In this detailed course, seasoned audio guru Mark Edward Lewis guides you through every aspect of sound that you'll ever need to know as a filmmaker. Recording, dialogue, sound effects, foley, ADR, mixing, fixing - it's all here for you to master in the most comprehensive audio-for-film series ever created.
In this first chapter of the Record Volume, Mark introduces us to the theory of good recording, and he begins revealing some Hollywood secrets about getting audio recorded well.
In this module, Mark goes over requirements of getting a good recording: gear settings, location scouts, safety, and how the brain processes sound in general.
In this module Mark goes over the major kinds of microphones used on set and how to protect them from wind including demonstrating what several sound like.
In this module Mark goes over wireless transmission, the concerns around the FCC, wedding recording, lavaliers, keeping mics from being destroyed and understanding how it all works together.
In this module, Mark shows us about Boom Pole protocols, how to get voice overs, handling phase issues, the folly of on-camera mics, and how to deal with reflective rooms.
In this module Mark takes through the process of recording, how to best use your recorders to their fullest potential, and make sure you're doing the right things at the right times while on set.
In this module we watch Mark debunk most of the issues we find on set from simple gear issues to how to prevent anything bad from happening.
In this module, we go over the basics of what Mark has been teaching regarding recording in a 10 minute, fast paced review.
This module is a Behind The Scenes look at how all the example videos for Cinema Sound were shot and recorded.
In this module we get a tour through the RØDE Microphones factory in Sydney, Australia to see how modern microphones are designed and manufactured.
In this module Mark fires the opening salvo of information regarding the mysteries of audio editing, and he gives us the basic tools which don't translate from NLEs - and which are mandatory to get audio organized and ready for the Fix and Mix.
In this module Mark covers knowledge about editing which isn't widely known including the right kinds of crossfades to use, normalizing dialog, looping room tone secrets, syncronization mysteries and an overview of the DAW.
This module is strongly weighted toward cutting ADR and all the functions which are required to get that handled including a surprise from Adobe.
In this module Mark takes us through three EXTENSIVE edit jobs for the Macbeth, Donuts and brutally noisy Beach scenes.
In this module Mark takes us through One-More-Pass of Editing and covers everything from special Room Tone Tricks to fix horrific surf-laden DX to stereo DX editing, cutting final voice overs and what to do if your DX goes out of sync in the editing process.
In this final module of the Edit Volume Mark shows us how to use simple editing tools to radically change the nature of sound effects
In this module Mark takes us through the fundamentals of audio frequencies and how to know which sound like what, how best to use them, a general overview of iZotope RX, Adobe Audition, DAWs in general, the Essential Sound Panel and how to export using Dynamic Linking.
In this module Mark takes us through best practices of Normalizing audio, Denoising protocols and use, de-reverbing "roomy" dialog and how to create your own impulse response so you can get reverb issues handled in cleanup & ADR mixing.
In this module Mark shows us how to handle every-day noise and artifact issues including mic bumps, noise, crackle, pitches, plosives and integrated noise issues.
In this module we get down and dirty with advanced knowledge of fixing real-world issues we face from loud background elements in our dialog.
In this module we are walked through step-by-step methods for dealing with strong background noise on dialog in the form of several examples. We also learn how to use Zynaptec's anti-digital-artifact plugin: Unchirp.
In this module Mark takes us through really badly recorded audio, including the on-camera mic, and shows us how to resurrect it in ways which aren't intuitive or easy, but make a massive difference in saving your audio, performances and staying out of the ADR booth.
In this module Mark begins the process of actual dialog cleanup in the example videos beginning with the "action sequence" including cleaning up lavs, shotgun mics, and production audio.
In this module we continue with dialog clean up of the example scenes with the horrific Beach scene and Donut scene where we deal with mono and stereo dialog and begin working with batch capture functions in iZotope RX.
In this module we look deeply at cleaning lavaliers, de clipping, and special tools for dealing with clothing rustle, and how to insure we don't lose our master audio files when doing destructive editing.
In this module we discover the wonders of looping vs. ADR and we're shown how to do it with examples from the Action scene.
In this module Mark shows us how to mix ADR/Looped dialog into on set dialog so we can have seamless transitions between them in the mix
In this module Mark takes through the Beach scene doing the final strokes and tweezing which is needed to get the dialog mix handled.
In this module Mark takes us through export considerations for Dialog, special effects on dialog, dealing with dialog norm and compliance, stereo room tone, and how to deal with compression on export.
This module completes the Fix volume with the final examples of basic dialog grade, compliance, automation, dialog norm and final exportation.
In this module, Mark takes us on a tour of dealing with fixing sound using exclusively Adobe Audition.
In this Introductory module to the effects volume, we jump right in to spotting the five example videos for foley and sound effects.
In this fun module, we are taken through many sessions of recording foley and shown how to most efficiently capture great foley performances.
In this module we discover ways to fool the brain with "foley cheats", how to manage multiple noisy foley recordings with "batch capture," we're introduced to DTC mixing, and we have our first look at controlling foley from a keyboard.
In this fun module we learn all about loop groups, how to record them, how to have the performers perform, how to do loop group foley, and how to layer them all together.
In this module we discover the importance of recording our own sound effects, how best to do it, how to sync and layer them in post, and we're introduced to several amazing plugins.
In this module we're shown the value of understanding the distance from source to microphone, what different stereo and mono mic configurations do to the sound, how to always notice the sound effects around us, and how to best turn every day items into amazing SFX.
This module deal exclusively with the beginning theories and practices of turning ordinary sound effects into cinematic works of punchy, groovy and exciting art.
This module comprises the advanced knowledge and use of Adobe and iZotope plugins to completely transform a recording into something more useful in cinema.
This fun module shows us how to misuse software to create untold riches of sound scapes and effects from ordinary recordings.
This critical module shows us a few examples of the importance of layering sound effects and how to best do it by using the best parts of each layer to support the whole. It also deals with the exporting of sound effects.
This module covers everything needed to understand how to use, layer, manipulate, edit and manage ambiences. All five of the example videos have their ambiences cut in during the last portion of this module.
In this introductory chapter on Music, Mark takes us through the basics of what makes music work, best practices for choosing music, how to identify what part of music is moving an audience, and a few fun examples of media without music.
In this chapter, Mark shows us several "Hollywood" examples where the original music has been substituted so we can see how important getting the right music is. He also shows us the difference between Major and Minor keys, how to find our demographic, and how to use Music to make scenes move faster.
In this chapter, we learn advanced knowledge about when to musically "hit" visual elements on screen, the reasons to use (and not to use) loops in music, editing library music and how to insert and deal with issues from stems.
In this chapter, Mark shows us how to make and export tempo maps, how to do music spotting, when to use library music or original score, and he demonstrates the spotting of all five example videos.
In this chapter, we learn the specifics around editing music from merging vastly different pieces of music to how to scan music waveforms for the appropriate start times, creating double the music use from the same music content and learning how to use Audition's powerful "Remix" feature.
In this chapter, Mark shows us how to find and structure the deal with composers, how to work with songwriters, editing suites of music (and why to do them), and how to create completely new music from editing stems.
In this chapter we watch as Mark creates from scratch the entire musical score for the "Action Sequence." We learn how important having good spotting and an accurate tempo map is, how a sketch can inform a composer about the essence of a scene, how to quickly fill in orchestration, and how the process involved in exporting stems for the mix.
In this final chapter of the Music Volume, Mark takes us through Hollywood Movie scene examples where the music has been slightly altered with library music from musicbed.com and shows us the intricacies of choosing the right music for the right scene.
In this module Mark walks us through the beginnings of a great mix including organization, process, intro to plugins and how you should mix every time.
This module is an exposé on all things reverb: plugins, routing, use, mono, stereo and surround reverbs and adding special effects to reverb.
This module goes through commonly (and uncommonly) used delay effects in a mix specifically as they relate to re-recording mixing.
In this module, Mark takes us through example after example of mashing up plugins into unholy combinations that bring heavenly results to your mix.
This most-critical module deals with dynamic effects which make the difference between a lousy mix and a snappy one, including compression, expansion, de-essing, limiting, maximizing and show-downs with various manufacturers plugins.
In this module Mark introduces us to Distance To Camera Mixing (DTC), the basics of ADR mixing, where to pan Dialog and how to be compliant with Dialog Norm.
In this module we Mix the Dialog channels for the ENG and Donuts Example Videos and learn a slew of things including dealing with Final Cleaning, Dialog Ambience, Final Volume and more.
In this module Mark takes us through the Dialog Mix for the Action Example Video including more DTC Mixing, general balancing, limiting for dialog, how to create effects for dialog and more.
In this module Mark takes us through the complex Macbeth Example Video Dialog Mix including more DTC mixing, dealing with noises, managing de-reverb plugins, and general balancing and automation.
In this final module on Dialog Mixing, Mark takes us through the difficult beach Mix and deals with De-Essers, ADR, DTC Mixing and more.
In this first module on mixing Ambiences, we go through the ENG and Action mixies and learn about panning and automation, EQ, and layering ambiences in the mix
In this final Ambience mixing module, Mark takes us through the Donuts, Macbeth & Beach Mixes where we learn about Car Ambiences, Panning, Dealing with Room tone and more.
In this singular module on sound effects mixing, Mark shows us the intricacies of layer SFX over Dialog and Ambiences in the ENG, Action and Donuts scenes.
In this first module of Foley Mixing, we learn about mixing Clothing, Footsteps, Walk-Aways, and general rules of mixing from the Macbeth Example Video.
In this module we mix the foley for the Action Example Video and have more exmples of mixing noisy foley, clothing, automation, footsteps, hits, body falls and more.
In this final Foley Mixing module, Mark takes us through the mixes for ENG, Beach and Donut Example Videos where we learn about skin foley, room tone vs. foley issues and complete scene replacement with foley.
In this first chapter on music mixing, we learn the best way to mix music and the process for doing so in theory and in practice in the Macbeth Example Video.
In this final video on music mixing, Mark takes us through the ENG, Donuts, Beach and Action mixes and gives solutions for dealing with both stems and baked-in instruments in stereo deliveries.
In this module, Mark shows us the critical nature of integrating and Tweezing the final tracks into a cohesive and powerful whole by explaining how to choose which tracks to emphasize at a given time in the Macbeth and Beach Example Videos.
In this final module on practical examples of mixing, we learn about dealing with black cuts and tails, creating active motion in static music and more in the Action and Donuts Example Video Mixes.
In this module Mark goes over the brutal reality of conforming audio mixes to additional editorial cuts, and how to integrate new elements to the mix last minute.
In this module Mark shows us what we need to know in order to get compliant exports and audio deliverables as well as how to master great sounding mixes using the Macbeth, and Action Example Videos
In this module, we learn how to route busses for 5.1 export, how to organize and check your files, and Mark puts to rest the age-old argument about real-time vs. offline bouncing.
This short minute clip is a blast through all the important elements of mixing in a "blipvert" montage fashion.
In this final and controversial mixing chapter, Mark goes over the critical aspects of creating a mix for the internet in the loudness war generation, and proves that louder makes people "like" your production better.
In this module, Mark begins the process of showing us the issues involved with mixing in bad workspaces, how to fix bad workspaces, the kinds of speakers and headphones to mix on, and how to fix the basic issues of most workspaces.
In this module, we delve deeply into room tuning, the kinds of equipment we need to buy - and in what order - speaker placement, person placement and how to cheat the whole process!
In this module Mark gives his wisdom on getting work as an audio expert in media, how to have a powerful mindset to accomplish getting the $50 million impact into your production and leads you in taking the pledge of excellence.
There are few titles that sum up Mark’s vast knowledge of the audio discipline, short of “genius”. A veteran Sound Designer, Composer and Mixer, Mark draws on his own experiences as a Writer, Producer and Director to help other Filmmakers understand the art and science of sound.
“The course information is of great use even for a working professional.”
“The effort Philip has put into the series far exceeds the typical online tutorial... in this series we see Philip out there... showing us exactly what it means to be a busy, practising, multidisciplinary filmmaker.”
“Will absolutely change your life and your career.”
“It's so packed with information, more than what many others try to teach in twice the amount of time. You jump right in, and it's non-stop information, presented clearly and professionally. ”
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