Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Make your film or video project sound as good as it looks with this complete training course by audio guru Jay Rose. You get hundreds of professional, real-world techniques that you can employ from preproduction through the final mix. This is a solution-oriented guide with FAQs, how-tos, tips, and time savers. You'll get a primer on how sound and digital audio work as well as technical setups, guidelines, and real solutions for: * budgeting, scheduling, and preproduction planning * microphones and room acoustics * recording dialog, voice-overs, ADR, and effects * postproduction hardware * levels and digitizing * working with music and sound effects * producing the final mix New to this edition: * information on the latest cameras and field recorders * choices between single- and double-system, and digital workflows * the differences between traditional video soundtracks and dialog-driven storytelling.

Son --- Digital video --- Film soundtracks --- Sound --- Television soundtracks

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Bergman, Ingmar --- Motion picture music --- Film soundtracks. $ --- History and criticism

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"The introduction lays out the basic theoretical framework for acoustic profiling, a method for listening to films by way of acoustic ecology (and vice-versa). This method is based on a double critical movement. On the one hand, a sound ecology of the cinema entails the application of acoustic ecology's prescribed listening practices to film sound studies. On the other hand, a new way of thinking about acoustic ecology is born of film studies, a way to consider acoustic ecology's practice through film studies' long history of dealing with problems of fidelity and realism through recording technologies. This intersection of fields offers a necessary critical discourse for handling the challenges inherent in navigating acoustic ecology's media practices. The four dimensions of acoustic ecology are described as documentation, analysis, prescription, and composition, and it is explained how these dimensions can intersect with a variety of standard concepts in film sound theory. In turn, this introduction explains how the set of films to be analyzed across the book will demonstrate, enact, and challenge these dimensions through their mediality, defined here as a mode of reflexivity that emphasizes the role of media technologies in engaging with, rather than acting as barrier to, real-world space. The films expose the myth of vanishing mediation and invite audiences to reflect upon their approaches to the audiovisual construction of space so that we may carry this reflection out to the world beyond the frame of the screen and its surrounding walls. The intersection of acoustic ecology and film sound studies can make films work as both extensions of acoustic ecology and means for critically re-thinking the field"--

Bandes sonores (Cinéma) --- Film soundtracks --- Film soundtracks. --- Film, Musique de --- Motion picture music --- Motion picture music. --- Son (Philosophie). --- Sound (Philosophy). --- Histoire et critique. --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such disciplines as musicology, music theory, film and media studies, and sound studies. Yet, despite the diversity of approaches, the logic of the soundtrack and the relationship among its various components remains underexplored and undertheorized. The voice has long been an object of focus of many theoretical approaches to sound in cinema. But because of the way it relates to meaning and hierarchy, "voice" is also a useful metaphorical conceit for thinking about relations within the soundtrack. "Voice" can have multiple meanings when considering the integrated soundtrack and its position in the history of film music and sound. This volume builds on existing scholarship on music and film sound, with particular attention to the concepts of the voice in cinema, vococentrism, and the integrated soundtrack. What is the cinematic significance of the singing voice ? How do music and dialogue interact in cinema ? To what extent, if any, is silent film vococentric ? Is vococentrism still a useful category to apply to conetmporary postclassical film ? These are some of the questions the essays in this volume will address"--

Motion picture music --- Film soundtracks. --- Voice in motion pictures. --- History and criticism.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Motion picture music --- Film soundtracks --- Comedy films --- History and criticism. --- Production and direction --- History. --- History and criticism.