By Tomlinson Holman
ISBN-10: 0080517404
ISBN-13: 9780080517407
ISBN-10: 0240804538
ISBN-13: 9780240804538
ISBN-10: 0240813308
ISBN-13: 9780240813301
Sound for movie and tv, moment version offers a radical creation to the interesting box of recording, enhancing, blending, and displaying movie and tv sound. It moves a superb stability among aesthetic and technical content material, combining idea and perform to procedure sound as either an artwork and a technology, as no different textual content has prior to. This variation contains new info on electronic options as they've got arisen within the undefined, and accelerated insurance of sound modifying and layout. Written through one in all Hollywood's prime sound specialists, Sound for movie and tv, moment version presents a great grounding in all elements of the sound procedure. simple ideas are awarded with illustrations demonstrating how they have an effect on the day by day actions on a movie or tv set, within the modifying room, and within the combine room.*The in simple terms textual content to provide sound layout as either an artwork and a technology *Bridges the space among construction books and layout engineering books *Accompanying audio DVD includes examples demonstrating key options from the publication
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Additional resources for Sound for film and television, Volume 1
Sample text
Editors and composers employ a strategy of choosing different frequency ranges for a variety of effects and music, just to minimize the masking of one sound by another. At low levels, frequency masking effects are contained in a relatively narrow frequency range about the masker (the louder sound that does the masking). As the level increases, the masker becomes more effective at masking than just a level change would predict, and this effect is greater toward higher frequencies than toward lower ones, as shown in Fig.
This combination of ingredients leads to the highest possible reading, but one that does not represent the noise exposure of an audience to sound level. This is because a movie has constantly changing levels, with rare peak moments at such a high level. See Chapter 2 for more information on the loudness level of movies. b Measured as in footnote a. This page intentionally left blank Chapter 2 Psychoacoustics INTRODUCTION Many issues in human perception of sound are a direct result of the physical acoustics of the head, outer ears, ear canal, and so forth, interacting with sound fields.
The sound level near the screen can be very high compared with the back of the room; after all, the inverse square law is working in the direct field, and we are direct-field dominated in a low-reverb-time space. Although this is true, theater sound system design has found a way out of this dilemma. Film screen loudspeakers are located and aimed in such a way that they deliberately send less sound in the direction of the front rows and more toward the back rows, overcoming, to a large degree, the falloff from front to back that occurs along the axis of radiation.
Sound for film and television, Volume 1 by Tomlinson Holman
by David
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