I’m talking about nonlinear editing systems like AVID AudioVision, AMS Audiofile, NED PostPro, and early Pro Tools. The introduction of computerized digital audio editing systems in the late 1980s made it easier to use the same recording and editing tools to produce both music and soundtracks. Specialized tasks meant using specialized tools to get the job done, and about the only thing in common between the two gigs was the use of tape machines and synchronizers. Way back in the dark ages of the 20th century, budding recording engineers often had to make a career choice between producing music or producing audio for visuals, like film or TV soundtracks. Getting started in the world of audio for video Read on, and stay with us for the whole series, if you can tear yourself away from YouTube. Subsequent articles will address workflow, standards, deliverables, and careers in audio post. This first article, “Getting Started,” covers the basics, a little background, some terminology, and hopefully gets you interested in diving deeper. Covering all the bases would take a book (or books) and would need to be revised every 15 minutes, due to the ever-changing nature of business and technology. Mixing audio for video is a fairly deep subject, so you get four articles instead of one. In this mini-series we’re going to discuss the creation of soundtracks for video and film, also known as audio post-production. Do you ever wonder why your favorite movies or TV shows sound so good? Or why TV commercials are so much louder than your favorite movies or TV shows? Or why some internet videos sound so bad?
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