Motion picture audio is one of the least understood parts of
filmmaking and is neglected by many film students and filmmakers
alike. It's boring, scary, too technical and not considered
important by most filmmakers. Until they get into the editing room
and realize that by not paying attention to audio earlier they are
screwed. Over the years tons of false information has spread
through the independent film world, and most students and
filmmakers don't want to deal with sound. If they do it is usually
done incorrectly through ignorance and at a huge financial expense.
This book is intended to shatter the myths and mysteries around
film audio and give both students and experienced filmmakers the
knowledge and tools so that their films will sound like they have
come from the Hollywood studios without huge Hollywood budgets. I
have assembled a lineup of some pretty amazing people in all areas
of audio production for film and television. This group consists of
location recordists, sound designers, picture editors, sound
editors, re-recording mixers, and post-production supervisors. This
all-star cast has won Oscars and Emmys in addition to awards from
various film industries worldwide. In the book's interviews, Gary
Rydstrom, Tom Johnson, Jim LeBrecht, Ron Eng, Harry B Miller III,
Peter Kurland, Lee Haxall, Ken Karman, David A. Cohen and a host of
others discuss their methods and secrets. Sound is an excellent
carrier of emotion. And film is about emotion. - Gary Rydstrom,
sound designer - Saving Private Ryan, Jurassic Park (winner of 7
Academy Awards) Sound is NOT the enemy - Lee Haxall, editor Crazy
Stupid Love I'm capturing a performance, and that performance is
only going to happen one time the way they want it, in the
environment, with everybody in the mood. - Peter Kurland, location
recordist - No Country For Old Men In my mind, dialog is king, if
you can't understand what they're saying then the movie is a waste
of time. - David A. Cohen, dialog editor - Lost In Translation A
good dialog editor can figure out a way to make nearly every line
of dialog usable. Milly Iatrou, dialog editor - Walk The Line I
would rather see no music than music used improperly. - Ken Karman,
music editor - Forrest Gump We're like the ugly evil stepchildren
in the basement. - Jana Vance, foley artist - Toy Story When I look
at a film or look at a script I think of what I'm gonna need to
make that world. Jane Tattersall - sound effects editor - Naked
Lunch I like off beat stuff, weird sounding films and subtle sound
tracks as compared to bombastic. - Ron Eng, supervising sound
editor - Mulholland Drive Sound is kind of invisible, but when it's
wrong we know it immediately. - Jim LeBrecht, sound designer - The
Singing Detective Good sound goes unnoticed, bad sound ruins a
film. - Dan Olmstead, re-recording mixer - Cecil B. Demented The
rule of thumb for good sound is: does it tell or promote the
emotional content of the scene, does it support and/or reveal the
story. - Tom Johnson, re-recording mixer - Alice In Wonderland
(winner of 2 Academy Awards) If you want to see what the future of
storytelling looks like then check out Kelley Baker. Brian David
Johnson, Futurist, filmmaker, author If you read only one book on
sound, this is the one, and, after you've read it, you'll never,
ever, ever say, "We'll fix it in post." William M. Akers, author of
Your Screenplay Sucks
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