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| List of Figures and Tables | |
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| About the Author | |
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| Credits | |
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| Acknowledgments | |
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| Introduction | |
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| Overview | |
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| The Elements of a Soundtrack | |
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| Scope of Book | |
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| Using This Book | |
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| About the 2nd Edition | |
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| Online Content | |
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| Foundations of Audio for Image | |
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| Overview | |
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| Perception of Sound | |
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| Sound | |
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| Hearing Versus Listening | |
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| Localization | |
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| Acoustics | |
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| Rhythm and Tempo | |
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| Noise and Silence | |
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| Physics of Sound | |
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| Sound Waves | |
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| Frequency | |
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| Amplitude | |
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| Timbre | |
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| Wavelength | |
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| Speed of Sound | |
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| Digital Audio | |
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| Digitizing Audio | |
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| Sampling Rates | |
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| Bit-Depths | |
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| Audio Compression | |
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| Sound Design Theory | |
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| Overview | |
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| Sound Classifications | |
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| Chion Classifications | |
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| Diegetic and Non-Diegetic Sound | |
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| Narrative Functions | |
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| Guided Perception | |
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| Drawing the Audience into the Narrative | |
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| Directing the Eye | |
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| Establishing or Clarifying Point of View | |
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| Clarifying the Subtext | |
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| Contrasting Reality and Subjectivity | |
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| Extending the Field of Vision | |
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| Tension and Release | |
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| Continuity | |
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| Promoting Character Development | |
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| Theoretical Concepts Specific to Dialogue | |
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| Theoretical Concepts Specific to Score | |
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| Theoretical Concepts Specific to SFX | |
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| Interpreting Picture Edits | |
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| Overview | |
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| Shots | |
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| Framing | |
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| Camera Placement | |
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| Camera Movement | |
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| Movement of Objects | |
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| Perspective Shot (POV) | |
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| Insert Shots and Cutaways | |
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| Cuts | |
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| Transitions | |
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| Dissolves | |
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| Wipes | |
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| Fades | |
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| Sound Transitions | |
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| Scenes | |
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| Parallel Edit | |
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| Montage Sequence | |
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| Time-Lapse and Flashback Sequences | |
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| Conclusion | |
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| Dialogue | |
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| Overview | |
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| Principal Dialogue | |
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| Narration | |
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| Group ADR and Walla | |
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| Developing the Script | |
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| Casting Voice Talent | |
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| Caricature | |
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| Recording Dialogue | |
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| The Recording Script | |
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| Directing Voice Talent | |
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| The ADR Studio | |
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| Microphones | |
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| Recording Set-Up | |
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| Cueing a Session | |
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| Preparing Tracks for Lip Sync | |
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| Lip Sync Animation | |
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| ADR | |
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| Evaluating Recorded Dialogue | |
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| Dialogue Editing | |
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| Designed Languages | |
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| Music | |
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| Overview | |
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| Underscore | |
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| Source Music | |
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| Songs | |
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| Title, Montage, and End Credit Sequences | |
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| Workflow for Original Score | |
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| Rationale for Original Score | |
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| Temp Music | |
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| The Spotting Session | |
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| Writing Original Cues | |
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| The Scoring Session | |
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| Workflow for Production Libraries | |
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| Production Libraries | |
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| Searching a Library | |
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| Managing a Project | |
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| Developing Cues | |
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| Licensing Cues | |
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| Workflow for Copy-Protected Music | |
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| Overview | |
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| Rights Versus License | |
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| Synchronization, Master, and Videogram License | |
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| Public Domain | |
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| Fair Use | |
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| Parody | |
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| Music Supervision | |
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| Historical Trends in Animation Scoring | |
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| The Golden Age | |
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| The Television Age | |
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| The Animation Renaissance | |
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| Sound Effects (SFX) | |
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| Overview | |
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| The SFX Stem | |
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| Temp Tracks and Spotting Sessions | |
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| The Sound Department | |
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| Sound Editors | |
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| Commercial SFX Libraries | |
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| Searching SFX Libraries | |
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| Developing an Original SFX Library | |
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| Creating an Original Library | |
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| Field Recorders | |
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| Field Microphones | |
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| Field Accessories | |
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| Suggestions for Field Recording | |
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| Record like an Editor | |
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| Objectivity | |
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| Area-Specific Frequency Response | |
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| Signal-To-Noise Ratio | |
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| Dynamic Range | |
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| File Management | |
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| The Sound Designer | |
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| Performing Design Elements | |
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| Foley | |
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| Overview | |
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| The Foley Stage | |
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| Spotting Foley | |
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| The Foley Artist | |
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| Footsteps | |
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| Props | |
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| The Cloth Pass | |
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| Cueing a Session | |
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| The Foley Mixer | |
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| Overview | |
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| Recording with Preparatory Cues | |
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| Playlisting | |
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| Looping | |
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| Foley Editing | |
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| The Production Path | |
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| Overview | |
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| Preproduction | |
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| Overview | |
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| Enlisting a Sound Crew | |
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| Developing a Soundtrack Budget | |
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| Project Management | |
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| Production Standards | |
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| Release Formats | |
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| Production | |
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| Overview | |
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| Creating Temp Tracks | |
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| Production Tasks for the Sound and Music Departments | |
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| Postproduction | |
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| Overview | |
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| Picture Lock | |
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| Postproduction Tasks for the Sound and Music Departments | |
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| Sound Editing | |
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| Overview | |
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| Syncing Sound To Picture | |
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| Trimming and Cutting | |
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| Fades | |
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| Compositing Takes | |
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| Ring-Outs | |
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| Time-Scaling | |
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| Pitch Shifting | |
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| Vari-Speed | |
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| Reverse and Rewind | |
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| Sound Replacement | |
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| Noise Reduction | |
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| Side-Chain Gate | |
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| Futzing | |
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| Doppler | |
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| Looping | |
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| Preparing Tracks for Delivery to the Mix | |
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| The Final Mix | |
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| Overview | |
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| The Re-Recording Mixer(s) | |
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| Speaker Calibration | |
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| Dynamic Range | |
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| Configuring the Session | |
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| Pre-Dubs | |
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| Creating the Stems and Printmaster | |
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| The Stereo Mix | |
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| Panning | |
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| Leveling | |
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| Signal Processing | |
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| Reverb | |
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| Equalization (EQ) | |
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| Peak Limiting | |
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| The Multi-Channel Mix | |
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| The Direct/Ambient Perspective | |
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| The "Inside the Band" Perspective | |
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| Mastering for Various Release Formats | |
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| Bouncing to Disk or Tracks | |
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| Encoding | |
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| Layback | |
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| Case Studies | |
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| Bibliography | |
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| Index | |