| |
| |
| About the Author | |
| |
| |
| Credits | |
| |
| |
| Acknowledgments | |
| |
| |
| Introduction | |
| |
| |
| Overview | |
| |
| |
| The Elements of a Sound Track | |
| |
| |
| Scope of Book | |
| |
| |
| Using This Book | |
| |
| |
| Foundations and Theory | |
| |
| |
| Foundations of Audio for Image | |
| |
| |
| Physics of Sound | |
| |
| |
| Overview | |
| |
| |
| The Anatomy of a Sine Wave | |
| |
| |
| Frequency | |
| |
| |
| Amplitude | |
| |
| |
| Timbre | |
| |
| |
| The Volume Envelope | |
| |
| |
| Wavelength | |
| |
| |
| Speed of Sound | |
| |
| |
| Perception of Sound | |
| |
| |
| Hearing Versus Listening | |
| |
| |
| Defining a Space | |
| |
| |
| Stereo Imaging | |
| |
| |
| Rhythm and Tempo | |
| |
| |
| Noise | |
| |
| |
| Silence | |
| |
| |
| Digital Audio | |
| |
| |
| Capturing Audio | |
| |
| |
| Sampling Rates | |
| |
| |
| Bit-Depths | |
| |
| |
| Linear Pulse Code Modulation | |
| |
| |
| Multichannel Audio Compression | |
| |
| |
| MPEG Layer 3 and aacPlus | |
| |
| |
| Sound Design Theory | |
| |
| |
| Overview | |
| |
| |
| Sound Classifications | |
| |
| |
| Differences in Visual and Audio Processing | |
| |
| |
| Influence of Sound on Time Perception | |
| |
| |
| Sounds influence on Spatial Perception | |
| |
| |
| Drawing the Audience into the Narrative | |
| |
| |
| Sound for Character Development | |
| |
| |
| Plausibility Versus Reality | |
| |
| |
| Metaphoric Sound | |
| |
| |
| Off-Screen Sound | |
| |
| |
| Tension and Release | |
| |
| |
| Smoothing Visual Edits | |
| |
| |
| Developing Continuity | |
| |
| |
| Interpreting Picture Edits and Film Conventions | |
| |
| |
| Guided Perception | |
| |
| |
| Conclusion | |
| |
| |
| The Stems: Dialog, Music, and Effects (DM&E) | |
| |
| |
| Dialog | |
| |
| |
| Overview | |
| |
| |
| Narration | |
| |
| |
| Historical Speeches | |
| |
| |
| Synthetic Language | |
| |
| |
| Dialog and Character Development | |
| |
| |
| Dialog and Music | |
| |
| |
| Historical Voice Talent in Animation | |
| |
| |
| Casting Voice Talent | |
| |
| |
| Working with Voice Actors | |
| |
| |
| Recording Dialog | |
| |
| |
| Microphones | |
| |
| |
| Polar Patterns | |
| |
| |
| Microphone Placement | |
| |
| |
| Evaluating Recorded Dialog | |
| |
| |
| Compositing and Editing | |
| |
| |
| Synchronization | |
| |
| |
| Signal Processing | |
| |
| |
| Corrective Measures | |
| |
| |
| Sound Shaping | |
| |
| |
| Futzing Voice-Over | |
| |
| |
| Music | |
| |
| |
| Overview | |
| |
| |
| The Role of Music in Animation | |
| |
| |
| Historical Figures in Animation Scoring | |
| |
| |
| The Temp Track | |
| |
| |
| Underscore | |
| |
| |
| Source Music | |
| |
| |
| Music Effects and Effects Scoring | |
| |
| |
| Music for Emotional Treatment | |
| |
| |
| Subtext Scoring | |
| |
| |
| Music for Continuity and Time Perception | |
| |
| |
| Music To Establish Setting and Scale | |
| |
| |
| Acoustic and Synthetic Instrumentation | |
| |
| |
| The Spotting Session | |
| |
| |
| Creating an Original Score | |
| |
| |
| Demonstrating the Score | |
| |
| |
| Production Music Libraries | |
| |
| |
| Selected list of Production Libraries | |
| |
| |
| Developing a Vocabulary for Scoring | |
| |
| |
| By Emotion | |
| |
| |
| By Musical Styles | |
| |
| |
| By Cinematic Genre | |
| |
| |
| By Musical Instrumentation | |
| |
| |
| The Music Editor | |
| |
| |
| Sound-Editing Terminology | |
| |
| |
| Music Editing | |
| |
| |
| Sound Effects (SFX) | |
| |
| |
| Overview | |
| |
| |
| Functions of SFX | |
| |
| |
| Conceptualizing SFX | |
| |
| |
| The History of SFX | |
| |
| |
| SFX Spotting Session | |
| |
| |
| Sources of SFX | |
| |
| |
| Commercial SFX Libraries | |
| |
| |
| Foley (Performance) Effects | |
| |
| |
| Ambience (Backgrounds) | |
| |
| |
| Searching and Auditioning SFX Libraries | |
| |
| |
| The Vocabulary of SFX | |
| |
| |
| Creating a Production SFX Library | |
| |
| |
| Developing an Original SFX Library | |
| |
| |
| Tools for Field Recording | |
| |
| |
| Field Recorders | |
| |
| |
| Field Microphones | |
| |
| |
| Field Accessories | |
| |
| |
| Suggestions for Recording in the Field | |
| |
| |
| Location Request | |
| |
| |
| Studio Recording | |
| |
| |
| Stereo Recording Techniques | |
| |
| |
| Middle-Side (M/S) Stereo | |
| |
| |
| SFX Editing and Sweetening | |
| |
| |
| SFX Signal Processing | |
| |
| |
| Synchronization | |
| |
| |
| Arts Law | |
| |
| |
| Developing a Legal Sound Track | |
| |
| |
| Overview | |
| |
| |
| Rights Versus License | |
| |
| |
| U.S. Copyright Act of 1976 | |
| |
| |
| Exclusive Rights Granted to Copyright Holders | |
| |
| |
| Nonexclusive Rights (Fair Use) | |
| |
| |
| Parody | |
| |
| |
| Public Domain | |
| |
| |
| Locating the Copyright Holder | |
| |
| |
| U.S. Copyright Office | |
| |
| |
| Performing Rights Organizations | |
| |
| |
| Synchronization License | |
| |
| |
| Master License | |
| |
| |
| Mechanical License | |
| |
| |
| Videogram License | |
| |
| |
| Potential Consequences of Infringement | |
| |
| |
| Frequently Asked Questions | |
| |
| |
| Legal Terms | |
| |
| |
| Obtaining Copyright Protection | |
| |
| |
| International Copyright Law | |
| |
| |
| Tools and Techniques | |
| |
| |
| The Project Studio | |
| |
| |
| Overview | |
| |
| |
| Platform | |
| |
| |
| Host Audio Application | |
| |
| |
| Hard-Disk Recording | |
| |
| |
| Waveform Editing | |
| |
| |
| Automation | |
| |
| |
| Desktop Media Players | |
| |
| |
| MIDI Sequencers | |
| |
| |
| Virtual Instruments: Synthesis and Sampling | |
| |
| |
| Audio Encoding | |
| |
| |
| DVD-V Authoring | |
| |
| |
| Media File Exchange (OMFI and AAF) | |
| |
| |
| Audio Interfaces | |
| |
| |
| Control Surfaces | |
| |
| |
| Audio Monitors | |
| |
| |
| Video Monitors | |
| |
| |
| Audio Cables and Connectors | |
| |
| |
| Media Drives | |
| |
| |
| Signal Path and Signal Processing | |
| |
| |
| Overview | |
| |
| |
| Signal Path | |
| |
| |
| Source Audio | |
| |
| |
| Inserts | |
| |
| |
| Sends | |
| |
| |
| Prefade/Postfade | |
| |
| |
| Auxiliary Inputs | |
| |
| |
| Master Faders (Main Out) | |
| |
| |
| Signal Processing | |
| |
| |
| Plug-ins | |
| |
| |
| Rendered Effects | |
| |
| |
| Real-Time Effects | |
| |
| |
| The Source-Quality Rule | |
| |
| |
| Types of Signal Processing | |
| |
| |
| Equalization | |
| |
| |
| Compression | |
| |
| |
| Reverb | |
| |
| |
| Reverse | |
| |
| |
| Pitch Shifting | |
| |
| |
| Time-Scaling | |
| |
| |
| Doppler | |
| |
| |
| Noise Reduction | |
| |
| |
| The Production Path | |
| |
| |
| Preproduction | |
| |
| |
| Overview | |
| |
| |
| Phases of Pre-Production | |
| |
| |
| Concept Development | |
| |
| |
| Script Analysis: "Hearing Between the Lines" | |
| |
| |
| Concept Art | |
| |
| |
| Treatment | |
| |
| |
| Understanding Genre | |
| |
| |
| Storyboard | |
| |
| |
| Developing the Temp Track and Pre-Score | |
| |
| |
| Producing the Animatic | |
| |
| |
| Enlisting a Sound Designer | |
| |
| |
| Determining the Release Format | |
| |
| |
| Developing an Audio Production Budget | |
| |
| |
| Developing an Audio Production Schedule | |
| |
| |
| Maintaining Synchronization | |
| |
| |
| Project Management | |
| |
| |
| Session Management | |
| |
| |
| File Sharing | |
| |
| |
| Production | |
| |
| |
| Overview | |
| |
| |
| Production Timeline for Two-Dimensional Animation | |
| |
| |
| Production Timeline for Three-Dimensional Animation | |
| |
| |
| The Evolving Workprint | |
| |
| |
| Production Tasks for the Sound Designer | |
| |
| |
| Audio Research | |
| |
| |
| SFX Acquisition | |
| |
| |
| Score Considerations | |
| |
| |
| Temp Tracks | |
| |
| |
| Built-Up (Sweetened) Sound Effects | |
| |
| |
| Postproduction | |
| |
| |
| Overview | |
| |
| |
| Developing the Elements of a Sound Track | |
| |
| |
| The Premixes | |
| |
| |
| The Final Mix (Rerecording) | |
| |
| |
| Understanding Channels and Loudspeakers | |
| |
| |
| The Stereo Mix | |
| |
| |
| The Multichannel Mix | |
| |
| |
| Multichannel Panning | |
| |
| |
| Panning Dialog in 5.1 | |
| |
| |
| Panning SFX in 5.1 | |
| |
| |
| Panning Ambience in 5.1 | |
| |
| |
| Panning Music in 5.1 | |
| |
| |
| Signal Processing at the Final Mix | |
| |
| |
| Setting Mix Levels | |
| |
| |
| Mastering | |
| |
| |
| Suggestions for the Final Mix | |
| |
| |
| Sound Characteristics of Various Release Formats | |
| |
| |
| Mono Formats | |
| |
| |
| Stereo Formats | |
| |
| |
| Multichannel Formats | |
| |
| |
| Sound Design and the DVD-V Menu | |
| |
| |
| Creating a Release Print | |
| |
| |
| Case Studies | |
| |
| |
| Case Study: A Trip to Granny's | |
| |
| |
| Synopsis | |
| |
| |
| Production Overview | |
| |
| |
| The Dialog Stem | |
| |
| |
| The Music Stem | |
| |
| |
| The SFX Stem | |
| |
| |
| Case Study: Sam | |
| |
| |
| Synopsis | |
| |
| |
| Production Overview | |
| |
| |
| The Dialog Stem | |
| |
| |
| The Music Stem | |
| |
| |
| The SFX Stem | |
| |
| |
| Bibliography | |
| |
| |
| Index | |
| |
| |
| DVD Navigation Outline | |