CONTENTS

LIST OF FIGURES AND TABLES

ABOUT THE AUTHOR

CREDITS

ACKNOWLEDGMENTS

Introduction

Overview

The Elements of a Soundtrack

Scope of Book

Using This Book

About the 2nd Edition

Online Content

Chapter 1Foundations of Audio for Image

Overview

Perception of Sound

Sound

Hearing Versus Listening

Localization

Acoustics

Rhythm and Tempo

Noise and Silence

Physics of Sound

Sound Waves

Frequency

Amplitude

Timbre

Wavelength

Speed of Sound

Digital Audio

Digitizing Audio

Sampling Rates

Bit-Depths

Audio Compression

Chapter 2Sound Design Theory

Overview

Sound Classifications

Chion Classifications

Diegetic and Non-Diegetic Sound

Narrative Functions

Guided Perception

Drawing the Audience into the Narrative

Directing the Eye

Establishing or Clarifying Point of View

Clarifying the Subtext

Contrasting Reality and Subjectivity

Extending the Field of Vision

Tension and Release

Continuity

Promoting Character Development

Theoretical Concepts Specific to Dialogue

Theoretical Concepts Specific to Score

Theoretical Concepts Specific to SFX

Interpreting Picture Edits

Overview

Shots

Framing

Camera Placement

Camera Movement

Movement of Objects

Perspective Shot (POV)

Insert Shots and Cutaways

Cuts

Transitions

Dissolves

Wipes

Fades

Sound Transitions

Scenes

Parallel Edit

Montage Sequence

Time-Lapse and Flashback Sequences

Conclusion

Chapter 3Dialogue

Overview

Principal Dialogue

Narration

Group ADR and Walla

Developing the Script

Casting Voice Talent

Caricature

Recording Dialogue

The Recording Script

Directing Voice Talent

The ADR Studio

Microphones

Recording Set-Up

Cueing a Session

Preparing Tracks for Lip Sync

Lip Sync Animation

ADR

Evaluating Recorded Dialogue

Dialogue Editing

Designed Languages

Chapter 4Music

Overview

Underscore

Source Music

Songs

Title, Montage, and End Credit Sequences

Workflow for Original Score

Rationale for Original Score

Temp Music

The Spotting Session

Writing Original Cues

The Scoring Session

Workflow for Production Libraries

Production Libraries

Searching a Library

Managing a Project

Developing Cues

Licensing Cues

Workflow for Copy-Protected Music

Overview

Rights Versus License

Synchronization, Master, and Videogram License

Public Domain

Fair Use

Parody

Music Supervision

Historical Trends in Animation Scoring

The Golden Age

The Television Age

The Animation Renaissance

Chapter 5Sound Effects (SFX)

Overview

The SFX Stem

Temp Tracks and Spotting Sessions

The Sound Department

Sound Editors

Commercial SFX Libraries

Searching SFX Libraries

Developing an Original SFX Library

Creating an Original Library

Field Recorders

Field Microphones

Field Accessories

Suggestions for Field Recording

Record like an Editor

Objectivity

Area-Specific Frequency Response

Signal-To-Noise Ratio

Dynamic Range

File Management

The Sound Designer

Performing Design Elements

Chapter 6Foley

Overview

The Foley Stage

Spotting Foley

The Foley Artist

Footsteps

Props

The Cloth Pass

Cueing a Session

The Foley Mixer

Overview

Recording with Preparatory Cues

Playlisting

Looping

Foley Editing

Chapter 7The Production Path

Overview

Preproduction

Overview

Enlisting a Sound Crew

Developing a Soundtrack Budget

Project Management

Production Standards

Release Formats

Production

Overview

Creating Temp Tracks

Production Tasks for the Sound and Music Departments

Postproduction

Overview

Picture Lock

Postproduction Tasks for the Sound and Music Departments

Chapter 8Sound Editing

Overview

Syncing Sound To Picture

Trimming and Cutting

Fades

Compositing Takes

Ring-Outs

Time-Scaling

Pitch Shifting

Vari-Speed

Reverse and Rewind

Sound Replacement

Noise Reduction

Side-Chain Gate

Futzing

Doppler

Looping

Preparing Tracks for Delivery to the Mix

Chapter 9The Final Mix

Overview

The Re-Recording Mixer(s)

Speaker Calibration

Dynamic Range

Configuring the Session

Pre-Dubs

Creating the Stems and Printmaster

The Stereo Mix

Panning

Leveling

Signal Processing

Reverb

Equalization (EQ)

Peak Limiting

The Multi-Channel Mix

The Direct/Ambient Perspective

The “Inside the Band” Perspective

Mastering for Various Release Formats

Bouncing to Disk or Tracks

Encoding

Layback

Chapter 10Case Studies

BIBLIOGRAPHY

INDEX