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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. 
August 2008July 2008Complete Archives
Hilarious. Also true.QuickTime QuickiesFree BookVacuum PackedLiving with (Data) LossHearing What’s Not ThereDeep Throat, CetaceanSour NotesRequired (Re)readingRolling Your OwnThis month, PeasWrong, wrong!Make Her Sound Like I Love HerTime Out of Joint |
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Sunday, July 27, 2008Required (Re)readingA 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? more »Audio • (3) Comments • Most recent comments by: billS, Mark Spencer, Chris Meyer, • Permalink Tuesday, July 22, 2008Rolling Your OwnA 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.) more » Audio • Post Production • (1) Comments • Most recent comments by: Adam Wilt, • Permalink Sunday, July 13, 2008This month, PeasA 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. more » (2) Comments • Most recent comments by: Mary Yurkovic, Stefan Sargent, • Permalink Wednesday, July 09, 2008Wrong, wrong!
Olympics Researchers get their physics messed up, twice. Here’s why it matters to every filmmaker. Audio • Production • (6) Comments • Most recent comments by: Mary Yurkovic, andrew77, peter, Mary Yurkovic, peter, Anthony, • Permalink Tuesday, July 08, 2008Make Her Sound Like I Love HerSexual 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... more » Audio • (1) Comments • Most recent comments by: • Permalink Monday, July 07, 2008Time Out of JointFixing 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.) more » |
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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