Introduction

Overview

The digital age has provided the independent animator possessing even modest resources access to the means to realize their creative visions. Academic programs have emerged to meet the growing interest in formal instruction in this art form. Those responsible for curriculum development face the daunting task of compressing essential animation courses into a traditional four-year program of study. Due to competing forces and limited resources, courses addressing soundtrack development are often under-represented. Consequently, there are gaps relating to soundtrack aesthetic and workflow that can potentially impede the independent animators ability to collaborate effectively. This book seeks to bridge this gap and assist the animator and sound design team in collaborative storytelling.

The Elements of a Soundtrack

As you listen to the opening scene in Pixar’s Toy Story (1995), notice the detail in which Andy intuitively adds sound to accompany his playtime. A diverse cast seamlessly toggles from character to character, each with their own readily identifiable voice. Filling the gaps between individual lines of dialogue are voiced sound effects that enhance the fantasy of the narrative being played out. This depiction of a child at play demonstrates that we learn, at a very early age, concepts that are fundamental to effective soundtrack development. As we mature, the ability to approach story telling with the same playful and creative ear remains essential. The three components of a soundtrack are dialogue, sound effects (SFX), and music. Sound designers and editors, directed by a supervising sound editor, create the dialogue and sound effects stems. A composer, music editor, and music supervisor develop the score separately. Re-recording mixers complete the soundtrack by blending all three elements at the final mix and preparing them for a variety of release formats. Sound design is a term that is often used to denote persons responsible for developing the sound effects and dialogue stems of the soundtrack. Though the term is typically reserved for SFX and dialogue, for the purpose of this text, we will from time to time use the term to include those persons responsible for the musical score as well.

Scope of Book

The majority of writings on sound for image focus on live action, making only brief mention of the unique design considerations associated with animation. For example, the animation soundtrack is not tied to production audio (sound acquired on a live set) and must be completely constructed. In addition, there is a greater emphasis on the animatic (moving storyboard) created in pre-production, providing a working model by which initial components of the soundtrack can be developed. As with any collaborative effort, each participant must develop a working understanding of the aesthetics, tools, and workflow associated with aspects of the production; consequently, this book must serve multiple audiences: the animator, the sound designer, and the music department. At times, the animator might feel overwhelmed with the technical aspects of this book while the sound designer may feel a need for greater depth. A conscious decision was made to consider the needs of the animator first. The bibliography contains many of the significant writings on sound design to date for those seeking greater depth.

Using This Book

This book is designed as either a classroom text or self-directed study on soundtrack development for narrative short-form animation. Though the title, when taken literally, suggests a limited scope of 2D and 3D animation, many of the concepts presented apply equally to video games, web delivery, and live action film. Chapters 1 and 2 cover the foundations and theories of sound as they apply to audio/visual storytelling. The concepts addressed in these chapters provide a basic foundation in physics, acoustics, human perception, theory, and aesthetics. The vocabulary presented in these chapters will become more relevant as the reader works through the book and begins collaborating with the sound and music departments. The math has been simplified, the techno babble has been removed, and the acronyms have been spelled out, in the hope of closing the gap between conceptualization and application. Chapters 3 through 6 define the primary components or stems used in animation: dialogue, music, and sound effects. Each chapter explores the unique potential that individual stems contribute to the art of storytelling. Chapters 7 through 9 explore the production arc from the preproduction to layback. Chapter 10 contains references to a variety of feature length animations. These annotated references are designed to contextualize the concepts discussed throughout the book and guide your future listening efforts.

About the 2nd Edition

Few words resonate more with sound designers than Ben Burtt’s quote regarding films escaping. His statement rings equally true for animators, composers, and authors. For most of us, there is rarely a second chance to revise our work once it has been screened or published. It is with this understanding that I wish to express my appreciation to Focal Press and the many readers for giving me the opportunity to create a 2nd edition. It is an honor to pull together the creative ideas and techniques of my colleagues, creating a book that represents their many contributions to the art of sound design and scoring. I appreciate the patience of the many professionals who have gently guided me toward accuracy in my attempt to bridge professional practice with academic delivery. I sincerely hope that this text will assist aspiring animators and sound designers in the collaborative effort to produce a soundtrack that “escapes” with style.

Online Content

Online delivery provides a seamless bridge between the written word and other forms of media. The second edition of Designing Sound for Animation comes with a full complement of online materials including four films, each presented as a full mix or as isolated stems. Also included in the online content area is a sound design kit containing the film Pasttime and a folder of sounds that can be used to re-create the soundtrack. This kit is intended to provide a hands-on experience with many of the concepts and techniques addressed in the book. Feel free to use these sounds or to substitute them with your personal library. Additional QuickTime movies have been provided to further explain some of the more abstract concepts covered in Chapter 1. Many of the illustrations and photos presented throughout the text are also available for download as high resolution, resizable, color .tif files. Finally, a test bank has been created for each chapter to assist instructors who use this text to complement their courses.