____ ..__._/ _.

10.2
Postproduction
andSoundAesthetics
[ f you \van tto repl ace anexistingsoundtrackonavideo-
tape,addmusicorsoundeffectstoall editedvideotape, get
rid of SOIll(' noise Of otheraud,lo interference, orpremix
a s.ound track La serve as a guide for video editing, you
afe engaged inIludio postproductioll. This section
on some fundamental postproduction activities, bas ic
post productionequipment, and major aesthetic consid-
erations .
.... AUDIO POSTPRODUCTION ACTIVITIES
Lmear and nonlineer sound ediling, ( OrreCling audio prob-
km5, poslprQduc/ion mixing. and(oofrollmg sound qUDlily
.... AUDIO POSTPRODUCTION ROOM
The digital audio WOfItS/aI/cn, unalog audIO syfKhromlel,
keyboord5 ond sampler, and QUlOrnOli, dialogue replacement
.... SOUND AESTHETICS
EnVironment. ligUle/ground, perspeClive. (onlinuiry. ond energy
.. STEREO AND SURROUND SOUND
Hoflzontal positioning ond ct ooting the soundfield
AUD IO POSTPRODUCTION ACTIVITIES
Becauseofthesophisti caloovideo-editingledll1i<Juesand
large-screen,hi gh-definitionvideodi spl ays,thequalityo(
televi sionaudiohasbecomeofprimaryimportance.Coo-
seqUCrl dr,complexaudiopostproducti onis nolongerleft
tothevideoedit orbuthasbecomeademandingfieldi. nits
ownright.Thatsaid,you,."ill find thatyoudon' thave10 be
an audiophile to accomplish basic audio postproduction
tasks.andyouneedtoknowatleastthepotential of digital
audi opost production.Wit houtthisknowledgeyouwill be
unsllreofyourself andeither{all fortheexcusesof asound
editororbe<:OIne unreasonablydemanding.
LINEAR AND NONLINEAR SOUND EDITING
You wi ll find thatthemostcommoll postproduct ion task
is managing t he sound track during videoediting. In a
news story about a polit ical candidate, you probabl ysee
and hear her make a brief but especially striking stat e-
ment.bUI Ihen),ou hearIhe report ersummarizethe n'S!
ofhercomments. Duringherbrierstatemenl- Ihe soulld
bile---- theaudi oissynchronizedwi ththepi cture, butwhen
thereponer's summarycomes in, the newsoundtrackis
obviouslyedited in later 10 theeXISting video. But even
editingII videotape for si gnifi cant sound bitesby -:utting
OUI extraneousinformation lakes practice.
Linearaudioediting \Vhen edit ing the audi o tfack
ofa videotape, yOll !Iced to select the vi deo and audi o
porti onsfrom lhe source VTR that conta ins the original
(ooldge, thencopythe video andt heaudio (orthe il udio
only)onlO theedit m aster rnpeofllterecordVTR. Youc;l n
adjusttherecordVTR orthevi deoedit controller sothatit
reads Ihe audio track independent ofthe video track. To
accomplishthissplit,Ihevideo-edi tingsystem mustbeif)
the inser{ mode. Ifyouwanttoaddaudio thatisnoton the
sourcetape,younN'd to feedthenewaudio totherecord
VTRviaasmaUmixer. (Thesefeaturesandoperat ionsare
expl ai ned in detail in chapter 13.)
Nonlln.araudioediting 1f you\<tOr k\ .... ilhanonlinear
video-editings),stem,allofthevideoandaudio informa-
tion is stored as computer fil es on a high-capaciry hard
dri ve. Audio edil ing thcn resembles CUlling <l nd pasti ug
words and with a ",'ord-processing progra m.
The great adva nt age of nonlinear audio editing is that
youcan Hot only hcarthe soundsbUI<lIsa see them asa
graphi c Sucha visualrepresentationofsound
helps make audi o editing extremely precise, especiall y
when YOIL work wi th sever<l l sound tracks. Another ad-
vantage is thatyouc.1nsynchronizespo!<.ific soundswith
theselected video or movethem from placetoplace with
1
relativeease. SEE 10.1'
2. Furanu cclkntanddetdiled disC1IssioR oinonti neJraudio edIt ing.
,\lien,Amilo III !<kdlll, PI'..172- 97.
235
236 Ch apter 10
10.4 1110 1 110. 1
- - --
10. 19 VISUAL REPRESEN1AliON OF SOUND
All nonlinear audio-edi ting systems show a visuil l repre<>ent3-
l ion of vari ovs sound (fach.
Editing video to audio and transcribing a udio
When doing a brief news feature or segments of a
mentar}', it is often easier to edit the so und track firs t
and then "drop or match, t he appropriate video 10
the edited audio track. You wi ll soon discover, however,
t hat editing audi o involves playing the source aud io (or
a copy thereof) over and over again to fi nd the right edil
points: this can be extremely weari ng on the equipment
:15 well as on yuu, so regardless of whether you edi t on
a linear or a nonlinear system, you must tr(lliscr ibe t he
audi o track, t hat is, play back Ih(' track in segments and
lype out every spoken \,:ord. But isn't th is procedu rE' marc
timc-consumi,ng than editing t he sound t rack right away?
Yes, jJ you hal'e only a few sound biles to edit-but not if
yo u have to tdit longer or mOfe complex speeches. The
big advatHrsge of transcribing the dialogue is that you can
locate the edi ting cues-and change them much more
readily-when looking at the typed page than when li s-
te ni ng to the taped audi o. ElmEomNG-t Postproduction
audio transcript
CORRECTlN.G AUDIO PROBLEMS
Fixi ng a seemingly si mple mistake, such as the talent's
mispronounci ng a word or giving the wrong address, can
become a formidabl" if not i mpossible post production
task. When a politician says "I am not a cook" instead of
"crook" in the middle of videotapi ng hi s defense, "fuing
it in post" can be veT}' labor- int ensive. It is much e,lskr
10 correct the problem right away and have the polit icia n
repeat his a few sentences belore he made the
mist ake. Such problems become almost impossible to fix
AUDI O: SOUND CONTROL
if you have to try to li p-sync the new word or I-lOrds in
post production. Functions., corre<:1
Filtering out the low rumble of wind during an out-
door shoot or the hum of a lighting instrument in the
studio is possible wit h sophisticated equipment but is nev-
ertheless difficult and time-consuming. Even expcrienctd
audi o production people labor long hours correcti ng what
may seem tike a rdativelysimple audio problem. The more
care you lake duri ng the audio acqui sition, the more time
you save in the long run.
POSTPRODUCTION MlX..ING
Postprodu ction mixing is not muc h di ffe rent from Uve
mixing except that you rfmix separately recorded sound
t racks instead of live inputs. Because yo u mi., recorded
sound tracks, }'OU can be much more discriminating in
how to combine the various sounds for quality.
In a cri tical product ion such as the HOTV recording of a
play, sound designers and engineers can spend weeks, if not
months, on audio postproduction. But don' t worry- no-
body ,\'iiI ask you to do complicated audi o postproduction
for video production unless you have had a great deal of
experi ence.
Mixdownr--during wl,ich a multitude of discrete
audio tracks ,He combined and reduced to ste reo or sur-
rOll ud-sou/ld t racks-are even more complicated and
should defin it ely be left to the experts. Mixing surround
sound is especirslly compli cated be(auSt' you must deal not
only with intricate ,lUra l mixes but with complex spatia l
relationships as weU.
CONTROLLING SOUND QUA.LLTY
The management of sound quali!)' is probably the most
difficult aspect of audio control. You must be thoroughly
fAmilia r wi th t he various t ypes of signal-processing equip-
llIe nt (such as equa lize rs, reverbe rati on controls, and
fi llers), and you espedaU}' need a trained ear. As with the
volume control i.n.live mixing, you must be careful how yo u
USt' these qualilY controls. If there is an hum or
hiss t haI you can fil ter out, by an means do so; but do not
t ry to adj ust the qualiry of each input before you've done
at least a prelimi nary mix.
f or example, yOU may decide that the sound effect
o( a police siren sounds much toO thin; bUI when m ixed
with the t raffi e sounds, the t hin and piercing si ren may be
perfe<I (or communicaring mountiog tension. Before mak-
ing any fi nal quali ty judgments, listen 10 the audio track
in relati on to t he video. An audio mi.'( thai sounds warm
and ri ch by itself m ay lose those qualities when jUX1 aposed
....' il n a high-impact video sce ne. As in all other aspecls of
Sec t ion 10.2 Postproduction and Sound Aesthetics 237
MIOI inll!ffHt10(01'111\)1 Mixifl(j Digitalaudio<<If\SOle
ProToolHYSlem
"''''',
"",,"
andvideoin!erfa(e
Reel-to-reei Oigitdlmultiuad PC S')'5lemtofllflilte
audiotilj)ert<::omef fe<OIder alKHo roftwale
10.20 AUDIO POSTPRODUCTION ROOM
The audiopoStproc\uction room is equipped10handle postproduction tasks.II typicallyCOfltains adigit al
audioc.on!t01e, apatchbay, a digitalillJdioworkst ilt lon,areel-to-reelaudiOfape leCOlder,digital(ilft players,aMIDI
Pow!f Macintosh 10

imerlace.and OAT recorders.
televisionproduCl ion, thecommunication goal and your
aestheti c sensitivit y, not rhe avaiJ auilit yand production
capacity ofthe equi pment, should delermine what YOll
wanttheaudi encetohear.Novol umemeterin theworldor
thebestcomputeraudiodisplaycansubstituteforaesthetic
judgment.
AUDIO POSTPRODUCTION ROOM
Theequipmem10perform all thepostproductionmiracles
is usually housed in an audio postproduction roOIli. The
specific machinery that is in such a room, or
producti onstudiO,dependsentire!}'onthesounddesigner
orsoundeditor,butgenerall yyoowill find the bnsic
equipment<I S intheaudioCOnlro!booth; elaborateaudio
consoles, a patchbay, analogand digil alaudio rerording
syst('ms,andseveral VTRs.
Additional audio equipment, which you rardy se('
in the audiocontrol booth. includes: ( !) a digital audio
workstation,(2)ananalog,lUdiosynchroni zer.aud(3)
boards.U1d asampl er;largerproductioncentersevensport
( 4)anautomaticdial oguereplacement room. SEt:10020
DIGITAL AUDIO WORKSTATION
Thedigital audio IVork$tMiOIl (DAW) isdesignedforediting
thesound tracks and s)'nchronizing [hem with the video
tracks.TheDAWisa computerodrivensyslem
that facili tates sound ediling. signal processing, mixing,
andsynchronizing videaandaudio. With the mllsical i/l-
stfUmelll digital illterfacc(MlDJ) sHmdardiz..1Iiondevice(a
specificcablc), youcanconnecttheDAW withavarietyof
otheraudioequipment foraddi tion.:11 manipulationofthe
audiotrack. TheDAW screendisplaysavarietyofgraphs,
including the editing time line. indi<ating the length of
audiosegnlentsfromagreatmanysound[racks;the time
code for edit-in and edit -Oll tpoints; various graphicsof
selected sound tracks and their audio conten!; and
foull. DonOtbesurprisedwhen you S\?ea physic,,1OIl-xing
board movillg its all by it self,dlllifull y following
the{Omm:lndsoftheDAW soft wa re. SEE 10.21 Thedigital

238 Chapter 10 AUO/O: SOUND CONTROL
10.21 DIGITAL AUDIO
WORKSTATI ON DISPLAY
Thefe i1re o;eveJal computel
progr.ams lhat fa(ilitate audio
editi ng, audi o quality coolrol,
audio eHect s. and audi o/
video
audio in(orma( ion ca n even be senl via tel ephone line
La DAW IOGll ed in different cities or even other

A.NALOG AUDIO SYNCHRONIZER
When using analog video- and audiotape, you need J ma-
chine caUcd a synchronizer for matching each video frame
with it s appropriate audio. Most aud io syncbroni zers use
the SMPTE time code, which di vides the audiot ape inw
im<lginaq'''frames."These frames correspond with those of
thevidrotape and provide a mutual " lIme speci-
fied h)' hours, m;nult"$, seconds, and frames (30 fram es
make up I second). (Foc more information on time code,
SE'e chapter i 3.) But you \'If ill find thai most audio/video
matching is no' " do ne digit all y, using a DAW.
KEYBOARDS AND 5AMPLER
If the sound designer is also a practicing musician, the
postproducti on room s are usuall y equi pped with various
keyboards .m d a sampl er. As you undoubt edl y know, a key-
board can re create percussi on sounds. ready made chords
for ac<.:ompani menl, and the sOllnds of many instrument s.
Most have a buill -in re<ording de\'ice so you can save and
play ba..:k your musical inspi rations. A sampler is actuall y
an el ectroni c sound-shaping device that can take a speci fic
sound, such as a door d osing, and morph il into the sounds
of an eart hquake, a thunderstorm, or an explosi on.
AUTOMATIC DIALOGUE REPLACEMENT
Some large postproduction houses have a room speciiiC.1l1 y
for IHI/ Of/wric d jalogue replacemell t (ADR). Tedm ically,
A. DR means the posTdubbingof dialogue, but if sometimes
rete rs to the s)' nchroni z.a li on of sound effecls as weU.
This aud io-d ubbi ng process is borrowed directly from
mo ti on pictures. Many sounds, incl udi ng di alogue, Ihal
are recorded simultaneously \\'i tl1 pictures do nOt al ways
li ve up to the' expected sound qualit y, so they are re placed
by dialogue and sounds re-created in the studio. Most of
the lime, the I\DR ;s an}'1hing but automatic and requires
painslaking re-crea tions and mixing of dialogue, sound
effects, and a mbient sounds.
AOR ha$l he actors repear their lines ,,,hi1e
wat ching rootage of lhemselves On a large-screen projec-
tion. Recordi ng sound effects is usuaUy done with the Foley
stage, \\'hi ch conSist S of a vari ety of equipmenllhat is set up
in a recording studio to produce common sound cffed s,
such as opening and closi ng of doors, and Scl
forth. The Foley stage USt's soundeffects equipment much
Sect i on 10. ]
Postproduction and Sound Aesrh eri cs
like thal of traditi onal radio and fi lm productions, which
includes different types of floor sections, linle doors with
numerous rocks and squeaks, or \)oxes \\'ith differeJII types
of gravel. The anislS Slep on the various surfaces to
produce the desired sound eHeelS of someone walking in
a hallway or on a drivev.'ay. foley off('rs this equipment in
effidently packaged boxes so that it can be lntOSpOrled by
truck, sound-effect included.
SOUND AESTHETICS
As reiterJ. ted throughoU! this chapter, the bewildering
array of audio equipment is of little use if yOll cannot
exercise some aestheti c judgment- make decisions about
ho\\' to work witn television sound artist icall y r;Hher than
just techni cally. Yet aesthetic judgment is not arbitrary or
totany personal; there are some com moo aeschelic mctors
to which we at! reaCI
When dealing with television sound, you should pay
particular attention to five basic aesthetic factors: ( /) envi-
ronment, (2) [ne fi gure/ground principle, (3) per$pectivC',
(4) continuity, li nd (5) energy.
ENVIRONMENT
In most studio recordings, we tr y 10 eliminaTe as much
ambient sound ,11> vossible. In the Held Iheose sounds, when
heard in lhe hackground of the main sound sour..:e, are
often important indicators of where the evenl takes place
or even how it fed s. Such sounds help establish the general
environmenl of the event.
For example, when covering a downtown flfe , the
sirens, the crackJing of the fire, the noise of the fire engines
and pumps, the tense commands of the firefi ght ers,
and the agitated voices of onlookers are significa nf in
communicati ng to the television viewer some of the exciI\!-
ment and apprenension. Now consider the recurdi.ng of a
smalJ orchestra, In a studi o recording, the coughing of a
crew member or musician would, during an especiaU)' soft
passage, certainl), prompt a retake. Not so in a li vE.' concert.
We have learned to identify occas.iona! coughing and other
such environmental sounds as importnnt indicators of the
immediacy of the event.
Environmental sounds are especiall )' important in
ENG. By usi ng an omnidireclional mi c, YOli pick up th('
ambienl sounds JUlomalicaUywith the main audio source.
BUI , as mentioned if you intend 10 do sUllie post-
produ(.ti on, Iry 10 use one mic and one <l udi o tr.ack of the
videotape;' for the rewrding of Inc main .<;Qund source, such
as Ine reporler or the guest, and the other mic (usuall y the
camera mic) and the second Judio track for the recording
of Ihe ambient sounds. SeparJtmg Ihe sounds facili tates
mi xing them in the proper proportions in postproduc-
tion.
FIG.URE/ GROUND
One important perceptual factor is Ihe figllre/groulld p(in-
cip!e, whereby we lend 10 organize our visual environment
into a re\lltively mobile figure (a person or a car) and a
rdatlv!:'ly stable background (3 Iva!!, houses, or moun-
ta ins). Jf we cxpJltd this principle a little, we can that
we si ngle OUI an event that is important 10 us and make
it the (oreground whil e relegating all other eVe!lIS to the
background- the environment.
For example, 1f you are looking for somcone and finall)'
discover her in a crowd, she immediately becomes the focus
of your attention-the. foreground-while the rest of the
peoplc become the background. The same happens in the
fi eld of sound. We have the abilit )' 10 perceive, wlthmlim-
it s, the sounds we want or need to hear (the figure) whi le
ignoring to a large extent an other sounds (the ground),
even if Ihe background sounds are relativel y louder.
When showing a dose-up of someone in a nois}' en-
vironment, )'OU should make Ihe figure (CU of the person
talking) louder and the background sounds softer. When
showing Ihe person in a long shot, however, you should
increase the volume of the environmental sounds so
that the figure/ground relationship is more equal. \Vhen
emphasizing the foreground, the sounds must nol only
be louder but also have more presellce kxplained in Ihe
following section).
You ("an now see wh)' ir is so imlXlrtant 10 separate
sounds as much as possible during the rerording. Lf you re-
cord background and foreground al.l on ooe trark, you have
to li ve with wha tever the mic picked up; manipul ating Ihe
individual sounds wonld be very difficult, if possible at all.
With the figure sOll nds on one track and the background
sounds on the other, the manipulation is relatively eaS)'.
PERSPECTIVE
SO UNd perspectjve means that dose-up pictures are
matched with relatively nearby sounds, and longshols cor-
respond with sounds that seem 10 come from farther awa)'.
Cios(' have more presenct than distatH sounds-a
sound qualit y that makes us feci in proximit y to the sound
source. Gene raUy, background sounds have less
and close-ups have more presencc. Exp('rienced singers
239
r
l
240 Chapter 10
hold their mi cs dose to the moulh during intimate pas-
sages but pull them back a lillIe when the song becomes
less personal.
Such a desirable variation of sound presence is vir-
tll<llly eli minated when using I.wali er.: mi es in a duma.
Because the distance berween mie and mouth is abOUll he
same for each actor, their voices exhibit the same pres-
ence regardless of ,"het her rhey are seen in a close-\Ip or a
long shot. The necessary presence must then be achieved
in time-consumi ng and costl y postproducti on. This is
wh}' boom mi cs are slill preferred in many mult icamera
product ions of television plays such as soap operas. The
boom mic can be close 10 311 actor during a dose-up and
moved somewhat fan her il.1".'3Y during a long shot 10 stay
OUI of the simple solution to a big problem.
CONTINUITY
Soundcontinuity is especiall y important in postproduction.
You may have nOliced the sound qU<llit y of a reporter's
voice change depending on whether he was speaki ng on- or
off-camera. When on-<amer<l the reporter used ooe type
of mi crophone and was speaki ng from a remote locati on,
t hen he returned to the aw usli call y treated studi o to
lIarra te the off-carner;!. segments of the videotaped STOr y,
usinga high-quality mic. The change in. microphones and
locales gave the recordi ngs distinctl y diffe rent qualities.
This difference may not be too noti ceable duri ng the actual
recordings, but it becomes ob... when they are edited
together in the final show.
How ca n you a ...oid such conti nui ty problems? First,
hal'e the reporter record the narrati on on-site. Second, use
identical mies, or mies thai produce a similar sound qualit r,
(or the on- and off- camera narrations. Third, if you have
time for a swt'eteniJlg session, Ir}' 10 match the on-camera
sound qual ity through equalization and reverberation.
Fourth, if you recorded some ambience at the on-camera
locat ion, mix it \>'ith Ihe offcamera narration. When pro
ducing this mix, fe t'"d tlle ambient sounds to the reponer
through earphones while he is doing the voice-over nar-
r3ti on, this will hel p him recapture the on-site energy.
you m,lY hea r the- ambience punctured by
brief silences at the edi t points. The effecl is as startli ng as
when an airplaJl e engine changes il s pi lCh un\' x.pl'cledl y.
The easiest way to restore the backgrou nd continuit y is
10 cover up these with pre- reco rded ambi en<e.
Always record a few minut es of "silence" (room tone
or background sounds) before and after videotaping or
AUDIO : SOUND CONTROL
whenever the ambience cha nges deci sively (such as a con-
cert hall wi th and without an audience).

Sound is also a chief element in est ablishing visllO/
cOl1tinuiry. A eh}'! hmi cally precise piece of music cll n help
a di sparate seri es of pict ures seem continuous. MU5ic and
sound arc often the important connecting link among
abrupll y changing visual sequences.
E.NERGY
Unless )'OU want to achieve a specia l tHect through con-
tradiction, }'ou should match the general energy of the
pictures wi th a si milar sound intensity. Ellergy refers to all
the fact ors in a scene that communi cate a certain degree of
aesthetic force and power. Obviously, hi gh-energy scenes,
such as a series of cl ose-ups of an ice-hockey game or a
rock band in ac ti on, can stand hi gher-energy sounds than
c<'ln a mote tranquil scene, such as lovers walking through
iI meadow. Good television audio depends a grea t deal on
your abil ity to sense the general energy of the pictures or
sequences and to adjusl the volume and sound presence
accordingl y. Em)AUDl07 Aesthetics7 cont inuity Ienvironment
Jsound perspeclive I try it
STEREO AND SURROUND SOUND
As you read this brief discussion of stereo and surround
sound, <lpply it to Ihe context of video-eilher film or
standard-s iud and large-screen television.
STE.REO SOUND
Stereo S<)lmd, \>, hi ch defines especiall y the hori zontal audio
field (left -right or ri ght-left positioning of the major audio
source) is of liule use when playing it back on a sta ndard -
sized tel evision set. Because the horizontal dimension of
the screen is so small , any p(ll !l1ing (horizontal positjon-
ing) of sound will inevi tably lead 10 off-screen space, even
if }'Oll sit in the sweet spot (the celller where you perceive
t he rwo channels as one). At best, stereo for
wi ll enrich the general shape of the sound, that is, make
il more spacious.
\Vith large-screen. home-theater HOTV ,ideo projec-
ti ons, however, stereo sound becomes extre.mely important
for keeping up wi th il nd balancing the high-energy video.
In fa cl , ,ht' movielike experience when wa tching large-
sc reen video projections wil! be greatly intensified by a
surround-sound s),stem.
Section /0. 2 Posrprodc/c/ion and Sound Aesrhetics
(enter
,,'
----
,
\ 15 ,

,
,
IlW

lfftsurcound Ri9hts\llfolllld
Subwoofer
10,22 SURROUND SOUND
The5.1Dolby system U5es si)( speakers-
threeIn (Iontandthl eein badeTherear-centelspeakeris iI
(Ofverylow 50unds.
SURROUN_D SO.UND
SurroulldsOl/lidisala nnologythatproducesawundfield
infrontof,to thesidesof, andbehindtheli stener,enabling
onetohearsoundsf(Om thefront,sides,andback. Devel-
oped originally for film reproduction, ;t is now used for
HDTVand Olherlarge-screenhome-theaterarnmgement s.
Themostprevalentsurround-soundsystem isDolby5.1 ,
wh ichposi tionsthreespeakersinfrontandfWO intheback
forsoundreproduct ion.Thesefi vespeakersaresupported
byanadditionalsubwoofer that is usuallyposi tionedbe
tween the1\\'0 rearspeakers.This. 1speakercanreproduce
espttiall ylow-fr equency,thunderoussounds. su10. 22
Goodsurround-soundmixi nggenerallyrestrict so n-
s(ret" n di alogue to the speaker and J,, \erall y
spreadsaCl ion (0all threefront But ifthe vi deo
shows thehero slanding amid downt own Irafti.::, pl aying
In an orchestra, or dodging bombs, anfi ve speakers .He
act ive,as wellasthe "thunderbox",u rear-center.)
J. s,\hell.f,,,,j,o jnMulia.pp.41}-24.
i "j . ! _
audio IIwolveslinearornonlinear
editingof wond ofvideorecordings.
When editing:theaudio tosefveasaguideforsub
sequentvideoediting,you ffiUStllanioibeallspoken
materialontheworcetape5.
PoSlpfOductionmixing means' sweetening"ormixing
r{,(()fdedsoundtr acksforoptimalquality.
Wher'lengagedinmixdowns(fedu<ingthevarioussound
trackstostereoorSUIIOUnd!oOUnd)oftheaudioportionof
avideoprodU<lion.alwaysjudgetheau<l iomi)( relative to
thevideo.
Theaudiopostploductionroomcontainstheequipmentof
atelevisionaudiocontrolbooth.plusadig:i calaudiowork,
station(DAW). ananalogaudiosYllchroniler,keyboards
andasampler,andsometimes<lr'I <lutomatlcdialogue
replacement(ADR)room.
Thefwe majoraesthet iclactoriin soundcontrol<Ire: envi-
ronment -sharpening: aneventthroughambientsounds;
ligurefground-emphasizingthemostimport antsound
sourceover thegeneralbackgroundsounds;p(!rspec-
live-matchingclose-uppictureswithnearbysounds,and
long shotSwith distantsounds;continuity-maintaining
th",qualityofsoundwhencombiningvarioustakes;and
energy-matchingtheforceandthepowerofthepictures
withasimilarintensityofsound.
SUrfoundsoundtechnologyusesthreespeakersplacedrn
hoot01 thelistenerandthreein back to produceasound
heldthaiSUfloundsttleli stener.
..... .!. :1
f oryour,efefE'nCe,ortotrackyourWQrk, eachVideo-
Labproglamcueinthischapteri51istedherewith its
cOflespondingpagenumber.
B!ID Audio;ntrociu(tion 2'8
EED Consolesandmixers"J parIs'
signalsIcontrolItryit 221
El!ZD Consolesandmi)' rs"J calibration 23'
!ED EDITING?
audiOtranscri pt 236
B!ID EDITING.-7 FUl1Ctions.-7 correct 236
El'!l:O EDmNG"J Continuity.) sound 240
tl!ID Auoro"JAesthetics? continuityIenvironmentI
soundperspective I tryit 240
241