Audio Post Production
in Video and FilmSecond Edition Tim Amyes, formerly Sound Supervisor, Scottish TV Audio Post Production in Video and Film provides a thorough overview of audio post-
production theory and technique. 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 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.
‘Any reader engaged in this field will want to possess their own copy. It makes riveting reading with many excellent illustrations helping the understanding.’ IMAGE TECHNOLOGY ‘It’s a book which will have something for everyone - even the most experienced technician. But its real value lies in its comprehensive overview of the art of producing sound for vision - a must for the student.’ PLAYBACK JOURNAL CONTENTS: Historical background; Video and film pictures; Audio post-production equipment; Digital audio recording; Recording and distributing time code; Controllers and synchronizers; Recording audio for post-production; Video and picture editing; Sound effects; Film and audio postproduction; Audio workstations; Stereo; Music; Monitoring and the environment; Mixing consoles and processing equipment; The mix; Studio recording; The transmission and reproduction of audio post-production material 1999 - 224pp - 100 Line Illustrations 234 x 156 mm Paperback 0 240 51542 0 £19.99 
|  Dear Bob
I thought I would drop you a line regarding the AMPS booklet On Set Noise Investigation. Having just completed a film at Shepperton, I was interested to note that one of the main problems highlighted in the booklet was the electronic HMI lamp. These lamps have to be constantly dealt with and are perhaps the Production Sound Mixer’s biggest nightmare! At best, if he is fortunate in having caring electricians on the film who will endeavour to keep noise down to a minimum by running long extension leads to keep all ballast off the set. This is not always possible, and in any event only slightly reduces the problem. It has become more and more apparent to me that the head of the lamp is the cause of so much noise. Apart from the occasions when David Watkin is lighting, these do have to be on the set all the time!! Perhaps the reason so few lighting companies bothered to reply to AMPS’ letter is because they are simply not made aware of the problem and are not pressurised by the people who purchase or hire from them. Should we not address the problem to the people who use these lights - the Directors of Photography? I feel sure many of them have no idea of the problems created by these lamps. I recall when they were first introduced, the idea was that they were lightweight and designed to replace heavy brutes. When I complained about the increase in noise level, I was told they were built for exterior use only and therefore, should not present too much of a problem. Within a year or two, the lighting manufacturers started to produce much smaller lights which obviously became popular for both interior and exterior sets. It would appear that many of these lamps are so bright that they are now fed through dimmers in order that they are not running at full strength! This, of course, produces even further problems for the floor mixer. I feel a letter from AMPS to the BSC would at least make their members aware. If one or two respected BSC members were to request the lighting companies address the problem, this night create an effective response. Whilst writing, may I also point out an irritating and unnecessary problem on set at the present time, ‘The Mobile Phone.’ I fail to understand why anyone should have good reason for leaving a mobile switched on whilst on set. It is a growing problem which could so easily be rectified. During my last production, there were special effect explosions. Throughout the days of shooting these effects, the production company organised an assistant to collect each mobile phone ensuring they were switched off to eliminate risks with the explosion mechanisms. It occurred to me at the time that this discipline should be put into effect permanently, to assist the sound department. A sound track is so easily lost during a busy shooting day due to the use of mobiles. Indeed the other evening during an AMPS screening at Pinewood, a mobile phone rang during the performance!! Kind regards DAVID STEPHENSON Chobham, Surrey Editor’s reply: David, The campaign to pursue the lighting equipment manufacturers, I’m afraid, seems to have been pushed on to a back burner by 24/25 frames editing problems. I have passed your letter on to the Council whom will, I’m sure, take note of your suggestions and resurrect their endeavours to find a solution to the problems |
