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The Practical Art of Motion Picture Sound (Englisch) Taschenbuch – 18. Juni 2007

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"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. 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 art." - Larry Blake, Mix Magazine "Practical Art of Motion Picture Sound" is a must-read for all students of sound, whether in film school, recording school or already working in the craft. More than that, it's a must-read for all students of film, and no doubt, a few directors and producers out there would benefit from a read." - Mix Magazine "I wish this book had been available when I was starting to make movies: there is probably no producer or director who will not benefit from David Yewdall's lucid and thoroughly practical explanation of creativity with sound, and the technical disciplines necessary to use sound as an art form." - Roger Corman, Concorde/New Horizons "The DGA should make this book required reading before their members could go out and work in the industry! This is the first time I have ever seen the subject presented in such a realistic and practical way that is written in a style that everyone can understand." - Jim Webb, Academy Award-winning Production Mixer and multi-channel expert "This is a book for ALL filmmakers, whether a budding 'in-the-trenches' sound editor or a producer/director who deigns to touch actual film. This book reveals HOW to achieve the creative soundtrack that the director reams of while actually saving money for the producer--and best of all, it's told in a witty, anecdotal style...A must read for both student filmmakers and the seasoned professional." - Richard Anderson, M.P.S.E. "The best book on the subject to date, hands down. Thanks Mr. Yewdall!" -Ken Trevenna, Ontario Institute of Audio Recording Technology


"Practical Art of Motion Picture Sound" embraces the subject of sound for films. Based on the experience of the author and other top sound craftspeople, this book provides numerous real-life examples and relevant technical data. It also is firmly grounded in practical techniques and it will show you an appreciation of all the processes involved in creating motion picture sound, from how to achieve great sound despite a small budget and less-than-perfect recording conditions to steps you will need to take to create an artful audio experience. This edition is completely revised and expanded, and the most popular sound editing systems, Pro Tools and Final Cut Pro, are covered in-depth.The accompanying new DVD presents demonstration material as well as a large library of sound effects, while numerous charts, illustrations, and photographs help to demonstrate techniques and common industry practices. Among other topics, "Practical Art of Motion Picture Sound, Third Edition" includes: preproduction planning; production tips; sound design; sound editing; ADR and looping; using Pro Tools; using Nagras analog and digital systems; custom recording sound effects.

The accompanying DVD includes an ADR/Looping practice session, video interview with Ray Harryhausen, and more than 1000 photos and charts with audio clips. It is written by an experienced craftsman and professor who brings his experience in the movie biz as well as in front of the classroom to life. It gives a complete overview of film sound, including motion picture protocol, budgeting info, and technical information about recording.

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Tough to get to the point 15. Oktober 2008
Von I. Noh Jack - Veröffentlicht auf
Format: Taschenbuch
I am a college level instructor and was looking for a book to use as a text for my Sound Design Class. I was excited to see that David Yewdall had written a book on the subject. He is well known and respected in our Hollywood Sound Community.
My first impression was that the book was full of great real life information but was a bit cluttered with anecdotes. As the class has progressed I have found that the students have not responded well to the text. I can understand why. The points and specifics are introduced and surrounded by drawn out reminiscing. It takes effort to get students to read anyway and this book does not help. It reads like a biography lined with details.

There is a significant amount of text dedicated to film specific procedures. Although there may be instances where a student may encounter mag film, it seems to be too much.

The included DVD seems a bit amateurish. It gives some added value by giving a few audible examples, but the narration is monotone. It caused some laughter in the class and it loses their attention.

The details are great and hit the nail on the head for anyone wanting to enter the industry, or better understand how to work with a sound professional. But it is heavy sledding to mush through. It could be edited down to a more readable text and be better to use for a class.
9 von 10 Kunden fanden die folgende Rezension hilfreich
Ego gets in the way 1. Mai 2008
Von SoundsLikeBrian - Veröffentlicht auf
Format: Taschenbuch
NOTE: This is more of a review of the 2nd edition, but because the 3rd edition is out now, I feel this information is important and I'm sure it is still relevant.

I have to begin by saying I have the upmost respect for Mr. Yewdall and his credits are impressive to say the least. I then have to immediately follow that statement by saying his book editor should be fired.

There is a ton of information in this book, unfortunately you have to wade through personal stories, name dropping, and ego stroking tales that really weigh the book down. I would love to read a biography about Yewdall, just not while I'm looking for real, informative substance about the facts of Motion Picture audio.

This would probably be THE definitive book because of the substance is attempts to cover, but ends up very inefficient and distracting. You don't have to look any farther than the dedication page (the third page in) to see an example of the distractions that follow it.

Now, as far as the 3rd edition goes, it was printed 15 years later, so read a few passages in a bookstore before buying it. If you don't see any personal stories or name dropping, he probably found a good book editor.

6 von 7 Kunden fanden die folgende Rezension hilfreich
Excellent Overview of Sound for Film 18. September 2007
Von Brad Semenoff - Veröffentlicht auf
Format: Taschenbuch
This is my favorite book for film sound. David writes an excellent book that covers everything for film sound. He explains everything from before pre-production to print-mastering. My only problem with this book is that the chapter on Pro Tools is extremely dated and almost irrelevant. Having said that, there are a number of excellent Pro Tools books out there, but this is the only book that covers film sound in such detail. The accompanying DVD is a nice addition. This, along with Dialogue Editing for Motion Pictures by John Purcell, is a must read for film sound editors. Directors and producers would also benefit from reading this book.
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THE Book on motion picture sound that every filmmaker needs! 22. November 2011
Von Christina Paul - Veröffentlicht auf
Format: Taschenbuch Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
"The Practical Art of Motion Picture Sound" (4th Edition) by David Lewis Yewdall, is an incredible textbook. There is more information in this volume than most producers or directors would want to know, but certainly should know if they are to understand their craft and make good film.

Sound is too often negelected in film, and it is more important now than eve and in spite of the advent of digital media and nonlinear film editing, the attention to detail and the quest for high quality is still needed. Yewdall, with his years of experience, gives this and he gives it in vast detail. While some may get annoyed at the citation of personal examples, or interviewing others in the industry with big budget pictures under their belts, that is the kind of information that most independent and small time filmmakers need to know - get it straight from those who have been there and know how to get the best results. As one of the producers of our student film program, it helped me understand a great deal of what had eluded me before by making it more tangible and gives the reason why things are and how important it is to go over your script rundowns with your supervising sound editor. Yewdall is right - that important step saves a lot of time, frustration and potentially a huge amount of money in the end!

It may take you a while to get through all of the information in the book, and even longer to apply it. The nice thing is that it includes a DVD that has 10000 great WAV files that are licesnse-free so you can importand use with your own projects as well as the authors own personal library, insights into the foley arts, dialog editing, equipment reviews, and insights on looping. Focal Press has come through again with a great book that has a lot of information for the money.
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Easy to read, yet complete book about film sound 16. Oktober 2011
Von Thomas M. Sipos - Veröffentlicht auf
Format: Taschenbuch Vine Kundenrezension eines kostenfreien Produkts ( Was ist das? )
I founded the Tabloid Witch Awards horror film festival in 2004. In 2005 I introduced a "Best Sound" Award. This is because sound is an often under appreciated element in filmmaking, so I wanted to highlight those films that put sound to good aesthetic use. Since then, I've payed close attention to the entry films' soundtracks (sound effects and music), trying to discern which films did it best.

Yewdall's book will help me in this endeavor -- it's not just for filmmakers, but for anyone seeking a better understanding of film sound, including festival judges and film critics.

This is the most complete book on motion picture sound that I've come across. Printed on heavy, high-quality paper, the book covers sound from every angle, though as the title implies, the book's emphasis is on the practical -- full of tips and instruction on creating, recording, mixing, and editing sound for your projects.

Yes, sound has to be created. There's much info here about sound recording on location -- how to choose a microphone and recorder, where to put the mic or mics. But there's also info about Foley artists; the people who create sounds in a studio -- from the fantastical or difficult (e.g., alien noises, explosions, crashes), to the deceptively simple (e.g., the many types of footsteps, depending on whether characters are running or walking or sneaking along, on grass, carpet, stone, whatever).

Yewdall's book discusses how microphones work (with diagrams) and reviews four portable digital sound recorders (with illustrations on what buttons do what, much like a "how to" manual). Another chapter discusses what he calls "The Venerable Nagra IV-S," an analog recorder. Back when I went to NYU film school, before the digital era, sound recording meant using a Nagra. It was the industry standard, and apparently, there are still many recordists out there who prefer it to digital.

It's hard to think of a sound topic not covered in this book. We learn about sound librarians; how music editors collaborate with music soundtrack composers; sound restoration (cleaning up the soundtracks to decades-old films); and creating and editing sound for the growing video gaming industry. And about jobs outsourcing

Some film workers may not like this, but technology is shipping jobs overseas. American film and video game producers are sending their digital images and soundtracks to post-production houses in India (via broadband internet), which send back the work product (via broadband internet) the next day.

Yewdall says. "Outsourcing to Canada was yesterday; today it's India and China." As he explains the process, "India is 12 1/2 hours ahead of us. We receive color data from India every morning that are applied to our high-definition frames here in San Diego. We ... send QC notes for fixes, which follow the next day."

In the new global economy, it's not where you are, it's what you know. But the good news is, you'll know a lot more after reading this book.

This book has 657 pages, and the text is fairly dense, so it's heavy reading. But it's also generously illustrated with diagrams and photos (of equipment, cue sheets, computer screen shots, etc.), and the writing style is breezy. It reads easily, even if there's much information to digest.

I wish Yewdall had reviewed all the major sound editing computer programs, including the smaller ones for hobbyists, and explained how each works. Of course, there are manuals for such programs, and one can't expect a broad overview of sound (such as this book) to offer detailed instructions for every sound program.

Yewdall does occasionally touch on Pro Tools (a computer program), and gives some explanatory screen shots of the program. So this book helps in learning Pro Tools. But it's only a taste, rather than a Pro Tools manual.

That's not to take away from the book. It's a great, easy-to-read book covering just about everything you want to know about film (and video game) sound.

Yewdall is an experienced soundman (with some 140 feature films to his credit), holding many jobs over the decades, including sound editor. (He's a member of the Motion Picture Sound Editor's Society). His book talks a bit about the history of film sound, and a lot about his own work experiences.

Apart from his own anecdotes, working with famous directors and producers (yes, he name drops, but that just makes his book more interesting), Yewdall has interviewed his colleagues for this book. So his book offers insights from many perspectives.

Included is a DVD with "over 1000 sound effects from the author's personal library," which you can use in your own projects.
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