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Film, Video, and Multimedia Technology |
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1 | (14) |
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A Brief History of Motion Pictures and Film Sound |
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1 | (7) |
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Thomas Edison's The Sneeze |
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1 | (1) |
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Sound Technology in the 1920s |
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2 | (1) |
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3 | (5) |
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Television and Video Recording |
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8 | (4) |
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Sound in Star Wars and Apocalypse Now |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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Digital Multimedia Formats |
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12 | (3) |
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12 | (1) |
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12 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (1) |
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Audio for Film, Video, and Multimedia |
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15 | (24) |
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The Components of a Soundtrack |
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15 | (7) |
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15 | (3) |
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18 | (2) |
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20 | (1) |
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21 | (1) |
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22 | (3) |
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The Non-linear, Non-Destructive Editing Model |
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22 | (1) |
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23 | (1) |
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Automation, Automation, Automation |
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23 | (1) |
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24 | (1) |
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The Standard in Hollywood |
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24 | (1) |
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25 | (14) |
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Pre-Production (Planning and Preparing) |
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25 | (6) |
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Production (Filming and Recording on a Set or on Location) |
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31 | (1) |
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Post-Production (Re-recording, Sweetening, Editing, and Mixing) |
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32 | (7) |
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Synchronization and SMPTE Time Code |
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39 | (18) |
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39 | (3) |
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40 | (1) |
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41 | (1) |
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Origin and History of Time Code |
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42 | (2) |
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42 | (1) |
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43 | (1) |
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Color versus Black and White |
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43 | (1) |
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44 | (2) |
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44 | (1) |
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45 | (1) |
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Current Usages and Practices |
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46 | (5) |
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47 | (1) |
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48 | (3) |
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SMPTE Time Code Scenarios |
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51 | (6) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (1) |
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24p HD to Film (or 24p HD) |
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54 | (1) |
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55 | (2) |
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Getting Started with Pro Tools and Video |
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57 | (32) |
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Hooking Up Your Equipment |
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57 | (16) |
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58 | (2) |
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60 | (1) |
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Digidesign's Sync I/O and Universal Slave Driver |
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60 | (1) |
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Third-Party Synchronizers |
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61 | (1) |
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SMPTE Time Code Reader, MIDI Interface |
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62 | (1) |
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63 | (6) |
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MIDI Machine Control (MMC) |
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69 | (1) |
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70 | (3) |
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Creating a New Video Session |
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73 | (3) |
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Choosing Sample Rate and Bit Depth |
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73 | (1) |
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Choosing Frame Rate and Frame Count |
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74 | (1) |
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Choosing Session Start Times |
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74 | (2) |
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76 | (10) |
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77 | (1) |
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Capturing DV Video from Tape |
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78 | (6) |
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84 | (2) |
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86 | (3) |
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Importing Audio from QuickTime Movies |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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89 | (44) |
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Using Audio from the Set (Production Audio) |
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89 | (15) |
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90 | (1) |
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Recording Audio from Videotape |
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91 | (4) |
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95 | (5) |
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Recording from Production DAT Tapes |
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100 | (3) |
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DEVA and Hard Drive Based Recorders |
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103 | (1) |
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Recording Dialog and Narration |
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104 | (10) |
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Replacing Existing Dialog (ADR) |
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104 | (6) |
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Recording Voiceovers and Narration |
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110 | (1) |
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A Note about Animation Dialog |
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111 | (1) |
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Creating Rough Tracks for Video Editing |
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112 | (2) |
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Recording Action Sounds (Foley) |
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114 | (6) |
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114 | (2) |
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116 | (2) |
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118 | (2) |
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120 | (4) |
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120 | (1) |
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121 | (1) |
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Using Synthesizers and Samplers |
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122 | (2) |
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Importing the Score and Incidental Music |
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124 | (4) |
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Importing from CD, DAT or Tape |
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125 | (1) |
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125 | (1) |
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Importing Multi-Channel Audio |
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126 | (1) |
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127 | (1) |
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128 | (5) |
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128 | (2) |
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130 | (3) |
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133 | (48) |
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Setting Up Pro Tools Sessions for Editing |
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133 | (24) |
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Seeing the Information You Need |
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133 | (11) |
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144 | (5) |
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Using Counters and Rulers |
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149 | (5) |
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154 | (3) |
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157 | (9) |
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Creating Memory Locations |
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157 | (2) |
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Using the Cue List to Create Markers |
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159 | (2) |
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Recalling Markers and Memory Locations |
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161 | (5) |
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Aligning Regions to Markers |
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166 | (1) |
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166 | (4) |
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167 | (1) |
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Aligning Regions to Video Frames |
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168 | (1) |
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169 | (1) |
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170 | (2) |
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170 | (1) |
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Using Sync Points and the Grid |
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171 | (1) |
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172 | (3) |
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Conforming to Picture Changes |
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175 | (6) |
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Processing Audio Using Audiosuite Plug-Ins |
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181 | (24) |
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Operation of Audiosuite Plug-Ins |
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181 | (1) |
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182 | (8) |
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Time Compression/Expansion |
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190 | (4) |
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Audiosuite Time Compression/Expansion |
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190 | (3) |
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Trimmer Tool Compression/Expansion (TDM only) |
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193 | (1) |
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194 | (2) |
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196 | (9) |
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Noise Reduction and Restoration |
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197 | (7) |
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204 | (1) |
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Mixing to Picture in Pro Tools |
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205 | (48) |
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Stereo and Surround Formats |
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205 | (3) |
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Encoding and Decoding with Dolby® Technologies |
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206 | (2) |
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208 | (25) |
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208 | (5) |
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Speaker Systems and Layouts |
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213 | (5) |
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218 | (5) |
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223 | (10) |
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233 | (7) |
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234 | (3) |
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237 | (1) |
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238 | (1) |
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238 | (1) |
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239 | (1) |
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Using Automation While Mixing |
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240 | (9) |
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240 | (2) |
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242 | (1) |
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243 | (3) |
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246 | (1) |
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246 | (3) |
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TDM and RTAS Plug-In Delay Compensation |
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249 | (4) |
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Delivery of Master Recordings |
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253 | (16) |
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253 | (1) |
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253 | (6) |
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The Purpose of Reference Levels and Tones |
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254 | (2) |
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256 | (3) |
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259 | (2) |
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Using Digital Connections |
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259 | (2) |
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261 | (1) |
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Creating Multi-Channel Surround Masters |
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261 | (2) |
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Bouncing to QuickTime Movies |
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263 | (1) |
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Creating an Audio File or Data CD Master |
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264 | (2) |
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265 | (1) |
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Preparing Audio Files for Internet Streaming |
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265 | (1) |
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Archiving and Backing Up the Final Mix |
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266 | (1) |
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Mix Stems: Dipped or Not Dipped |
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266 | (1) |
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267 | (1) |
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Harness the Power of Cinema |
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267 | (2) |
| Appendix A |
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269 | (4) |
| Appendix B |
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273 | (2) |
| Index |
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275 | |
