Note: Page numbers in italics are for tables, those in bold are for figures.
AC-3 13
acoustics 4
ADR (automated dialog replacement) 43, 44, 111; group 34, 136, 140; studio 39
Ahrens, Lynn 53
Alice in Wonderland 148
Alpha and Omega 148
Ament, Vanessa Theme 94
American Tail 33
analog signals 10
analog-to-digital (A/D) converters 10
Anderson, Richard 148, 149, 152, 157, 164, 165, 167, 172, 173
anempathetic cues 22
animal speak 36
anthropomorphism 21
area-specific frequency response 82
Aristocats, The 150
Atlantis: The Lost Empire 150
audiation 1
audio clip or audio region 27
audio cross-fade 28
automated dialog replacment see ADR
backgrounds (BGs) 18, 29, 72, 140; looping 126; panning 136
backtiming 113
backup drives 104
Bacon, Chris 148
Baker, Buddy 21
Balfe, Lorne 165
bandwidth limiting 123
bass roll-off 46
Beck, Jackson 34
Bender, Lon 160, 166, 167, 172
Benitez, Odin 168
Bernstein, Leonard 102
Blanc, Mel 33
blanket libraries 60
blanket licensing 60
Bluth, Don 101
Bolt 151
bouncing to disks or tracks 143
breaking the 4th wall 21
Bresnahan, James 43
bridging edits 29
Brother Bear 152
Brown, Treg 71
Bruns, George 147, 150, 163, 171
build 19
Butler, Daws 33
buy-out libraries 60
calendar programs 103
Callaway, Liz 55
camera movements 26
camera placements 25
camera shake 19
Cars 153
Cartwright, Nancy 33
Casper 21
causal sound 15
Causey, Brian 162
Chang, Daesup 20
Change List 110
character development 21
Chau, Tim 159
Chicken Run 154
Cinderella 154
Clausen, Alf 69
Clemons, Ron 20
close-up shots (CU) 25
cloth movement 89
Collinge, Matthew 178
Collins, Phil 152
comb filtering 42
commercial SFX libraries 74–76, 104, 109
condensation 81
condenser microphones 46, 78–79
Conover, Aaron 39
Cook, Robert 147, 150, 154, 163
copyright holders 66
Corpse Bride 155
cross-fades 116
Cueb 86
cues: anempathetic 22; Foley 94, 97; music 22, 53, 57–58, 62, 109, 119
Curious George 155
cut effects 91
cutaway shots 27
cutting 115
Danna, Mychael 174
David, Mack 154
Davies, Jason 37
DAWs (digital audio workstations) 90, 126
dB SPL (decibel sound pressure level) 8
Debney, John 58, 149, 153, 156, 162
design elements 72, 84, 85, 86 111
designed languages 48–50, 121–122
Despicable Me 156
dialogue 21–22, 29, 33–50; a-synchronous 33–34; ADR or replacement see ADR; editing 48; evaluating recorded 45–48; exposure sheets 43, 44; group ADR 34, 133–134, 140–141; leveling 136; pre-sync 34; principal 33–34, 136; recitative style 34; recording 36–38, 40–41; reversed 48–49; ring-outs 116; scratch 35, 108; stems 133–134; synchronous (lip sync) 33, 34, 42–43; used to bridge edits 29; Walla 34–35, 72, 140
dialogue editors 73
dialogue mixers 73
digital audio workstations (DAWs) 90, 126
direct sound 4
direct/ambient perspective 140–141
directing the eye 17
directing voice talent 38
Disney 3, 16–17, 22, 33, 55, 67, 68, 71, 72
distortion 82
dither 13
down sampling 11
downmixing 141
DTS 13
dubs, foreign 48
dynamic range 8, 81, 82–83, 122, 131, 132
ear span 9
East, Nathan 5
editing: dialogue 48; Foley 99; see also picture edits; sound editing
EDL (Edit Decision List) 110
Edwards, Will 161
emotional continuity 21
end credit sequences 55, 56, 108
epilogue 34
equal loudness curve 8
equalization (EQ) 129
equalizers 114
Evershade, Julia 177
Everyone’s Hero 156
exit sign effect 137
expanders 123
extraneous sounds 47
fair use 65
Fairfield, Paula 148
Family Guy 66
Fantasia 3
Fenton, George 178
field recorders 77
field of vision, extending the 19
file transfer protocol (FTP) sites 103
Files, Will 151
final work print 109
Fines, Ray 35
first-person narration 34
flashback sequences 30
Flintstones, The (TV series) 28, 29, 59, 69
Flushed Away 157
fly-bys 26
fly-throughs 26
Foley 72, 89–99, 104, 136, 140; artists 89, 91–92; cues 94, 97; editing 99; editors 73, 89, 99; footsteps (sneak steps) 22, 89, 92, 94–95, 136; mixers 71, 89, 94–97; pits 89, 91; props 89, 92–94; recordists 89; stage 89–91; walkers 73
Foley, Jack 89
Foley, Pat 72
Foray, June 33
foreign dubs 48
framing 25
Frankley, Cameron 174
Freemantle, Glenn 158
freeze-frames 27
frequency 6–7, 8, 9, 11, 122–123
frequency range 139
frequency response 6
FTP (file transfer protocol) sites 103
Futzbox 124
futzing 124
gates 122
Giacchino, Michael 161, 169, 177
Gide, Andre 15
Gnomeo and Juliet 158
Goldsmith, Jerry 166
Goldwyn, Samuel 62
Gregson-Williams, Harry 57, 154, 157, 172, 173
Gregson-Williams, Rupert 151, 167
Guber, Peter 24
Hackett, Buddy 38
Hallberg, Per 175
Hanna-Barbera 19, 34, 56, 59, 69, 72
hard effects 15, 16, 18, 72, 136, 140
harmomic distortion 12
harmonizing 119
Hass, Robert 102
header 27
Headicar, Graham 154
hearing 2
hertz (Hz) 6
Hill, Todd 23
Hoffman, Al 154
Holloway, Sterling 46
Home on the Range 159
home theater release formats 107
Horner, James 54
How The Grinch Stole Christmas 34
How to Train Your Dragon 160
Howard, James Newton 150, 155, 158, 177
humidity 81
Hunchback of Notre Dame, The 160
insert shots 27
“inside the band” perspective 139
intercuts 115
Internet 75; FTP (file transfer protocol) sites 103; production websites 103; release formats/delivery 13, 107, 107, 131, 142, 144
Jablonsky, Steve 149
Jackman, Henry 166
Jackson, Henry 168
Jackson, Wilfred 50
Jimmy Neutron: Boy Genius 55, 162–163
John, Elton 158
Johnny Quest 69
Johnston, Gary 55
Jones, Thomas 173
Joseph, Eddy 155
jump cuts 27
Kamen, Michael 162
Karloff, Boris 34
Katzenberg, Jeffrey 109
Kemp, Larry 167
Kerber, Randy 180
King, Darren 155
King, Richard 168
laugh tracks 16
Leonard, Dennis 162, 166, 167, 172
leveling 136
licensing 62, 63–64, 66–67, 98, 104
Lilo and Stitch 55
Linear Pulse Code Modulation (LPCM) 10
Lion King, The 164
lip clacks 46
listening 2
Little Mermaid, The 33, 69, 164
Livingston, Jerry 154
long shots 25
loudness 8
low frequency effects (LFE) channel 138, 139
lyrics, narrative 30
MacFarlane, Seth 33
Machine, The 37
Madagascar 165
Mancina, Mark 152
Many Adventures of Winnie the Pooh, The 21
mastering for various release formats 142–143
Meet the Robinsons 165
Menken, Alan 56, 69, 147, 158, 160, 164, 167, 175
Menza, Mark 149
Mercer, Jack 33
Messick, Don 33
metaphoric sound 22
microphones 40–41; boom poles 79, 80; cables 79; condenser 46, 78–79; dynamic 79, 78–79; field 78–79; Foley 94–95; gain staging on pre-amps 46; handling noise 48; off-axis placement 46; omni-directional 79; parabolic 79; pistol grips 79, 81; polar pattern 40, 78–79; proximity effect 46; shock mounts 81, 81; shotgun 77; SPL (sound pressure level) 46; wind socks 79, 80
MIDI keyboard 87
mimicry 36
misdirection 22
mix reference levels 129–131, 130
mixing 111, 126, 127–145; bouncing to disk or tracks 143; configuring the session 131, 133; direct/ambient perspective 140–141; dynamic range 131, 132; encoding 143; “inside the band” perspective 141; layback 144; mastering for various release formats 142–143; multi-channel mix 138–139; pre-dubs 127, 131–133, signal processing 137–138; speaker calibration 129–131; stereo mix 136–138
moisture 81
Monster House 166
Monsters, Inc. 34
Monsters v. Aliens 166
montage sequences 18–19, 30, 55, 56
morse code 15
motion tests 108
Mulan 166
Murch, Walter 27
Murray, Douglas 161
music 22, 53–70, 109; acoustic instrumentation 22; budget 67; and character development 21; copyright 55, 62–67; cues 22, 53, 57–58, 62, 109, 119; edits 108; end credit sequences 55, 56; fair use 65; harmonic tension 19; intercuts 115; isomorphic cues 22, 26; leitmotif 18, 22; leveling 136; licensing 62, 63, 66–67, 104, 108; looping 126; misdirection 22; montage sequence 18–19, 55, 56; original 56–59; package deals 58; parody scoring 65–66, 69–70; percussion 22; production libraries see production music libraries; score 22, 53 (workflow for original 56–59); scoring sessions 56–59, 111; shock chords 19; songs 30, 55, 115; source 16, 53, 54–55, 116; spotting session 25, 53, 57–58; stems 53, 136; subtext scoring 18; synthetic instrumentation 22; temp tracks 10, 56–57; underscore see underscore music; wall-to-wall (nonstop) 69
music editors 53
Music Land 50
narration 16, 21, 34, 136; first-person 34; reverb 128; third-person 34
narrative lyrics 30
needle drops 60
Neumann, Drew 180
Newell, Andy 178
Newman, Randy 18, 69, 152, 153, 168, 175, 176
Nightmare Before Christmas, The 34, 167
noise 5, 12, 79; microphone handling 46, 77; pink 130; reduction/minimization 89, 122–123; signal-to-noise ratio (S/N ratio) 82; wind 79
non-compressed audio 13
non-diegetic sound 16
Nott, Julian 179
Null, Jonathan 160
null or zero point 5
Nyquist frequency 11
objectivity 82
off-screen sound 19
on-screen sound 19
online delivery systems see Internet Over the Edge 167
over-the-shoulder shots 25
overlaps 29
Painter, John 159
Painting Day 20
pan shots 26
panners (pan pots) 2
parabolic microphones 79
Pasttime 23
peak 6
peak distortion 46
peak filters 122
percussion 22
personal devices 107, 131, 142, 143
phase issues 47
picture edits 24–31, 110; cuts 27–28; scenes 24, 29–30; shots 24–27; transitions 24, 28–29
picture lock (picture latch) 53, 109, 110
pink noise 130
Pipes, Douglas 166
pitch 6
play through the scene 27
plosives (wind distortion) 46
Pocahontas 167
point of view (POV) 22; establishing or clarifying 18
post-lapping sound 29
Powell, John 151, 154, 160, 161, 170, 171, 172
pre-delay 137
pre-lapping sound 29
pre-scored cues 57
pre-set fades 116
pre-sync dialogue 34
pre-verb effect 122
pre-visualization 108
Prince of Egypt, The 168
Princess and the Frog, The 168
production music libraries 59–62, 69, 116; project management component 61; searching 60
production websites 103
project management 61, 103, 104
prologue 34
public domain 64
pull back shots 26
pulling focus 26
pulse code modulation (PCM) 13
Puss in Boots 168
quantization 12
Questel, Mae 33
Radio Theater 71
Rango 169
rarefaction 6
Ravenscroft, Thuri 145
re-recording mixers 103, 127–128
reality, contrasting subjectivity with 18–19
recitative 34
recording dialogue 36–38, 38–40
recording script 36
recording set-up 41
reduced sound 16
Reed, Alan 33
reference level 8
reflected sound 4
release formats 107–108, 142–143
rental fees 104
replacement or ADR dialogue see ADR
resolution 12
Revell, Graeme 175
reverb 4, 17, 21, 30, 116, 133, 137
reverb type or room 4
reverse 121
rewind 121
Rhapsody in Rivets 127
rhythm 4
Rio 170
Road to El Dorado, The 170
Robin Hood 171
Robots 171
Rutledge, Bob 99
Ryan, Meg 55
Rydstrom, Gary 18, 72, 152, 157
Sam 31
sampling rates 12
Scarabosio, Christopher 156
schedules 103
Schwartz, Stephen 168
score 22, 53; workflow for original 56–59
scoring stage 58
Scott, Raymond 69
script development 35
Sears, B.J. 32
Sephton, Robert 153
Shark Tale 172
Sharples, Winston 66
Sheehan, Danny 178
Sherman, Richard 55
shock chords 19
shot lists 25
shotgun microphones 79
shots 24–27; close-up (CU) 25; cutaway 27; insert 27; long 25; over-the-shoulder 25; pan 26; perspective (POV) 26; pull back 26; tilt 26; vertical 26; zoom 26
sibilance 45
side-chain gate 123
signal 7
signal processing 48, 133, 137–138
signal-to-noise ratio (S/N ratio) 82
silence 5
silent film era 18
Silvers, Michael 151, 153, 161, 176, 177
Silvestri, Alan 69, 167, 178, 179
Simonec, Tim 175
Sinbad: Legend of the Sevens Seas 173
Skeleton Dance 22
sneak steps (Foley footsteps) 22, 89, 92, 95–96, 136
Snow White 55
song score 55
sound: perception of 1–5; physics of 5–10
sound department 73
sound editing 113–126; compositing 116; Doppler effects 125; fades 116; futzing 123–124; looping 126; noise reduction 122–123; pitch shifting 119–120; reverse and rewind 121–122; ring-outs 116; sound-chain gating 123; sound replacement 122; syncing sound to picture 113; time-scaling 117–118; trimming and cutting 114–115; vari-speed 120–121
sound editors 73, 104, 111, 113
sound envelope (ADSR) 85
sound field 2
sound pressure level (SPL) 46, 129
sound replacement 122
sound effects (SFX) 6, 9, 20, 21, 22–24, 71–87; leveling 128; libraries (commmercial 74–76, 104, 109; developing original 76–83; file management 83; searching 75–76); pitch shifting 119; stems 72, 127, 133–136; temp tracks 72–73
sound source 1
sound transitions 29
Soundminer 76
source music 16, 53, 54–55, 116, 136
Speakerphone 124
speech 15
speed of sound 10
spotting Foley 91
spotting sessions 25, 53, 57–58, 73, 109
Stalling, Carl 67
Stanton, Andrew 16
stems: dialogue 133–136; music 53, 133–136; sound effects (SFX) 72, 127, 133–136
stereoscopic (3D) films 3, 19, 43, 141
Sterner, Beth 180
Stone, David 48
Stone, Richard 63
Stravinsky, Igor 2
Stuart Little 36
subjectivity, contrasting reality with 18–19
subtext: clarification of 18; scoring 18
supervising sound editors (Sups) 73, 103, 109
Surf’s Up 174
surround sound 3
sweeteners 36
sweetening 23
sync point 27
sync sound 19
synchronization license 61, 104
synchronous (lip sync) dialogue 33, 34, 43
syncing sound to picture 113
tail 27
Tangled 174
Tarzan 175
Teague, Addison 169
television 69
temp tracks 108–109; music 56–57, 108–109; sound effects (SFX) 72–73
temporary work print 109
third-person narration 34
Thom, Randy 19, 72, 84, 160, 166, 169, 170
Thorpe, Dennie 91
3D (stereoscopic) films 3, 19, 43, 141
Ticknor, Steven 174
tilt shots 26
Timberg, Sammy 69
timbre 9
time compression/expansion (TC/E) 48, 117, 120
time-lapse sequences 30, 31, 54
timings 108
Tom and Jerry 72
tone quality 9
Toon, Todd 165
Toy Story films 18, 69, 72, 175–177
track reading 43
transitions 24, 28–29, 55, 121
trimming 114
trough 6
2D animatic 108
underscore music 16, 18, 29, 30, 53–54, 72, 140; cues 57; panning 136; reverb 137
Up 177
Ustinov, Peter 71
Valiant 178
vertical shots 26
vocal slate 83
vocalizations 71
voice actors 33, 73; casting 9, 35; directing 36–38; nerve-related problems 46
voltage-controlled amplifier (VCA) 133
wall-to-wall (nonstop) music 69
Wallace and Gromit: The Curse of the Were-Rabbit 179
Warner Brothers 19, 69, 71, 127
Watson, Greg 72
wavelength 9
Welch, Christopher 162
Whittle, Gwendolyn 170
Who Framed Roger Rabbit? 69, 179
Wild Thornberry’s, The 180
Wilkinson, Kristin 159
Williams, Pharrell 156
Williams, Robin 36
Willie Wonka & the Chocolate Factory 66
Wilson, Wade 85
wind distortion 46
wind noise 79
Winkleman, Kyle 31
Yates, Gwendolyn 173
Zimmer, Hans 22, 164, 165, 168, 169, 170, 172, 173
zoom shots 26