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LIST OF FIGURES AND TABLES

FIGURES

Figure 1.1	The Soundtrack in the Sound Field
Figure 1.2	Volume Panning Figure
Figure 1.3	Reverb Room Presets
Figure 1.4	The Sound Wave
Figure 1.5	Six Cycles Per Second
Figure 1.6	Frequency in Context
Figure 1.7	Amplitude
Figure 1.8	Timbre
Figure 1.9	A/D Conversion
Figure 1.10	Nyquist Frequency
Figure 1.11	Low Bit-Depth Resolution
Figure 1.12	High Bit-Depth Resolution
Figure 2.1	The Footsteps for the Fire Extinguisher Are Covered with the Non-Literal Sound of a Spray Paint Can Being Shaken in the Film Mercury Inspection (2006), Directed by Leslie Wisley Padien
Figure 2.2	The Picture Displays a Martini Glass, an Ashtray, and a Wine Bottle. By Pairing a Seemingly Unrelated Sonar Ping with this Frame, Audiences Are Challenged to Find a Relationship or Gestalt between the Two, the Desired Effect Being that the Eyes are Directed to the Submerged Olive
Figure 2.3	In the Film Painting Day (2003) Directed by Daesup Chang, Elements of the Soundtrack Were Intentionally Limited to Those that Existed in the Old West
Figure 2.4	An Acoustic Bass Covers the Individual Footsteps (Sneak Steps) in the Sandlot Fantasy Pasttime (2004) Directed by Todd Hill
Figure 2.5	Audio Clip Header, Sync Point, Edit Seam, and Tail
Figure 2.6.	This Time Lapse Sequence from Sam (2003) Directed by Kyle Winkleman Shows the Main Character Learning at an Accelerated Speed. Each Cut Was Accompanied by a 35 mm Camera Shutter to Advertise the Edits and EKG Beeps to Represent the Physiologic Impact on the Character
Figure 3.1	Elements of the Dialogue Stem
Figure 3.2.	Online Voice Talent Services
Figure 3.3	Character Displays his Flip Book Idea in the Film The Machine (2003) Directed by Jason Davies
Figure 3.4	Concept Art from the Film Trip to Granny’s (2001) Directed by Aaron Conover
Figure 3.5	Neumann U-87 with Pop-filter
Figure 3.6	The Sound Characteristics Associated with Various Types of Polar Patterns
Figure 3.7	Exposure Sheet for Pasttime (2004)
Figure 3.8	Memory Locations for Digital Cues
Figure 3.9	Bass Roll-Off
Figure 3.10	Vocalign Is Applied to a Foreign Dub Using the Sync Point Feature to Aligned Specific Words
Figure 3.11	Reversed Dialogue
Figure 3.12	Robot Concept Art for Trip to Granny’s (2001)
Figure 4.1	Elements in the Music Stem
Figure 4.2	White Vertical Lines Stream across the Frames toward the Circular Punch where the Score Will Hit with the Action
Figure 4.3	Individual Entry for a Spotting Log Template
Figure 4.4	Production Music Library from DeWolfe
Figure 4.5	APM and DeWolfe Search Categories
Figure 4.6	Three Potential Cuts Saved in APM’s Project Manager
Figure 4.7	Playlists Containing Three Potential Music Cues for “Flight Lessons” Directed by Neil Helm. These Cues Were Downloaded in Full Resolution from the APM Library
Figure 4.8	Online Request Form for APM
Figure 4.9	A Search for the Rolling Stones Title “I Can’t Get No Satisfaction” Using the BMI Search Engine
Figure 4.10	This Form Contains Most of the Information Fields Required when Making a Licensing Request for Synchronization, Master, and Videogram Licensing
Figure 5.1	Elements Contributing to the SFX Stem
Figure 5.2	Commercial SFX Libraries Are a Practical Reality in Media Production
Figure 5.3	Categories in the SoundDogs Online Library
Figure 5.4	The Search Engine for Soundminer
Figure 5.5	Narrowing Results using a Locked Search
Figure 5.6	The H4n Zoom and Sound Device Hard Disc Recorders Used in Field SFX Acquisition
Figure 5.7	Wind Sock on Short Shotgun Microphone
Figure 5.8	Boom Pole Extended and Retracted
Figure 5.9	Shock Mount and Pistol Grip
Figure 5.10	Radiation Pattern
Figure 5.11	Sound Radiation Pattern
Figure 5.12	ADSR
Figure 5.13	The Magnetic Giant from the Film Cueb (2010) Shooting Fragments of Its Body at the Space Traveler. The Sounds Used to Represent the Creature’s Movements Were Performed using a Sampler Triggered by a Keyboard
Figure 5.14	Individual Samples Are Loaded into a Sampler and Performed to Picture Using a Standard MIDI Keyboard
Figure 6.1	Foley Stage at Sound One, New York. Photo Courtesy: Sound One/CSS Studios, LLC
Figure 6.2	Foley Pits
Figure 6.3	Foley Footsteps from the Film Cueb (2010) Directed by Alex Knoll
Figure 6.4	A Possible Recording Layout for a Foley Session
Figures 6.5	A Cue and Its Associated Memory Location. Notice that the
and 6.6	Comment Section Has Information that Might Be Found in a Traditional Cue Sheet
Figure 6.7	Digital Cue with Pre-Roll that Exceeds the 3-Beep
Figure 6.8	Playlists Allow the Mixer to Nest Alternate Takes within the Same Track. Individual Takes Can Be Rated and Promoted to the Main Playlist (Circled Take)
Figure 7.1	Production Triangle
Figure 7.2	Storyboard for Trip to Granny’s (2001)
Figure 7.3	A Production Website Features Many of the Collaborative Tools Useful for the Production of Animation
Figure 7.4	The Burn-in Window Indicates the Current Timecode of the Film in Progress. The Larger Time Code Window Indicates a Typical Session Start Time Set in the DAW
Figure 8.1	Clip Marked with a Sync Point Indicating where the Score Reaches a Climatic Point. The Sync Point Field of the Spot Dialog Box is Highlighted, Indicating that its Current Value Will Be Applied to the Music Cue
Figure 8.2	In this Example, the Trim Tool Is Being Used to Pull out Existing Handle from the Header of the Clip
Figure 8.3	In these Examples, the Volume Graph of an Edit Selection Changes Based on the Use of the Cut Command Verses the Delete Key
Figure 8.4	In this Example, the B-52 Hit “Love Shack” Has Been Separated into 33 Individual Clips to Facilitate Intercutting
Figure 8.5	By Selecting None as the Fade Option, the Editor Can Move the In and Out Points of the Fades to Specified Locations and Design Individual Fade Curves for the Fade In and Outs
Figure 8.6	In the Playlist View Shown, Alternate Takes Can Be Displayed, Auditioned, and Separated while Showing the Composite Track
Figure 8.7	In the Screen Shot Shown, the Track View Selector Is Set For (fx a) RVerb with the Automation Playlist Displaying Wet/Dry Automation. Notice How Reverb Is Introduced near the End of the Clip
Figure 8.8	Notice How the Middle Warp Marker Has Moved to the Center of the Left and Right Markers. None of the Audio Before or After the Outside Markers Are Altered
Figure 8.9	Repetitive SFX Are Being Pitch Shifted with Melodyne to Create Variation
Figure 8.10	A Vari-speed Process Is Applied to a Jet Throttle Using Pitch’n Time
Figure 8.11	Sound Replacement Software Provides a Variety of Options for Batch Replacement
Figure 8.12	The Portion that Is Grayed Out Represents Frequency Content in a Signal that Has Been Eliminated
Figure 8.13	Speakerphone Applied to the Source Music
Figure 8.14	Signals Pitch Up and Down as They Pass by a Character. Objects Can Also Rotate Sonically Using Circle Amplitude and Frequency Controls
Figure 9.1	Rhapsody in Rivets
Figure 9.2	Mixing Console with Stereo and 5.1 Panners
Figure 9.3	The Output Meters of a Master Fader at -20db Measuring 85dB on the SPL Meter. This is the Standard for Mixing a Theatrical Release in a Large Room
Figure 9.4	Dynamic Range of Theatrical Film Mix
Figure 9.5	The Video Track Shown is Separated by Shots to Facilitate Navigation and Signal Processing
Figure 9.6	Virtual Pre-Dubs Using a VCA
Figure 9.7	Virtual Pre-Dub Using an Aux Track
Figure 9.8	The Waves PAZ Frequency Analyzer Is Placed on the Master Fader to Create a Visual Representation of the Frequency Characteristics of an Entire Mix
Figure 9.9	A Limiter is Designed to Prevent Occasional Peaks from Clipping
Figure 9.10	A 5.1 Mix is an Extension of a Stereo Mix, Having Mono Components As Well
Figure 9.11	The Sonnox Fraunhofer Pro-Codec Encoder Allows the Context Developer to Audition the Mix with up to Five Different AAC or MP3 Settings

TABLES

Table 2.1	Form Edits
Table 5.1	Individual Elements of a Cinematic Gun
Table 6.1	Props for a Foley Prop Room
Table 7.1	Budget Consideration for Soundtrack Development
Table 7.2	Audio Standards for Standard Definition Projects
Table 7.3	Audio Specifications for Theatrical and Home Theater Release Formats
Table 7.4	Audio Specifications for Computer/Internet Release Formats
Table 7.5	Tasks for Postproduction

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