Average customer rating:
- iMovie 6 & iDVD: The missing Manual
- Great Step by Step Guide
- This book saved my life... in a roundabout way
- One of the best "how to" manuals I've bought
- Quite simply-THE BEST
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iMovie 6 & iDVD: The Missing Manual
David Pogue
Manufacturer: O'Reilly Media, Inc.
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ASIN: 0596527268 |
Book Description
While the last version of iMovie gave moviemakers the ability to capture and edit widescreen High Definition Video (HDV) from the new generation of camcorders, iMovie 6 is all about the ease of moviemaking itself. iMovie 6 includes five professionally designed themes with backgrounds, motion graphics, titles, and effects that act as building blocks for your projects. You can preview transitions and stunning new video effects--such as time-lapse video--in real time using the full screen. Or edit audio and add sound effects with a new built-in sound studio. For presenting your movie, Magic iDVD offers easy-to-use themes, including new widescreen options.
Whether you're a professional or an amateur moviemaker, this is amazing stuff. But if you want to learn the full capabilities of these applications, Apple documentation won't make the cut. Instead, iMovie 6 & iDVD: The Missing Manual is the ideal third-party authority that covers all of these changes through an objective lens. This witty and entertaining guide from celebrated author David Pogue details every step of iMovie 6 and iDVD production. The book shows you how to:
- Work on multiple iMovie projects at once and drag & drop clips among them
- Output your creation to a blog, its own web page, or as a video podcast with iWeb
- Use "Magic iMovie" to import your video and make a movie for you
- Integrate with other iLife programs to use songs, photos, and an original soundtrack
- And a whole lot more
From choosing and using a digital camcorder to burning the finished work onto DVDs, posting it online, or downloading it to an iPod, iMovie 6 & iDVD: The Missing Manual zooms right in on the details in a clear, concise, and understandable manner. The book also provides a firm grounding in basic film technique so that the quality of your video won't rely entirely on magic.
Customer Reviews:
iMovie 6 & iDVD: The missing Manual.......2007-10-03
Having Missing Manuals 3 to 5 It is again most difficult to find what's new in Apples Version 6 amongst all the older information contained in the previously published "Manuals". If one was purchasing it for the first time it does a reasonable job.
Great Step by Step Guide.......2007-06-27
This book is a thoroughly attentive-to-detail manual that is true to it's name/concept: The manual that *should* have come in the box! It clearly walks you through every step, big and small as well as including sections on how to improve your filming, editing, and a concise Quicktime how-to.
I recommend reading the entire book before starting an iMovie/iDVD project but if you just can't wait (I couldn't-- I read as I went), I recommend reading Appendix B (pg. 461) which is "Troubleshooting" early on . It includes *many* crucial tips from being sure to format your external HD to Mac OS Extended (if saving on an ext. HD) to switching the factory-setting 12-bit audio on your digital video camera to 16-bit to common 'glitches' while importing, working with or exporting footage.
The other great benefit of this book is it explains the various little 'tricks' for more complicated tasks or for things that are hinky and need a little fiddling to work. One ex.: You use the new iMovie 6 themes w/in iMovie (Pass Through, especially, is slick/professional-looking!) and are trying to use a *trimmed* clip w/in the theme. iMovie doesn't understand starting it where you trimmed because it keeps the trimmed portion of the clip hidden but still there so the undesirable portion of your clip is shown in the intro theme instead. This book explains in detail how to save it to Quicktime and re-import the new *permanently* trimmed clip to use w/ no problems in your themed intro!
This book also spells out the key differences in iMovie 6 vs. previous versions. I HIGHLY recommend this book if you are looking to edit home movie footage (or other) using iMovie (& iDVD) and don't have your own personal Mac Genius in your household. :-)
This book saved my life... in a roundabout way.......2007-05-14
I recently purchased a Mac and edited my first film - a short documentary - on iMovie.
I had never used iMovie before and a good friend recommended this book and I couldn't have been more pleased. I haven't encountered a problem yet that this book hasn't addressed.
Well-written, simple and practical.
A great resource. Worth your time and money.
One of the best "how to" manuals I've bought.......2007-04-19
I have to admit that I was skeptical when I saw that this was a textbook for an introductory filmmaking class but it's an awesome book. It strikes just the right tone and is basically a short course in filming, editing and distributing (dvd, web, email) movies. Well done.
Quite simply-THE BEST.......2007-04-03
Simple and darn articulate. Im not a tech person in any sense of the way, Mr Pogue has outdone himself. He indeed has made understanding imovie very simple. Highly recommended if you are just starting out or if you wish to brush up on the latest version of Imovie
Book Description
Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.
Customer Reviews:
One of my all time favorite books........2007-06-19
"Sound Design" by David Sonnenschein is a very rewarding and fascinating read. Full of knowledge and practical examples as well as exercises to develop the reader's own awareness for sound. It's became one of my all time favorite books.
I highly recommend it to anyone interested in sound... be it for film or radio.... or music...
Great Service.......2007-03-10
It was shipped the same day and delivered a few days later. For those college students that get ripped off at their school bookstore this is a must.
A most excellent read and perfect for classes in sound design.......2007-02-12
David Sonnenschein's book is my "go-to" book for not only the quality of information that he presents but the interesting way that it is told. This book is an excellent read besides being extremely informative. I find that these are the best to assign to my students as many texts are just that: texts - dry and dull. David Sonnenschein presents the information herein in a delightful way and has many excellent tips on the overall shape of sound.
A great book, full of examples and creativity.......2007-01-30
I have to thanks deeply Mr D. Sonnenschein for this incredible book. I enjoyed it so much. This book helped me so much understanding the 'how' of sound effects and ambiences in movies. For sure a good choice and a good book.
I just can give an advice: buy it!!! I am a sound designer in Spainn and I consider this book a must.
Thanks David!
Great book to teach with!.......2006-01-26
I use this book in my Sound Design class at the University of Saint Francis. It is a great foundation upon which you can build confidence in your inexperienced students just by having them read the book! Also it helps make sense out of the confusion of directors dealing with sound and audio crew. This book has made my teaching job a lot easier and the students of my class a lot more saavy in sound design.
This book also would be excellent for anyone interested in the sound of movies and TV. AND it is essential reading for any Director (any GOOD Director, that is) Thanks David Sonnenschein for writing it!
Book Description
The only comprehensive book on film sound, this anthology makes available for the first time and in a single volume major essays by the most respected film historians, aestheticians, and theorists of the past sixty years. In addition, it provides useful models for the analysis of sound stylistics in the form of case studies of a number of the most important sound films ever made. It is a compact primer/handbook which reviews in a coherent, rigorous, yet eminently accessible way the techniques and practices of sound filmmaking from initial recording to final playback in the theater. The book contains essays by Douglas Gomery, Barry Salt, Rick Altman, Mary Ann Doane, S. M. Eisenstein, V. I. Pudovkin, Rene´ Clair, Rudolf Arnheim, Bela Balazs, Siegfried Kracauer, Christian Metz, David Bordwell, Kristin Thompson, Noe¨l Burch, Arthur Knight, Lucy Fischer, Noe¨l Carroll, Alan Williams, Fred Camper, and others. Essays deal in detail with such filmmakers as Lubitsch, Clair, Mamoulian, Vertov, Lang, Pabst, Stahl, Welles, Hitchcock, Renoir, Bresson, Godard, Altman, and Coppola.
Book Description
Sound is half the picture, and since the 1960s, film sound not only has rivaled the innovative imagery of contemporary Hollywood cinema, but in some ways has surpassed it in status and privilege because of the emergence of sound design.
This in-depth study by William Whittington considers the evolution of sound design not only through cultural and technological developments during the last four decades, but also through the attitudes and expectations of filmgoers. Fans of recent blockbuster films, in particular science fiction films, have come to expect a more advanced and refined degree of film sound use, which has changed the way they experience and understand spectacle and storytelling in contemporary cinema.
The book covers recent science fiction cinema in rich and compelling detail, providing a new sounding of familiar films, while offering insights into the constructed nature of cinematic sound design. This is accomplished by examining the formal elements and historical context of sound production in movies to better appreciate how a film sound track is conceived and presented. Whittington focuses on seminal science fiction films that have made specific advances in film sound, including
2001: A Space Odyssey, THX 1138, Star Wars, Alien, Blade Runner (original version and director's cut),
Terminator 2: Judgment Day and
The Matrix trilogy and games--milestones of the entertainment industry's technological and aesthetic advancements with sound.
Setting itself apart from other works, the book illustrates through accessible detail and compelling examples how swiftly such advancements in film sound aesthetics and technology have influenced recent science fiction cinema, and examines how these changes correlate to the history, theory, and practice of contemporary Hollywood filmmaking.
Customer Reviews:
Sound and two Blade Runners.......2007-05-12
I'm one of those picky people when it comes going to the movies. I always go early and only to specific theaters to make sure I get the best seat. I want to see a movie the way it was meant to be seen. After reading William Whittington's Sound Design & Science Fiction Film, I realized that where I sit is just as important if you want to hear the film the way it was meant to be heard. I've also gained an appreciation for what goes into how I experience a movie.
One of the most enjoyable parts of this exploration is that it focuses on my favorite genre, science fiction. It's a logical choice for experimentation and certainly technological innovation, after all, what does a alien, a light saber, or a pod racer sound like? Ask Ben Burt. It is up to the imagination of the designers like Burt to create the realities of that imagined universe. It's been 30 years since I saw Star Wars for the first time, but the sensation of the opening as Vader's ship passes, seemingly, overhead and onto the screen is still crystal clear.
While Whittington explores the development of the sound design through films like THX 1138, Star Wars, Exterminator II, Alien, and the Matrix, my favorite chapter is the one on the two Blade Runners, one of my favorite films. I have my own issues with director's cuts and though I loved the visual sensation, music, and the Sam Spade-like voiceover of the original 1982 version, I almost wish I hadn't seen Blade Runner until the director's cut came out in 1992. But, it's like the judge asking the jury to disregard the previous statement, it took some convincing for me to see how the basic elements of the story had changed.
Whittington goes carefully through both versions of the film and, skeptical the whole way, I had to re-examine my own memory of the story. Gradually I realized that not only were there two different stories, with basically different Decker's, but that the majority of the transformation comes from the sound design itself. Removing the voiceover and allowing the story to reveal, not explain the events, fundamentally changes the story and leaves open questions about Decker himself. Is he a replicant? Are his memories more real then those of Rachel? Those issues, unambiguous in the original version, are much more in the style of author, Philip K. Dick.
Okay, you may not be interested in re-examining your view of Blade Runner; the way I was. Apparently, I was one of the few people who saw it the first time out. But, if you are curious and enjoy movies, this book will give you insight on the changes in sound within the film industry and in how we experience that when we view films at home or in the theater. On the other hand, if you're one of those hopeful future filmmakers it will give you a broader perspective on the power of sound as an integrated element of film. As for me, I'll just have to make sure I get the best seat in the theater, and give this director's cut a chance.
Challenging and rigorous.......2007-05-04
I'm teaching "Sound Design in Science Fiction and Horror Films," and so was of course delighted when I came across this book. Academically sound and insightful, I had a sophomore the other day come up after class and say "I really like this book. I thought it was going to be boring, but it's really interesting." High, high praise. It's much more of a thematic, conceptual exploration than any kind of a "how-to" or even "how they did it," so if you're looking for information on how to create sound design for science fiction, this isn't your book. But if you are interested in examining, for instance, how in science fiction "the sonic landscapes begin to emphasize a greater uneasiness in relation to technology, scientific breakthroughs and the future" with some specific illustrations from movies like Alien, 2001, and Star Wars, then this book is for you. This is an area of study that could use a lot more books like this! Sound design studies, to the front. Next we need the same kind of treatment for Horror films.
Fascinating insights on a neglected topic.......2007-04-11
I know of no other book that considers sound in science fiction films in this depth. The case studies of such films as 2001 and T2 are fascinating. Whittington writes engagingly and accessibly, making the book valuable not just to academically inclined readers but to casual science fiction fans as well.
A Film Studies Must-Read.......2007-04-08
If you're interested in Sound Design, Science Fiction, or both, you must read this book. If you're teaching a course on either of the topics, you must assign this book for your students to read. Well researched, an easy read, yet rigorous... What more could you ask for?
Book Description
Written in the author's clear conversational style, with ample illustrations and visual analogies, this book features software agnostic tutorials and "cookbook recipes" for each phase of postaudio processing. The author begins with a section of FAQs from readers of the author's magazine column. After summarizing the significant points of audio theory, the author describes the preliminaries of setting up a post studio. From there he details every aspect of postproduction - from getting the tracks into the computer, to 'fixing and mixing,' to dealing with details of compression and streaming. The companion audio CD contains diagnostics, tutorial tracks, and demonstrations.
Audio Postproduction for Digital Video helps you make your soundtracks as good as your pictures with this compendium of professional audio techniques that can be adapted to desktop post. Specializing in sound after the shoot, this book features many practical examples, cookbook recipes, and tutorials.
Customer Reviews:
Excellent.......2007-01-11
I was impressed from the beginning with the content of this book. It has been a great help in my recent graduate projects. This is one I will keep on the shelf for reference.
If you have only one audio produciton book in your library..........2007-01-04
This book is simply the best book on post-production audio out there. I have over a decade of experience mixing live sound and some formal training in post production, but Rose gets to the real nuts and bolts of the day-to-day sweetening of sound that I was able to apply his ideas the same day I read a chapter on EQ. I have read so many books on sound where authors get into all the details, but fail to give hands on practical advice. Rose has two unique things going for him in this book: the included CD that gives A/B comparisons of various audio sweetening and processing techniques and the cookbook format at the end of each chapter. Try any one of these "recipes" and you will instantly get results and be able to solve various problems and massively improve your soundtrack.
He gets technical in spots going into the physics of sound, studio design, and other minutia but the non-geeks you can usually skip these sections and side-bars. For those who just want to fix things they can jump to the end of each chapter and use the cookbook/troubleshooting sections. I can't recommend this book enough. If you are serious about filmmaking, you can't be without this book.
Bigger and Better than it Seems.......2004-08-23
Audio Postproduction for Digital Video
By Jay Rose
Review by Pi Ware
Don't listen to the title. It's bigger than the title. The "Digital Video" part of Audio Postproduction for Digital Video restricts the scope of this classic Jay Rose text. Rose's book goes far beyond DV, in fact, it starts with an explanation of what sound is on the molecular level and then takes you not just through audio postproduction for TV, but to techniques specific to movie production, techniques that are entirely independent of the format you originate on. Audio Postproduction for Digital Video is top-notch. It's an excellent, text-book quality manual, a soup-to-nuts guide on how to deal with sound in postproduction.
Jay Rose never gives you solutions that are applicable only to specific Digital Audio Workstations, he arms you with knowledge you can use in any platform or program. The book is an education in sound and, together with the numerous photos and diagrams (and Rose's good sense of humor), it's a liberation from the dry prose of most manuals on postproduction.
Rose teaches you from the ground up what sound is, what good sound is, and how to make bad sound better. He doesn't just stop at good writing, however, he illustrates important points with an audio CD included in the back of the book. Together with the CD, the text guides you through importing audio into the computer, editing dialogue, Do It Yourself Foley and ADR, working with filters, noise reduction techniques, pitch and time changes, the sound mix, and even, if you're so inclined, designing, constructing and wiring your own postproduction audio facility.
Though postproduction changes with every new advance in technology, Audio Postproduction for Digital Video stays current by focusing on strategy, not software. Rose avoids giving specific keystroke instructions in specific programs, but instead explains common solutions to common problems using common tools. As he says in his introduction, "You should be able to use these pages for a long time."
Anyone considering directing a short or feature, anyone who wants to be even nominally involved in the sound design of their film, and, of course, anyone interested in working in audio postproduction, would do extremely well to pick up a copy of this classic Jay Rose text.
Treasure Chest of Information in an Easy read format!.......2003-05-09
This book in fantastic. The author's voice and style make this not only easy to read but a joy to read as well. There are little tips and tidbits in each chapter that will make a good audio guy great and a great audio guy better. I recommend this book to anyone in the audio post world.
Very good book from a helpful intelligent person.......2003-05-09
I decided to buy this book because I had used the forum on the DV.com website for information before, and Jay Rose's comments there had proven to be spot-on and well-informed.
This book contains a thorough examination of all the factors which contribute to the quality of post-production audio. The level of information includes the spectrum from basic to advanced, but through Mr. Rose's clear explanations the advanced information should not go over the heads of the reader.
Average customer rating:
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Audio Post-production in Video and Film, Second Edition
Tim Amyes
Manufacturer: Focal Press
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ASIN: 0240515420 |
Book Description
Provides a thorough overview of audio post-production theory and technique. It is a good introduction for beginners and has enough technical depth to suit practicing professionals, whether in small production houses or larger facilities. Equipment and processes are illustrated with explanatory diagrams throughout, and supported by a straightforward narrative divided into manageable and logical sections.
Computer and digital audio recording have radically changed the audio post-production industry over the past few years. This new and moderately priced technology has increased opportunities for those with even just a basic knowledge of sound and limited equipment to produce high quality results.
This second edition has been completely rewritten to include the very latest techniques in:
· digital audio
· new computer equipment and workstations
· recording and sound editing
· new transmission methods and standards and formats such as DVD.
A technically detailed introduction to the subject suitable for beginners.
Update your knowledge of the latest standards and formats.
Customer Reviews:
I found it boring.......2000-12-13
There was no description of the book when I bought it, so I did not realize that it was a dry technical read. It is not for the creative person, and offers little to nothing on the how to make dynamic layered audio in post. It's about notch filters, and VITC timecode. Very techincal, very non-creative. Maybe that's the point, but is wasn't for me.
Book Description
This nuts-and-bolts guide to sound design for animated films explains audio software, free downloads, how sound works, the power of sound when wielded by an animation filmmaker, and provides varieties of examples for how to use sound to enliven your films with professional sound.
Sound-savvy animators save precious resources (time and money) by using sound for effects they don't necessarily have time to create. For example, the sound of a crow flying gives viewers a sense of the crow without the crow. Where there's a macabre element or scene in an animated film, this book explains why you should choose a low frequency sound for it-low frequencies are scary, because the ear can't decipher their origin or direction!
On the DVD: three 5-minute animations; sample sound clips, jump cuts and video streams; plus motion graphics with which to practice sound-applications explained in this book.
** The animation sound design techniques discussed in the book are based on those used by today's newest and brightest animation filmmakers
* The book's case examples give readers extra tips and tricks to apply to their own sound design
* The book's DVD is highly instructional, includes sound clips to be practiced with
Download Description
In situations where quality, shorter time to market and staying within budget are basic project requirements, companies cannot afford to overlook digital asset management (DAM). Anyone who has felt the pain of a poorly organized production, knows that a great DAM system isn't just desirable, it's critical. A look into how the top CG film, computer game and web development companies have saved significant time and money on their projects by optimizing a digital asset management systems and streamlining production processes. Implementing a Digital Asset Management System realizes that DAM is more than just technology, and covers all the essentials including workflow, teamwork, testing, quality assurance, demo version production, and versioning. Product neutral, this book is for computer-based media productions large and small, with hardware and software selection and configuration recommendations for a wide variety of project types.
Customer Reviews:
Great Introductory book to sound design.......2006-08-24
This is a very well written introduction to sound design for film. And while the book focuses on animation, it is also very relevant for traditional narrative film. The author has a real talent for getting to the basic essence of things. A very practical book!
Book Description
Whether you're an experienced video editor, an indie filmmaker, or a dedicated amateur, this cookbook-style guide from bestselling author Mary Plummer will teach you how to create effective titles for your projects, no matter what your genre and subject matter may be. In addition to a wide array of clear, appealing, and appropriate recipes you can adapt for your own work, Mary provides a kind of "elements of style," explaining essential design principles such as size, color, speed, placement, and font choice. The book is beautifully illustrated, and the accompanying DVD has QuickTime movies showing examples constructed using After Effects, Motion, LiveType, Photoshop, and Flash.
Average customer rating:
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Audio Design: Sound Recording Techniques for Film and Video
Tony Zaza
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Hardcover
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ASIN: 0130507334 |
Amazon.com
Producing Great Sound for Digital Video educates beginning and experienced filmmakers on the intricacies of creating an outstanding soundtrack, from preproduction planning through the final mix.
The entire book is fascinating: it's absolutely packed with useful information and tips. Most of us remember learning in high school physics that sound travels about 1,100 feet per second, but besides gauging the location of a lightning bolt from how long it takes for the thunder to reach our ears, we never found it useful. Imagine, however, shooting a scene from about 90 feet away with a camera-mounted microphone. In this scenario, the audio will lag behind the image by about three frames--not much, but it's certainly noticeable. The problem gets worse as the distance increases. The workaround is to put a microphone next to the subject or slide the audio track so that it syncs with the images.
The book presents other solutions to showstopping problems that, because of lack of experience, a filmmaker wouldn't realize until getting to the editing room. Other critical issues such as preproduction planning, the art of production and recording (including environmental factors and microphone setups), and post-production editing and effects are also discussed.
The advent of low-cost, high-quality video production equipment has ushered in the birth of AV producers and AV presenters who have grand intentions but negligible experience. Digital cameras, inexpensive computers capable of capturing and playing back high-quality digital video, and full-featured editing software offer all kinds of ways to create visual eye candy, but embryonic filmmakers don't always realize that the picture is only half the story. Producing Great Sound for Digital Video explains how the other half works, what to watch out for, and how to achieve professional results. --Mike Caputo
Book Description
Make your video project sound as good as it looks! Written by Digital Video columnist and Clio-winning sound designer Jay Rose, this book explains hundreds of real-world techniques to use from pre-production through mix. You get how-toÕs, tips and time-savers, plus tutorials on key skills such as dialog and music editing. With an audio CD of sample tracks and diagnostic tools, this is a complete audio training resource as well as a quick problem-solving guide.
Customer Reviews:
Great Book.......2007-01-19
for anyone that wants to have a professional approach to digital video this is a good book.
If you only buy one book on sound.. This is it.......2006-09-09
Where do I start? In a nutshell, this book *IS* the only book to have on sound if your only buying one. No lie. My background... 20 years ago I used to be the "The Amp Dr" fixing commercial PA systems, amps, etc. I have a much better background on sound than most, I was an electrical engineer after that, designing power supplies, and other analog interfaces to digital equipment. Most of that has been dormant for the last 20 years, but I recently decided to make documentaries, and as two of my first projects deal with music, sound seemed pretty important. I got several books on sound, I figure buy six, one has to be good. You can save your money, this book was the one in six.
Knowing audio but NOT audio for video, one of the most important things I discovered is that a professional quality product (video) can only be made with good sound.. If you think you $2 -$10K pro-sumer camera is going to deliver it with the standard mic turn on "auto level", you're really wrong. Half of good sound is the absence of sound, or at least the absence of unintended sound. Insuring good sound is more work than it sounds, but the quality and impact of what I am shooting now is significantly better than before. Otherwise, its' all like home videos, maybe pretty shots and cleverly edited, but still seems like home videos. It all becomes much clearer after reading this book.
When I picked up this book, it was a mental orgasm. Not only does this guy know his stuff, even more importantly, he knows how to communicate it. The way it was written, I was easily able to skip over the stuff I didn't want to review, and go straight for the meat. It is meaty. Almost EVERYTHING I wanted to know was here. I did end up going back just to see how he explained the basics.. great! One of the things I liked about his style, is some authors will tell you something is bad or wrong, with no explanation.. Jay give you good examples.. the CD recording with the book is worth it's weight in , he give examples of proper recording and bad recording (with explanations). You can actually hear it as oppose to read an explanation and take it on faith. Borrow money if you have too.. but buy it.
My message to Jay:
If you read this Jay, I have a few requests. (1) Don't let this book go out of date. Please do you SNR and distortion measurements on some of the new HD cameras. Given the bit resolution is now even less with HDV (12 bits (HDV) vs 16 bits (DV)), I think dual systems are even more important to cover in greater detail. (2) Update with some of the new digital recorders that are replacing DATs (3) Thanks for a great book!
A rare 'how to' book that delivers actual content!.......2006-01-05
I've often been taken in by large reference books that promise to be a comprehensive guide to a subject, but turn out to be a lot of filler (screen shots of PC applications, or an excuse for the author to give lots of less-than-useful anectodal stories, etc.)
Not so with Jay Rose's 'Producing Great Sound for Digital Video' book. This informative guide covers a lot of ground, including sound theory, equipment explanations and use, and techniques for sound production including NLE tips, audio mixing, mic use etc. The great thing about this book is it is written with the expectation that your sound production values should be professional, but it's still accessible to hobbyists and those on a budget.
While I think novices to the field of sound engineering (like myself) probably benefit most from this work, I think a lot of the material here is useful to the video production community as a whole. I learned a lot from this, great work.
A Top Resource for Anyone who does Serious DV Recording.......2005-04-23
This book is a top shelf resource. It is useful to both novices and those with more experience. Starting with the very basics, and that does involve some physics, it works its way through virtually all aspects of sound production for digital video.
Do not be fooled. You are not going to learn much to improve the built in recording that comes with your camera. The author is unapologetic in his broad condemantion of the built-in stuff in terms of both quality and usablility. He goes into the reasons and gives a bit of advice on making the most of what you have but this is not what the book is about. Instead, it is about exactly what the title claims. Unfortunately, this is seldom if ever achieved with the built in stuff.
After going over some of the basics of sound and recording, different types of equipment are described in terms of suitability to task and cost. After that, the actual use of this equipment is considered in a variety of situations. The book is not just concerned with equipment and its use, however. There are chapters on editing and even on the use of prefessional talent. In short, the assumption is that you want to get good quality audio for your video production. The author then describes how to do exactly that in a variety of settings. Unfortuately, doing the job sometimes takes a bit more effort than just pushing the record button on the camera. It also take a bit more money although it does not have to take a great deal more. It depends on what type of sound is needed and how you are going to use it.
If all you want is to catch the background sound in a home video, spend your money on something else. If you want to learn how to get the best possible sound for your particular need and preserve that sound to use with video, you need this book.
You will understand sound after this book.......2005-03-02
Audio is really important, and this book will make sure you get incredible sound at every shoot. I really recommend this book!
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