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Sound for Film and Television Paperback – March 1, 2010

ISBN-13: 978-0240813301 ISBN-10: 0240813308 Edition: 3rd

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Product Details

  • Paperback: 262 pages
  • Publisher: Focal Press; 3 edition (March 1, 2010)
  • Language: English
  • ISBN-10: 0240813308
  • ISBN-13: 978-0240813301
  • Product Dimensions: 10.8 x 8.5 x 0.5 inches
  • Shipping Weight: 1.6 pounds (View shipping rates and policies)
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (28 customer reviews)
  • Amazon Best Sellers Rank: #81,807 in Books (See Top 100 in Books)

Editorial Reviews

Review

"The best overall technical introduction to film sound...As one would expect from the developer of the THX Sound System, among many other achievements, this book has a comprehensive approach and features one of the best introductions to psychoacoustics that you'll read anywhere."--Larry Blake, Mix Magazine

"The book provides a fascinating and incredibly informative introduction to the world of film and television sound and is well recommended."--James Eade, Lighting and Sound International

"Holman covers a lot of ground in just over 250 pages. His knowledge of the subject and many of the major industry players is evident. Sound for Film and Television is a concise, informative, entertaining, and intimate review that can serve as an introduction to the subject for the student and a snapshot of current techniques and processes for the practitioner."--The Journal of the Audio Engineering Society

About the Author

Tomlinson Holman is President of TMH Corporation and one of the prominent figures in audio today. He is widely known for his development of new products and processes in the field of audio and video, including the THX Sound System, Home THX (with his patents licensed to more than 45 companies), and the THX Digital Mastering program developed while he was Corporate Technical Director at Lucasfilm, Ltd. He has won career achievement awards from CAS and the Custom Electronics Design and Installation Association. Mr. Holman is a Fellow of the Audio Engineering Society, the British Kinematograph Sound and Television Society, and the Society of Motion Picture and Television Engineers. He is Co-Chairman of the Audio Engineering Society Task Force on High-Capacity Audio.

Customer Reviews

The material is covered in a logical and well thought out way and it is easy to undertand.
J. White
If you're a student of film or if you're a home movie maker, you really owe it to yourself to pick up this book and read it.
RenaissanceMan
Sound for Film and Television covers the most effective ways to make all the pieces work together in the final sound edit.
Christina Paul

Most Helpful Customer Reviews

8 of 8 people found the following review helpful By Christina Paul VINE VOICE on November 14, 2010
Format: Paperback Vine Customer Review of Free Product ( What's this? )
Sound is the most neglected part of filmmaking, and yet it is so very important for effectively conveying the narrative structure in any motion picture. "Sound for Film and Television" (Third Edition) is a very technical book. In film school, I have taken college-level courses for audio and sound and this is a very professional level book that is more technical than any of our current textbooks. It is definitely on the level of what you would expect from someone who works for THX / Lucasfilm. There are really not a great many illustrations in this book. The reader will have to have at least a little basic knowledge on how sound works, and if you are looking for a weekend filmmaker's how-to type of manual for doing things on the cheap, this book is not it.

All of this having been said, as in the introdction, depending on who you are and why you are studying the book, there are various approaches to the text. If you have to be on the set before sunrise the next morning, a thorough study of chapter 4, Capturing Sound, can get you to a place where you are at least reasonably competent. Subjects such as psychoacoustics and getting the most effect out of sound in film and television are also covered early on in the book. The chapter on editing is quite extensive and covers basic micing of both film and television sets for sitcoms, dramas, snd includes pre-mix operations for sound editors as well as a very good section on documentary and reality production. The eleven commandments of film sound are quite enlightening and give a really good insight as to the dos and don'ts. Keeping the sound in synch with the picture is the surest way to tip off the audience that they are dealing with amateur filmmakers. Silence is rarely found in the natural world and should not be found in film.
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3 of 3 people found the following review helpful By Jeff N VINE VOICE on January 27, 2011
Format: Paperback Vine Customer Review of Free Product ( What's this? )
Right from the Preface and Introduction you can tell the author is a genius. He brings together a vast array of topics, explains them very well, and enables you to get everything right in a top quality professional Film or Video Production.

You can really tell the author has experience in the industry too. He includes warnings about things such as slight speed differences when syncing spoken dialog, etc...

There are intricate technical explanations of everything from why sound behaves the way it does to how electronics work, and so much more...

And there are in depth, step by step instructions on actually achieving good sound from microphones and recorders to the finished product, and everything in-between.

The DVD included contains only Audio Demonstrations of a very wide variety of sound issues. But it is really helpful, and very well done. You quickly get the idea loud and clear, in an unmistakable way.

Quality of The Book
Large bright white pages, with medium small print, although the contrast is nice and high, and the text is sharp and clear, so it's easy to read.

Quality of The DVD
Chapters and subchapters are clearly marked in the menus. Sound is excellent (of course).
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2 of 2 people found the following review helpful By C.J. Hustwick VINE VOICE on November 7, 2010
Format: Paperback Vine Customer Review of Free Product ( What's this? )
This book is meant to be an accessible resource for artists who need to understand some of the engineering behind motion picture sound. I found it adequate as a beginning technical resource, clearly written, and illustrated well.

Tomlinson opens by explaining the dramatic uses of sound in a number of films, melodramatic and hyper-realistic, such as "Platoon" and "Days of Heaven". The DVD-ROM features examples of what he mentions, along with an unsatisfactory filmography appendix (more on that later). So the premise is clear: this book's goal is to get you to understand the technology which supports and enhances the filmgoing experience, along with some anecdotes from his career with Lucasfilm and the Northern California auteurs over the past number of decades.

Much of the material covers audio engineering concepts and terminology which are not limited to film audio, such as wow & flutter, reverb etc. The first three chapters explain audio fundamentals, psychoacoustics, and other topics quite well. The book then spends a lot of time detailing production sound and microphone techniques -- certainly the thing that can make or beak a shoot (I speak from experience). The book then finishes off with a number of thorough chapters dedicated to sound design, mixing, and editing.

Tomlinson's expertise is in capturing and crafting sound for optimal soundtrack dynamics and that's where the book shines. He's an easygoing teacher and individual chapters can be enjoyed by somebody who does not have much interest the technical minutiae. Tomlinson also provides an "Eleven Commandments of Film Sound", a Bibliography, and some other detailed technical appendices which are valuable.
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2 of 2 people found the following review helpful By Ludix VINE VOICE on November 24, 2010
Format: Paperback Vine Customer Review of Free Product ( What's this? )
Here's a thoroughly up-to-date introduction to a complex and fascinating craft, written by an undisputable authority.

Holman begins with a basic description of audio physics, but quickly moves on to the practicalities of recording, editing, mixing and delivering a soundtrack. Past practices are duly noted, which helps to explain the sometimes arcane ways some things are done today. A very broad range of topics is covered. Nothing is discussed in much depth, but this is to be expected in an introductory overview.

Despite many years of experience in this field, I came across several nuggets of wisdom and insight.

If you want to get your feet wet, it's hard to imagine a better place to start. Perfect for first-year media students.
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