By Mick Hurbis-Cherrier
Voice & Vision is a complete guide for the self sustaining filmmakers and picture scholars who desire a reliable grounding within the instruments, suggestions, and approaches of narrative movie which will in achieving their inventive imaginative and prescient. This booklet comprises crucial and certain details on suitable movie and electronic video instruments, a radical assessment of the filmmaking levels, and the cultured issues for telling a visible tale.
The final objective of this e-book is that can assist you boost your inventive voice whereas buying the forged sensible talents and self belief to exploit it. in contrast to many books that privilege uncooked technical details or the line-producing facets of construction, Voice & imaginative and prescient areas creativity, visible expression, and cinematic principles entrance and heart. in the end, each sensible determination a filmmaker makes, like deciding upon a place, an actor, a movie inventory, a focal size, a lights set-up, an edit element, or a legitimate influence is usually an expressive one and may serve the filmmaker's imaginative and prescient. each choice, from the biggest conceptual offerings to the smallest functional suggestions, has a profound effect on what seems at the display and the way it strikes an viewers.
"In perform" sidebars all through attach conceptual, aesthetic and technical concerns to their program within the genuine international. a few offer a short research of a scene or strategy from simply rentable motion pictures which illustrate how a selected expertise or technique is used to help a conceptual, narrative, or aesthetic selection. Others recount universal creation demanding situations encountered on genuine pupil shoots for you to motivate you to be cutting edge and imaginative if you are fixing your personal filmmaking challenges.
INSTRUCTORS: stopover at the better half web site (www.voiceandvisionbook.com) for a hyperlink to extra instructing resources.
Read or Download Voice & Vision: A Creative Approach to Narrative Film and DV Production PDF
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Additional resources for Voice & Vision: A Creative Approach to Narrative Film and DV Production
The electronic Sound Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . electronic Recording Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Recording on DV Camcorders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . moveable box Mixers.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Microphones.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dynamic, Condenser, and Electret Condenser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microphone Frequency Response. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microphone Directionality.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . instant and On-Board Microphones.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 three 329 331 332 332 333 333 333 335 337 337 338 340 340 342 343 344 345 345 346 347 349 Chapter 16: situation Sound suggestions n The Sound Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Preproduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Recording Technique.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . surroundings Levels.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Reference Tone and Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . guide as opposed to computerized Functions.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Headphone Monitoring.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty one three 352 352 353 355 355 356 ix x Contents n Microphone Technique.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 stability, Consistency, and Being On-Axis.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . growth Technique. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . utilizing Lavaliere Mikes.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miking and Perspective.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . utilizing a number of Microphones.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audio Continuity: Ambient Sound.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miscellaneous Recording Challenges.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . fifty seven three 359 360 361 361 361 362 Chapter 17: On-Set tactics n strolling onto the Set.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Who Does What, When.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dressing the Set.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loading In.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tech Rehearsal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ultimate Run-Throughs.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . n Shooting a Take.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . comparing the Take.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . extra capturing approaches and Tips.