| Acknowledgments | p. xii |
| Foreword | p. xiii |
| Preface | p. xv |
| What Is Location Sound? | p. 1 |
| Sound Basics | p. 5 |
| Sound Waves | p. 5 |
| Frequency | p. 6 |
| Amplitude | p. 7 |
| Decibels | p. 7 |
| Sound Pressure Level | p. 8 |
| Signal Measurement | p. 8 |
| Amplitude Versus Volume | p. 10 |
| Phase | p. 10 |
| Echoes and Reverberation | p. 11 |
| Microphone Basics | p. 13 |
| Dynamic Microphones | p. 13 |
| Condenser Microphones | p. 14 |
| Frequency Response | p. 16 |
| Microphone Polar Patterns | p. 18 |
| On-Axis/Off-Axis Response | p. 19 |
| Inverse Square Law | p. 20 |
| Microphone Accessories | p. 21 |
| Shock Mounts | p. 21 |
| Wind Protection | p. 22 |
| Rain Protection | p. 24 |
| Microphones for Location Sound | p. 25 |
| Boom Microphones | p. 25 |
| Lavalier Microphones | p. 30 |
| Boundary Microphones | p. 32 |
| Plant Mics | p. 33 |
| Handheld Microphones | p. 33 |
| Lip Microphones | p. 34 |
| Camera Microphones | p. 35 |
| The All-Purpose Microphone | p. 36 |
| Microphone Placement | p. 37 |
| Boom Techniques | p. 45 |
| The Boom Operator | p. 45 |
| The Boom Pole | p. 47 |
| The Booma Sutra (Booming Positions) | p. 52 |
| Boom Operation | p. 57 |
| Cueing | p. 60 |
| Mixing with the Boom Pole | p. 65 |
| Lav Techniques | p. 67 |
| Lav Perspectives | p. 67 |
| Acoustical Challenges with Lavaliers | p. 69 |
| Hiding/Burying Lavs | p. 69 |
| 3:1 Rule | p. 70 |
| Lav Placement | p. 70 |
| Double Miking | p. 71 |
| People Skills | p. 72 |
| Clothing Noise | p. 72 |
| Strain Relief | p. 74 |
| Lav Connectors | p. 74 |
| Colored Lavs | p. 76 |
| Mounting Techniques | p. 77 |
| Mounting Accessories | p. 81 |
| Wind Protection | p. 83 |
| Wireless Systems | p. 85 |
| Why Use Wireless Mics? | p. 85 |
| Radio Waves | p. 86 |
| Transmitters | p. 89 |
| Plug-On Transmitters/Cubes | p. 92 |
| Companding | p. 93 |
| Receivers | p. 93 |
| Wireless Antennas | p. 94 |
| Digital Wireless Systems | p. 97 |
| Batteries | p. 98 |
| Wireless Hops | p. 99 |
| Use Wireless Systems Sparingly | p. 100 |
| Plant Mic Techniques | p. 103 |
| Plant Mic Locations | p. 105 |
| Plant Mic Mounting Techniques | p. 113 |
| Microphone Selection | p. 115 |
| General Guidelines for Choosing Mics | p. 115 |
| Sound Perspective | p. 117 |
| Camera Angle Versus Camera Perspective | p. 118 |
| The Boom's Perspective | p. 118 |
| Traveling Dialog | p. 119 |
| Multi-Camera Perspective | p. 120 |
| Signal Flow | p. 121 |
| The Logical Path | p. 121 |
| The Physical Path | p. 124 |
| Troubleshooting | p. 132 |
| Recorders | p. 135 |
| Digital Audio | p. 135 |
| File Formats | p. 138 |
| Metadata | p. 139 |
| Digital Recorders | p. 139 |
| Two-Track Recorders | p. 141 |
| Recording to the Camera | p. 142 |
| Cameras with Multiple Channels | p. 146 |
| Consumer Cameras | p. 146 |
| Multitrack Recorder | p. 149 |
| ISO Tracks | p. 150 |
| The Mix Track | p. 150 |
| Track Assignment | p. 151 |
| Media Delivery | p. 153 |
| Meters | p. 154 |
| Calibrating Equipment | p. 155 |
| What to Look for in a Professional Recorder | p. 156 |
| Backup Recorders | p. 157 |
| Sync | p. 159 |
| Single System | p. 159 |
| Double System | p. 160 |
| Double System Protocol | p. 161 |
| Sound Reports/Sound Logs | p. 165 |
| Prepping Audio For Post | p. 169 |
| Timecode - Be Prepared to be Confused | p. 170 |
| Frame Rates | p. 170 |
| Drop-Frame | p. 172 |
| Record Run | p. 174 |
| Free Run | p. 174 |
| Setting up Timecode | p. 175 |
| Slates/Clapboard | p. 177 |
| Timecode Slates | p. 177 |
| Wild Sound | p. 179 |
| Room Tone | p. 180 |
| Wild Tracks | p. 180 |
| Wild Sound Effects | p. 181 |
| Voiceovers | p. 182 |
| Mixers | p. 185 |
| Types of Mixers | p. 185 |
| Mixer Basics | p. 188 |
| Mixer Setup | p. 203 |
| Mixing Techniques | p. 205 |
| Monitoring | p. 209 |
| Sound Quality | p. 209 |
| Sound Levels | p. 209 |
| Headphones | p. 212 |
| Monitoring a Multitrack Recorder | p. 218 |
| Confidence Monitoring | p. 219 |
| The Boom Operator's Feed | p. 220 |
| Communicating with the Boom Operator | p. 222 |
| Headphone Distribution | p. 222 |
| IFB | p. 224 |
| Comtek | p. 227 |
| Wireless Headphones | p. 228 |
| Power | p. 229 |
| Internal DC Power | p. 229 |
| External DC Power | p. 230 |
| External AC Power | p. 230 |
| Only Use Fresh Batteries! | p. 231 |
| Rechargeable Batteries | p. 233 |
| Battery Types | p. 234 |
| Building a Sound Package | p. 237 |
| Purchasing Gear | p. 237 |
| Working in the Field | p. 240 |
| Portability | p. 242 |
| Sound Bags | p. 242 |
| Cases/Protecting Gear | p. 247 |
| Traveling with Gear | p. 248 |
| Gear Maintenance | p. 249 |
| Owning Gear Versus Renting Gear | p. 250 |
| The Ten Location Sound Commandments | p. 255 |
| Applications | p. 291 |
| One-Man Band Productions | p. 291 |
| ENG | p. 292 |
| EFP | p. 296 |
| Feature Film Production | p. 297 |
| When the Sound Mixer is the Sound Designer | p. 299 |
| The Sound Crew | p. 299 |
| Set Etiquette | p. 305 |
| Understanding the Role of the Sound Mixer | p. 305 |
| Film Sets | p. 314 |
| Know When to Cut | p. 316 |
| Working with the Talent | p. 317 |
| NDAs | p. 319 |
| The Business of Show Biz | p. 321 |
| Freelancing | p. 323 |
| Getting Hired | p. 324 |
| Deal Memos | p. 325 |
| Rates | p. 326 |
| Overtime | p. 327 |
| Turnaround Time | p. 328 |
| Half-Day Rates | p. 329 |
| Travel | p. 330 |
| Working for "Credit" | p. 331 |
| Rental Rates | p. 332 |
| Cancellations | p. 333 |
| Billing | p. 334 |
| Collections | p. 335 |
| Firing a Client | p. 338 |
| That's a Wrap! | p. 341 |
| Index | p. 344 |
| About the Author | p. 355 |
| Table of Contents provided by Ingram. All Rights Reserved. |
