{"id":16,"date":"2011-10-23T21:41:17","date_gmt":"2011-10-23T19:41:17","guid":{"rendered":"http:\/\/www.filmsoundsweden.se\/wordpress\/?page_id=16"},"modified":"2020-07-03T19:47:14","modified_gmt":"2020-07-03T17:47:14","slug":"godbitar","status":"publish","type":"page","link":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/godbitar\/","title":{"rendered":"gamla godbitar"},"content":{"rendered":"
F\u00f6ljande material \u00e4r statiska webbsidor fr\u00e5n v\u00e5r gamla webbplats.<\/div>\n
Om n\u00e5gon l\u00e4nk inte fungerar h\u00f6r av dig till webmaster.<\/div>\n
_________________________________________________________<\/div>\n
FSS:<\/div>\n

Om Klas Dykhoffs bok Ljudbild eller synvilla<\/a>
\nFSS:s boktips<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 5\/5 1998 \u2013 16\/5 1999<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 25\/5 1999 \u2013 26\/1 2001<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 25\/1 2001 \u2013 5\/11 2001<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 6\/11 2001 \u2013 22\/5 2002<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 23\/5 2002 \u2013 23\/12 2002<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 24\/12 2002 \u2013 10\/6 2003<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 10\/6 2003 \u2013 9\/10 2003<\/a>
\nFSS:s anslagstavla f\u00f6r perioden 12\/10 2003 \u2013 25\/3 2004<\/a>
\nFilmljudjournalen #1<\/a>\u00a0(PDF)
\nFilmljudjournalen #2<\/a>\u00a0(PDF)
\nTips och R\u00e5d fr\u00e5n din Ljudavdelning<\/a>\u00a0(PDF)<\/p>\n

Ljudv\u00e5gen:<\/strong>
\nLjudv\u00e5gen 2001<\/a>
\nLjudv\u00e5gen 2002<\/a>
\nLjudv\u00e5gen 2003<\/a>
\nLjudv\u00e5gen 2004<\/a>
\nLjudv\u00e5gen 2005<\/a>
\nLjudv\u00e5gen 2006<\/a>
\nLjudv\u00e5gen 2007<\/a><\/p>\n

Bj\u00f6rn \u00d6berg-stipendiet:<\/strong>
\nBj\u00f6rn \u00d6berg-stipendiet 2005<\/a><\/p>\n

\n

 <\/p>\n

E-postlistor & forum:<\/div>\n

Postforum<\/a>
\nSound Article List \u2013 Mailing List for Sound Design Theory<\/a>
\nSound Design discussion list<\/a>
\nThe Recording Arts Forum<\/a>
\nrec.arts.movies.production.sound<\/a><\/p>\n

\n

 <\/p>\n

Mikrofoner:<\/div>\n

UNDERSTANDING AND USING DIRECTIONAL MICROPHONES<\/a>
\nRECORDING THE SPOKEN VOICE<\/a>
\nRECORDING THE SPOKEN WORD<\/a>
\nCAPACITOR MICROPHONES EXPLAINED<\/a>
\nSTEREO MICROPHONE TECHNIQUES EXPLAINED \u2013 I<\/a>
\nSTEREO MICROPHONE TECHNIQUES EXPLAINED \u2013 II<\/a>
\n20 TIPS ON USING MICROPHONES<\/a>
\nFREQUENTLY ASKED QUESTIONS: USING MICROPHONES<\/a>
\nMIC TYPES & CHARACTERISTICS<\/a>
\nMICROPHONE TYPES & USES<\/a>
\nWireless Microphone Systems \u2013 Operational Basics and Applications<\/a>
\nMiddle-Side (MS) Recording and Playback Techniques<\/a>
\nUnderstanding Stereo Microphone Techniques and M\/S Stereo<\/a>
\nOm vindskydd till mikrofoner<\/a>
\nThe Art of Zen-Boom (part one)<\/a>
\nThe Art of Zen-Boom (part two)<\/a><\/p>\n

\n

 <\/p>\n

Inspelningsutrustning:<\/div>\n

DIGITAL PERSPECTIVES Archivists Warn: Don\u2019t Depend on DAT<\/a>
\nComments on NagraMaster<\/a>
\nPeter Devlin selects the Nagra D for Oliver Stone\u2019s \u2018Any Given Sunday\u2019<\/a>
\nNAGRA-D Head Cleaning Instructions<\/a>
\nAaton \u2013 Canter<\/a>
\nHHB \u2013 Portadrive<\/a>
\nFostex PD-6<\/a>
\nSound Devices 744T och 722<\/a>
\nZaxcom \u2013 Deva<\/a>
\nZaxcom \u2013 Cameo<\/a>
\nDEVA<\/a>
\nDEVA HARD DISK RECORDING ON LOCATION<\/a>
\nDeva \u2013 Sound of Voices<\/a><\/p>\n

\n

 <\/p>\n

Ordlistor:<\/div>\n

Audio\/Video Glossary<\/a>
\nLarry Blake\u2019s Film Sound Glossary<\/a>
\nDAW-glossary<\/a>
\nBasic Computer Terminology<\/a>
\nA Brief Glossary of Sound Formats and Related Elements<\/a>
\nA Dictionary of Units<\/a>
\nEditing Terms<\/a>
\nFilm Sound Glossary<\/a>
\nMovie Glossary<\/a>
\nFilm Editing Glossary<\/a>
\nGlossary of Film Terms by Joel Schlemowitz<\/a>
\nFrequently Asked Questions about Surround Sound<\/a>
\nGlossary of Motion Picture Terms<\/a>
\nGlossary of Photographic Terms<\/a>
\nGlossary \u2013 Ordlista med f\u00f6rklaringar<\/a>
\nGraniz audiovisuella ordlista<\/a>
\nIMDb Movie Terminology Glossary<\/a>
\nInstrument OnLines ordlista<\/a>
\nLjudteknisk ordlista<\/a>
\nLuthmans spr\u00e5kl\u00e5da<\/a>
\nMyndigheternas skrivregler<\/a>
\nOnline Film Dictionary<\/a>
\nQuantel\u2019s Digital Fact Book<\/a>
\nRane Professional Audio Reference<\/a>
\nReference \u2013 Filmmaking information guides<\/a>
\nRUFS \u2013 Ljudteknikerns guide till galaxen<\/a>
\nRUFS \u2013 Om ljudteknik<\/a>
\nRUFS \u2013 Om digitalteknik<\/a>
\nSpr\u00e5kbanken<\/a>
\nSR:s spr\u00e5kr\u00e5d<\/a>
\nSTV:s tekniska ordbok<\/a>
\nSvenska akademiens ordbok<\/a>
\nSvenska datatermgruppen<\/a>
\nSvenska spr\u00e5kn\u00e4mnden<\/a>
\nSvD:s spr\u00e5kr\u00e5d<\/a>
\nTechnical Glossary of Common Audiovisual Terms<\/a>
\nTekniska nomenklaturcentralen<\/a>
\nUnits Converter<\/a><\/p>\n

 <\/p>\n

\n

 <\/p>\n

Diverse:<\/div>\n

PC-DAW \u2013 En subjektiv betraktelse av Christian Christensen<\/a>
\nOm ett ljudfilmsexperiment gjort av W. K. L. Dickson p\u00e5 Edisons labb \u00e5r 1895<\/a>
\nOm arbete vid dator<\/a>
\nThe Secret Life of Audio Crossfades<\/a>
\nA Brief History of Film Dubbing<\/a>
\nSilverless Sound Tracks<\/a>
\nHow to Care for your Audio Collection<\/a>
\nThe Evolution of Dolby Film Sound<\/a>
\nOm filmljudsystem<\/a>
\nA Brief History of the Reproduction of Sound in Movie Theatres<\/a>
\nSynk Tank \u2013 The Art and Techniques of Post Prod Sound<\/a>
\nAMMOT \u2013 Artister och musiker mot tinnitus<\/a>
\nOm h\u00f6rselskador<\/a>
\nOm hur h\u00f6rseln fungerar<\/a>
\nTinnitus Regionf\u00f6rening V\u00e4stra G\u00f6taland<\/a>
\nTinnitus-l\u00e4nkar<\/a>
\nKlassiska filmljudtexter<\/a>
\nSvenska filmbolag<\/a>
\nOm utbildningsv\u00e4gar f\u00f6r den som vill bli filmljudtekniker<\/a>
\nSiffror, siffror, siffror<\/a>
\nEn v\u00e4lmatad faktasamling<\/a>
\nFaktabanken<\/a>
\nBinaural Excitement \u2013 En artikel av Tchad Blake<\/a><\/p>\n

\n

 <\/p>\n

Folks funderingar:<\/div>\n

En intervju med Sound Designer Steve Munro<\/a>
\nInterview with Gary Rydstrom October 1998<\/a>
\nDear Nonlinear Picture Editing Department, av Larry Blake<\/a>
\nAn Open Letter from your Sound Department<\/a>
\nLee Orloff\u2019s Production Recording of \u2018The Patriot\u2019<\/a>
\nOn Location with Marc McNabb<\/a>
\nCreating Sound for Demme<\/a>
\nThe Utility Sound Technician<\/a><\/p>\n

\n

 <\/p>\n

SvenE Carlssons sidor:<\/div>\n

Film Sound Design \u2013 Film Sound Theory<\/a>
\nWhat\u00b4s New on FILM SOUND THEORY<\/a>
\nRandy Thom Articles<\/a>
\nWalter Murch Articles<\/a>
\nOm ett ljudfilmsexperiment gjort av W. K. L. Dickson p\u00e5 Edisons labb \u00e5r 1895<\/a>
\nRapport fr\u00e5n filmljudseminariet \u201dFilm Sound as Means of Expression\u201d 13 \u2013 16 januari 2000 i K\u00f6penhamn<\/a>
\nSound in Tarkovski\u2019s Sacrifice<\/a>
\nFilm Music<\/a>
\nFilm Sound Cliches<\/a>
\nFilm Sound Q & A<\/a>
\nFilm Sound History<\/a>
\nFilm Sound Bibliography<\/a>
\nFilm Sound Links<\/a>
\nFILMLJUD \u2013 gestaltande ljudl\u00e4ggning<\/a><\/p>\n

\n

 <\/p>\n

Fr\u00e5n AMPS:<\/div>\n

Association of Motion Picture Sound<\/a>\u00a0Production Sound Essentials<\/a>
\nRecommendations for Original Sound Track Identification and Transfer Procedures<\/a>
\nExtraneous Noise on Sets<\/a>
\nProduction Office Sound Productivity Document<\/a>
\nResults of approaches to Lighting Contractors<\/a><\/p>\n

\n

 <\/p>\n

S\u00f6k i CAS:s webbforum:<\/div>\n

Cinema Audio Society Information Archive<\/a><\/p>\n

\n

 <\/p>\n

N\u00e5gra kapitel ur David Lewis Yewdalls bok
\nThe Practical Art of Motion Picture Sound:<\/div>\n

The Challenging Battlefield of\u00a0Production Sound<\/a>
\nPreparations for location Sound Recording
\n<\/a>Custom Recording Sound Effects<\/a>
\nRecording digitally with the Zaxcom DEVA<\/a>
\nThe venerable Nagra IV-S<\/a>
\nTimecode & Format<\/a>
\nNonlinear \u2014 the Digital Workstation<\/a>\u00a0Planning for Recording<\/a>
\nSound Design Myths and Realities<\/a>
\nSound Design expanded<\/a>
\nFOLEY : The Art of Footsteps, Props and Cloth Movement<\/a>
\nPicture Editorial and the use of the Sound<\/a>
\nOm boken The Practical Art of Motion Picture Sound<\/a><\/p>\n

\n

 <\/p>\n

Equipment Emporium Articles:<\/div>\n

Table of Contents<\/a>
\nConsistency in Production Sound Recording<\/a>
\nLavaliers<\/a>
\nTHE SOUNDTRACK: A basic Introduction<\/a>
\nPRODUCTION SOUND: An Overview<\/a>
\nIntro to Pre-Production Planning for Audio<\/a>
\nShockmounts & Windscreens<\/a>
\nThe \u201dHollywood\u201d Approach to Better Location Sound<\/a>
\nUsing Wireless Mics<\/a>
\nSelection and Application of Shotgun Mics<\/a>
\nIntroduction to the Use of Boompoles<\/a>
\nTape Boxes and Labels<\/a>
\nSample Budget for Production Sound<\/a>
\nMemo to Producers Re: Controllable Background Noise<\/a>
\nLearn to monitor audio through your headphones<\/a>
\nSetting Levels for DAT<\/a>
\nCrew Exepectations<\/a>
\nRed Dotting Microphones<\/a>
\nWhy use a mixing panel?<\/a>
\nIs Timecode Always Necessary?<\/a>
\nAudio for DV, Hi8mm, SVHS camcorders<\/a>
\nGuide to Audio Technica Mics for Film \/ TV<\/a><\/p>\n

\n

 <\/p>\n

Turner Audio Articles:<\/div>\n

Table of Contents<\/a>
\nAvoiding Ground Loops On Location<\/a>
\nBatteries are Boring<\/a>
\nUnderstanding Stereo Microphone Techniques and M\/S Stereo<\/a>
\nUnderstanding Phase<\/a>
\nA Wireless Microphone Primer<\/a>
\nOptimize Your Wireless!<\/a>
\nProcessing For Post<\/a>
\nBe Prepared!<\/a>
\nAn Audio Level Metering Primer<\/a>
\nIs Your Mic-Pre Clean? Past 30 kHz?<\/a><\/p>\n

\n

 <\/p>\n

CinePost tips:<\/div>\n

CinePost Tech Talk<\/a><\/p>\n

\n

 <\/p>\n

Pro Tools-tips fr\u00e5n Editors Guild:<\/div>\n

#1 Organizational Tips<\/a>
\n#2 Procedural Tips<\/a>
\n#3 How to Do Some Quick and Dirty Sound Design<\/a>
\n#4 The Mystery of the Grabber Tool Revealed<\/a>
\n#5 Video Sync<\/a>
\n#6 Useful but Obscure Tips<\/a>
\n#7 The Option and Control Keys<\/a>
\n#8 The Command Key<\/a>
\n#9 Selecting Across Tracks\/Shuffle Mode<\/a>
\n#10 Screen Redraws<\/a>
\n#11 Imprinting Changes<\/a>
\n#12 Quick Navigation<\/a>
\n#13 Spot Mode Window\/Tones for Transfer Pro Tools Pointer<\/a>
\n#14 Version 4 Fades Window<\/a>
\n#15 Your Friends, The Mac \u2018Cut\u2019 & \u2018Paste\u2019 Commands\u2026& More<\/a>
\n#16 Handy Tips from My Colleagues<\/a>
\n#17 More Tips From My Colleagues<\/a>
\n#18 Fond Memories of Preview Codes<\/a>
\n#19 Showing the Region List Who is in Charge<\/a>
\n#20 Productivity and Ergonomics \u2013 They CAN Coexist<\/a>
\nAudio Microsurgery<\/a>
\nPreparing Reels for Dialog Editing \u2013 Part 1<\/a>
\nPreparing Reels for Dialog Editing \u2013 Part 2<\/a>
\n#21 Digipix Tricks, Multi-Speed Auditioning & 5.1 Features<\/a>
\nPro Tools Focus Keys<\/a>
\n#22 Mac Shortcuts, Voice Rippling & More<\/a>
\nProTools Plug-Ins<\/a><\/p>\n

\n

 <\/p>\n

AudioVision-tips fr\u00e5n Editors Guild:<\/div>\n

What is AudioVision?<\/a>
\nWhat is AudioVision Part II<\/a>
\nAudioVision Kwik Tips<\/a>
\nAudioVision Goes Pro Tools<\/a><\/p>\n

\n

 <\/p>\n

Fairlight-tips fr\u00e5n Editors Guild:<\/div>\n

Fairlight \u2013 An Introduction<\/a>
\nFairlight FAQ: Crisis Management<\/a>
\nStereo to Mono and Back on the Timeline<\/a>
\nDeveloping Macros to Improve Your Workflow<\/a>
\nGetting Familiar with Version 15 Software<\/a>
\nA New Way to Lift & Hold, and More About Macros<\/a>
\nRebalancing, Change Notes and Macros<\/a>
\nConforming Picture Changes on the Fairlight<\/a>
\nExport to Other Programs\/IBM & RTB Commands<\/a>
\nMDL & Other Commands\/.WAV Files<\/a>
\nUsing the Fairlight on the Dubbing Stage<\/a>
\nJogging & Machine Control<\/a>
\nFairlight\u2019s \u2018Mouseless\u2019 Interface<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

F\u00f6ljande material \u00e4r statiska webbsidor fr\u00e5n v\u00e5r gamla webbplats. Om n\u00e5gon l\u00e4nk inte fungerar h\u00f6r av dig till webmaster. _________________________________________________________ FSS: Om Klas Dykhoffs bok Ljudbild eller synvilla FSS:s boktips FSS:s anslagstavla f\u00f6r perioden 5\/5 1998 \u2013 16\/5 1999 FSS:s anslagstavla f\u00f6r perioden 25\/5 1999 \u2013 26\/1 2001 FSS:s anslagstavla f\u00f6r perioden 25\/1 2001 \u2013 […]\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"folder":[],"class_list":["post-16","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P247AI-g","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/pages\/16","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":6,"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":2512,"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/pages\/16\/revisions\/2512"}],"wp:attachment":[{"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/media?parent=16"}],"wp:term":[{"taxonomy":"folder","embeddable":true,"href":"https:\/\/www.filmsoundsweden.se\/wordpress\/index.php\/wp-json\/wp\/v2\/folder?post=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}