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by David Lewis Yewdall MPSE

eBook The Practical Art of Motion Picture Sound (Book  CD-ROM) download ISBN: 0240802888
Author: David Lewis Yewdall MPSE
Publisher: Focal Press; 1 edition (September 1999)
Language: English
Pages: 267
ePub: 1344 kb
Fb2: 1983 kb
Rating: 4.1
Other formats: mobi lrf lit txt
Category: Humour
Subcategory: Movies

David Lewis Yewdall (Author). If you're looking for the best source of knowledge and inspiration between two covers, you have only one choice: David Yewdall's 'Practical Art of Motion Picture Sound.

David Lewis Yewdall (Author). ISBN-13: 978-0240805252. Yewdall goes back and forth between step-by-step explanation of every part of the craft and reminisces on his career, all the while never forgetting the end product-the ar. - Larry Blake, Mix Magazine. Paperback: 424 pages.

All technological changes have been updated to reflect the most current systems. Practical Art of Motion Picture Sound embraces the sub. т 3435.

David Lewis Yewdall, MPSE, is a veteran of over 140 theatrical motion pictures, most of which are listed on IMDB.

Start by marking Practical Art of Motion Picture Sound as Want to Read .

Start by marking Practical Art of Motion Picture Sound as Want to Read: Want to Read savin. ant to Read. What this book taught me: Don't ever fuck with Yewdall's authority on sound. He'll laugh at your shitty movie's final mix, and then write bad things about how cheap you ar. .

Поиск книг BookFi BookSee - Download books for free. Practical Art of Motion Picture Sound. David Lewis Yewdall MPSE.

This book covers motion picture sound from the point of view of the key figures in the sound department on a set and describes the practices common in the industry today. The accompanying audio CD presents demonstration material, as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and industry practices. No current Talk conversations about this book.

Roger Corman, Concorde/New Horizons. The DGA should make this book required reading before their members could go out and work in the industry!

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The Practical Art of Motion Picture Sound embraces the subject of sound for motion pictures and television productions with a dedicated emphasis on the art and application of the various techniques and philosophies. Told through interviews with the top sound craftsmen in the industry and firmly grounded in practical techniques, this book will provide real-life examples and relevant technical data, as well as an appreciation of all of the processes involved in creating motion picture sound. This book covers motion picture sound from the point of view of the key figures in the sound department on a set and describes the practices common in the industry today. The accompanying audio CD presents demonstration material, as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and industry practices. Interviews with top sound craftspeople in the industryExperience-based advice on a wide range of topicsAudio CD with demos and public-domain sound effects
Comments: (7)
Shomeshet
Author/recordist David Yewdall does a terrific job explaining the highly-technical goings-on behind the scenes in the world of film sound. Recording, mixing, dubbing, and digital audio techniques are all covered in a way that never talks over the reader's head.
The content is absolutely state-of-the-art (as of mid-2000), and is the first thorough book I've ever seen on the subject. Anybody who's interested in recording sound for TV or films -- high budget, low budget, or inbetween -- will get something positive out of this book. Highly recommended!
Inabel
David Yewdall's apparent core work in this textbook is a personal gripe list that he has accumulated from decades of experience in the film industry and what appears an apparent desire to see the process of apprenticeship rekindled.

This is clearly one of the better textbooks available for Alternative learners. Yewdall's gripes about industry practices, that slow down the entire process and escalate budgets, are accompanied by specific examples of failures and specific examples of how they could have been avoided.

The language of this book is simple and supported by specific examples from motion picture film experiences, good and bad, that do SHOW what he means within his explanation of how protocol should work or how a transfer session should proceed or how the best quality work can be created with more teamwork at critical stages of the sound track development process.

Fans of the film "Christine" will enjoy the many minute details that Yewdall uses as illustration in this book from his own experience in the creation of sound effects for that film.

He writes about all aspects of the process like detailing what attention should be paid by the picture editor to the EDL list, cleaning it up, before turning it over to the Sound Editor, detailing the clean up process. He walks you through a Foley Studio and tells you what to look for, what to avoid and why, then gives specific examples from films about why he is telling you to do this. He repeats information in this text only when needed and refers back to other chapters of the text, where he detailed a form, when he mentions its importance later in the textbook. This cross-referencing and repetition is limited and ads to the clarity of this text.

For myself, with no Sound Editing or Recording experience the most difficult parts to read were the sections where he describes the technical process of how to use a ProTools session, detailing what windows to open to accomplish specific tasks.

ARTISTIC DIFFERENCES: A decade after reading this book, I still find productions by women showing not acceptable stereotypes about women
and unrealistic characters that don't interest.

Yewdall suggests as career advice to expect to take jobs that one does not like first, hmmm~!

I firmly believe, being reaffirmed by recent events that show an ever present disregard for the rights of women, that if women are brainwashed to take jobs they don't like and wait for a chance to do what they really want they will more than likely never get there, or when they get that job they will be so married to a system of mediocrity the trip was not worth it. I have a list of women who I believe did the later quite successfully, a decade after reading this little has changed. except I do see a vicious increase in the number of younger women who attack older woman thinking that they are successful in their mediocrity.

BLASPHEMY AND PROFANE DIALOG-
Not every film is, nor should it be, designed to be a blockbuster made to make money only.

Artistic Choices are those of the Writers/Producers/Directors for very specific reasons, particularly if this is an artistic endeavor. I found it quite appropriate for the character in "Brimstone" to tell the Devil to "go to hell". This brings me to the controversial part of this review. David Yewdall takes a stab at the "careless use of blasphemy and profane dialog" in one page, part of a Chapter on ADR and Group Walla, in a subtopic entitled "Appropriate use of Language" stating unequivocally that it will "doom" your film. Some of this page sounds like simple preaching others like "Pulp Fiction". As an artist/advocate, I take particular offense in the part where he states you may lose the Bible Belt dollars because they won't see the film. Having lived in the Bible Belt David, I can truly say many people here are going to "Hell". I have traveled worldwide and find the corruption and human rights abuses here equal in severity to some third world countries. As an advocate I have wasted years of my life defending migrant workers, and so on and so forth, because of extreme corruption. Any artistic production I were ever to be involved in about this area would certainly reflect this in language I would not apologize for. In fact there are many literary reasons that profane dialog and blasphemy are an appropriate part of the goal of catharsis in drama as traditionally debated by Plato and Aristotle.
Xal
As mentioned, Mr. Yewdall really knows his stuff, and the personal approach is unique and highly effective. It's rare to see a subject like this tackled in such a personal manner, and on that level it works.

However, as a "read" it has its problems. It is extremely lenghty, the writing is at times long-winded, and much of the information is unnecessary. The Pro Tools chapter should probably be removed entirely as it shows a lack of real awareness of how the system is being used by professional operators. (and it really doesn't seem to be his strength anyway.)

More troubling for me was the attitude. He has quite an ego, and his anti-intellectualism is not a positive influence, not for those practicing sound arts nor those who work with them (producers, directors, editors). In many ways, his book is geared toward all practitioners in film, and I fear that his attitude reinforces the perception many people have of the bitter sound guy.

However, while I found that aspect tiring, there's no denying that this is easily the most revealing book on audio for film I've found. If you want an in-depth look at the nuts and bolts process of film sound, you'll definitely learn a great deal in Mr. Yewdall's book.
Gabar
I found the book very entertaining to read, Yewdall tells many personal stories which he uses to illustrate points. In fact, I read it more like a novel. He passes his knowledge, and experience to the reader through stories of things he's done, and has seen in his many years recording, producing and creating sound for motion pictures. Some is fact, some is opinion, but his opinions are clear and are backed-up with his own unique style of logic.
There are also more technical areas of the book that cover topics like mic placement, how to record cars/explosions/dialogue, how to catalogue your own sound effects libary, etc. This book would also be useful to directors and producers who want better sound in their films. There's definately lots to learn about sound, and the author has done a good job giving the reader an idea about what motion picture sound is all about.
ℓo√ﻉ
This is the first book I've read on the specific topic of sound for films. I saw this listed on the Berkely School of Music website as a listed text book, so I figured if it's good enough for them....
There's a lot of great technical tips on many aspects of sound recording, from on-camera dialog, sound effects in the field, foley stage, to editing both linear and non-linear. The only thing less touched on was some techniques on the final mix of a soundtrack, even though the process of it was covered.
This book would be better for someone who's getting ready to enter the professional field, or just starting as tons of politics are discussed which at points made some chapters seems like an E! Entertainment report. Funny, but a little overkill for someone not in "the business".
Lastly, I would have liked to hear more about the mistakes the author made and how he learned from them, with solutions and the problem solving techniques used. Most references are on how everyone else made the mistake of not listening to the author, which comes across a little snooty, but I get the point. Good basic tips and setup for using ProTools as well. If you don't mind all the politics, and camera talk, then this will be a great read and learning expierence.