --|tFewer 
       Mics, the Better --|tOnly Record in Stereo When 
       Appropriate --|tMove the Mic Closer --|tAvoid Built-In 
       Mics --|tUse Care with Your Mics --|tBe Careful When 
       Placing Multiple Mics --|tMicrophone Types --|tBoosting 
       the Signal --|tFisher's Hierarchy of Microphone Choices --
       |tPlacement Options and Tips --|tMixers, Meters, and 
       Levels --|tSeparate Audio Recorders --|tCables and 
       Connectors --|tLocation Sound Field Kit --|tRecording 
       Sound Effects and Backgrounds --|tStereo in the Field --
       |tDouble-System Recording --|tSlate Procedures --|tAudio 
       Recorders --|tShoot for Sound --|tQuality Control --|tWhat
       Is Wrong with This Scenario? --|tMonitors --|tReal-World 
       Reference --|tSpeaker Location --|tSpeaker Calibration --
       |tRuminations --|tAudio Interface/Soundcard --|tComputer 
       Hardware Choices --|tSoftware Choices --|tNLE to DAW --
       |tGearing Up --|tStrategy --|tResearch --|tSet Goals --
       |tBudget --|tBuy/Pass --|tUsing Effects --|tTone --|tTime 
       --|tModulation --|tDynamics --|tPitch --|tTime Compression
       /Expansion --|tOther Effects --|tChannel Strips --
       |tRestoration Tools --|tAudio Analysis Tools --|tMulti-
       Effects --|tMust-Have Plug-Ins --|tLinks --|tFX Workflow -
       -|tGeneral State of Generic Advice --|tKeeping Organized -
       -|tPreparing the Project --|tScripting Voiceover --
       |tCasting Voiceover --|tGetting the Best Performance --
       |tRecording VOs --|tRecording Environment --|tPorta-Booth 
       --|tEngineering Equipment --|tMic Placement --|tRecord 
       Flat --|tTalent Placement --|tVO Resources --|tChallenges 
       of ADR --|tGetting Quality ADR --|tWalla --|tDefining 
       Walla --|tRecording Walla --|tHandling Walla Challenges --
       |tMore Techniques for Effective Walla Recordings --
       |tImportance of Editing Dialogue --|tSmoothing Dialogue --
       |tJLX --|tOther Smoothing Techniques --|tClose Your Eyes 
       and Hear --|tDialogue and Phase --|tFixing Common Dialogue
       Ills --|tDC Offset --|tSibilance --|tPopped P's (and B's 
       and T's) --|tMouth Noises (Breaths, Lip Smacks, and Other 
       Vocal Garbage) --|tExpansion --|tToo Much Reverb --
       |tRumble and Hiss --|tTonal Fixes --|tBetter Speech 
       Intelligibility --|tEQ One File with Another --|tClicks, 
       Glitches, and Pop Removal --|tRepairing Clipped Peaks 
       (Distortion) --|tHum --|tTime Compression/Expansion --
       |tPitch Shift --|tVolume --|tCompression --|tDedicated 
       Noise Reduction --|tSpecial Voice Effects --|tSimulating a
       Telephone Line --|tSimulating Rooms and Spaces --|tDelay 
       ... Delay ... Delay --|tReversing Dialogue --|tFlanging, 
       Chorusing, and Phasing --|tOodles of Sounds --|tSpotting 
       Sound Effects --|tHunting and Gathering --|tYour Sound 
       Effects Library --|tProduction Tracks --|tSound Effects 
       Collections --|tSound Effects Websites --|tRoll Your Own -
       -|tFoley --|tRecording Foley --|tFootsteps --|tClothing --
       |tProps --|tFoley Sound Effects --|tSoftware-Based Foley -
       -|tBackgrounds --|tGathering BGs --|tSuper-Size Your 
       Stereo Backgrounds --|tSurround BGs --|tWrite Once, Use 
       Many Times --|tPlay to the Emotions --|tLong Road --
       |tSound Saves Money --|tMovie Physics --|tThink Cause and 
       Effect --|tRemember the "See a Dog, Hear a Dog" Adage --
       |tFinding the Sync --|tSync the Foreground --|tDon't 
       Mistake Clip Edges for Sound Starts --|tBe Authentic --
       |tMake 'Em Your Own --|tGet Real during Pauses --|tUse 
       Layers --|tWatch Out for "Noise" Sounds --|tBeware of 
       "Temp" Video --|tIt's What the Sound Sounds Like, Not What
       It's Called --|tAnd Then There's Sound Design --|tUse the 
       Non-Surround LFE --|tWorldizing --|tInclude Some Ear Candy
       --|tUse Perspective Shifts --|tPre- and Post-Lap --
       |tBeware the Exit-Sign Effect --|tThrow in the Kitchen 
       Sink --|tNever Close the Door to Creativity --|tFutzing 
       Around --|tPremixing, Freezing, and Printing Audio Effects
       --|tGetting Notes --|tFew Short Case Studies in Sound-
       Effects Work --|tCars in Motion --|tDream Phone --
       |tScreams --|tKiller Drug --|tMusic Fundamentals --|tWhy 
       Are You Using Music? --|tWhat Emotional Response Do You 
       Desire? --|tWhat Is the Message? --|tWho Is Your Audience?
       --|tWhat Style Is Appropriate to the Audience? --|tWhat 
       Style Is Appropriate to the Message? --|tWhere Will You 
       Put the Music (or Not)? --|tGetting the Music --|tLibrary 
       (a.k.a. Production or Stock) Music --|tIndie Artists --
       |tCreative Commons --|tDIY Music --|tHire a Composer --
       |tMusic Budget --|tEditing Music --|tFurther Music Studies
       --|tOpening Titles/Show Theme --|tMotif and Leitmotif --
       |tPOV --|tBuilding Tension and Foreshadowing --|tDiegetic 
       to Non-Diegetic and Back --|tMusic as Sound Effect --
       |tOffbeat, Atonal Music --|tElectronic Music --|tFirewood 
       --|tCase Study: Scoring The Craving Heart --|tHousekeeping
       --|tListen to What's There --|tDon't Mix Alone --|tPremix/
       Predub --|tTrack Optimization --|tAudio Effects 
       Optimization --|tMonitor Optimization --|tHave a Reference
       Mix --|tMix Secrets --|tThink WHOLE Mix, Not Individual 
       Pieces --|tDialogue Still Rules --|tLook beyond the 
       Obvious --|tFind a Place for Everything --|tFill the 
       Entire Audible Frequency Range --|tWatch Time --|tUse 
       Volume --|tUse Frequency --|tUse S-p-a-c-e --|tEmbrace 
       Dynamics and Contrast --|tApply Appropriate Effects --
       |tUse Automation --|tDon't Watch the Screen --|tTrust Your
       Ears --|tTired Ears = Bad Mix --|tQuality Control --
       |tSurround-Sound Issues --|tExport and Encode Options --
       |tRender the Final Mix --|tDolby Digital AC-3 Metadata --
       |tDialogue Normalization --|tDynamic-Range Compression --
       |tFinal Thoughts. 
520    Whether you make narratives, documentaries, news shows, 
       training videos, podcasts, games, or some other media, 
       sound has a great impact on what people see, believe, and 
       remember. When you dedicate attention to every element 
       that makes up the whole soundtrackudialogue, sound effects,
       and music your story will hold more meaning for the 
       audience, and you'll deliver your message in a more 
       memorable way. 
520    Thankfully, putting together a better soundtrack is the 
       easiest, fastest, and most effective way to make your 
       production better. Soundtrack Success will show you how to
       do it. It's a non-software-specific guide to the entire 
       realm of audio post-production, with particular attention 
       paid to fixing problems, sweetening sound, and pulling 
       together a complete soundtrack. You'll learn how to use 
       dialogue, voiceover, walla, backgrounds, sound effects, 
       Foley, and music, and you'll discover how to record, edit,
       mix, master, and deliver high-quality and high-impact 
       soundtracks. The companion DVD includes video tutorials 
       and examples that further demonstrate the many concepts 
       and techniques described in the book. This complete primer
       is your key to making soundtracks that soar. --Book 
       Jacket. 
650  0 Sound|xRecording and reproducing|xDigital techniques.
       |0http://id.loc.gov/authorities/subjects/sh85125369 
650  0 Sound recordings|xProduction and direction.|0http://
       id.loc.gov/authorities/subjects/sh88003431 
655  4 Electronic books. 
776 08 |iPrint version:|aFisher, Jeffrey P. (Jeffrey Paul), 1963-
       |tSoundtrack success.|dBoston, MA : Course Technology, 
       2012|w(DLC)  2006904401 
990    ProQuest Safari|bO'Reilly Safari Learning Platform: 
       Academic edition|c2018-11-16|yMaster record variable 
       field(s) change: 505, 776|5OH1 
990    ProQuest Safari|bO'Reilly Safari Learning Platform: 
       Academic edition|c2018-10-22|yNew collection 
       ProQuest.ormac|5OH1 
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