Jay Rose
Jay Rose CAS is a Clio- and Emmy-winning sound designer whose studio career has included program opens for NBC, documentaries and spots for PBS and MGM, videogames for Parker Brothers, and close to a thousand independent film and video projects. He's also programmed audio software for broadcast manufacturers Eventide and Orban, written a column for DV Magazine and a few best-selling books about sound for film and video, and been a section officer of the Audio Engineering Society. More tutorials, humor, and info about his studio at dplay.com.
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Monday, July 28, 2008
The music revolution will not be televised.
A friend pointed me to an article in the New York Times, about new software that claims to change the pitch of just one string in a guitar chord. This isn’t a trivial task, since plucked strings don’t have just one frequency. There are harmonics extending up the band, mixing with harmonics of other notes. Anything that wants to adjust a single string has to sort them all out, first.
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Sunday, July 27, 2008
A short essay can turn you into a better filmmaker.
What do Ratatouille, The Simpsons Movie, What Lies Beneath, Cast Away, and Forrest Gump have in common? You can add a couple of dozen other titles to the list, including Howard the Duck and some of the Harry Potter movies, if that’ll help. Give up?
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Tuesday, July 22, 2008
A free utility lets you assemble audio tools in an instant. It’s also fun to play with.
When I started, an audio room was a collection of tape recorders, rack-mount processors, and a console. (Software? You wore a cotton shirt so it would stay comfortable through an 18-hour session.)
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Sunday, July 13, 2008
A famous,funny outtakes tape is worth another listen.
There’s an hilarious tape that’s been making the rounds for decades*. Actor/director Orson Welles is reading voiceovers to picture for some food spots. The copy is bad, the agency direction is worse, and Welles is not suffering fools that day. The third script is so ludicrous he gives up, and storms out of the studio.
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Wednesday, July 09, 2008
Olympics Researchers get their physics messed up, twice. Here’s why it matters to every filmmaker.
According to an article in yesterday’s New York Times, Olympic sprinters who are closer to the starting gun get better results. Researchers at the University of Alberta wondered why. They thought it might have something to do with the starting gun: obviously, the runners who are closer to the gun hear it louder than those farther away, and volume can affect neural response.
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Tuesday, July 08, 2008
Sexual attractiveness may be partly a question of ear candy.
I actually got that “Make her sound…” direction early in my career, while mixing a spot. The agency producer must have had something in mind - they usually do - but I had no idea what. Eventually he settled for a little extra mid-low boost. I could have also slid in a couple of extra, husky breaths… but the spot’s timing was tight already.
Dale Launer had a more creative solution in his 1992 comedy Love Potion No. 9...
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Monday, July 07, 2008
Fixing lipsync for humans… and others
Sesame Street’s Cookie Monster was a guest on the Colbert Report about a week ago, talking about balanced diets. (A fake monster on a fake commentary show that spun off a fake news show… come to think on it, Cookie performed through a window that was directly above Colbert’s fake fireplace, where the chimney normally would be.)
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steve martin
Recording & Editing Multi-take Voice Overs in Soundtrack Pro
Andrew Balis
Getting Video In and Out of Color
Mark Spencer
Two Great Tastes That Taste Great Together
Mark Spencer
It’s getting cheaper and easier to find stock footage for your project
Mark Spencer
A Two-Part Motion Tip
Brian Gary
Philip Hodget’s Tome on All Things High Definition
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