Designing sound for animation / Robin Beauchamp.

Format:

Book

Author/Creator:

Beauchamp, Robin.

Language:

English

Subjects (All):

Animated films--Sound effects.

Animated films.

Animation (Cinematography).

Animated film music.

Physical Description:

xxi, 192 pages : illustrations ; 19 cm + 1 DVD-ROM (sound, color ; 4 3/4 in.)

Place of Publication:

Burlington, MA : Elsevier/Focal Press, [2005]

Contents:

B The Elements of a Sound Track

Section I Foundations and Theory 1

Chapter 1 Foundations of Audio for Image 3

A Physics of Sound 3

2 The Anatomy of a Sine Wave 4

3 Frequency 4

4 Amplitude 5

5 Timbre 7

6 The Volume Envelope 7

7 Wavelength 8

8 Speed of Sound 8

B Perception of Sound 9

1 Hearing Versus Listening 9

2 Defining a Space 9

3 Stereo Imaging 10

4 Rhythm and Tempo 10

5 Noise 10

6 Silence 12

C Digital Audio 12

1 Capturing Audio 12

2 Sampling Rates 12

3 Bit-Depths 14

4 Linear Pulse Code Modulation 15

5 Multichannel Audio Compression 15

6 MPEG Layer 3 and aacPlus 16

Chapter 2 Sound Design Theory 17

B Sound Classifications 17

C Differences in Visual and Audio Processing 18

D Influence of Sound on Time Perception 19

E Sounds influence on Spatial Perception 19

F Drawing the Audience into the Narrative 20

G Sound for Character Development 20

H Plausibility Versus Reality 21

I Metaphoric Sound 21

J Off-Screen Sound 22

K Tension and Release 22

L Smoothing Visual Edits 23

M Developing Continuity 23

N Interpreting Picture Edits and Film Conventions 23

O Guided Perception 25

Section II The Stems: Dialog, Music, and Effects (DM&E) 29

Chapter 3 Dialog 31

B Narration 31

C Historical Speeches 32

D Synthetic Language 32

E Dialog and Character Development 32

F Dialog and Music 33

G Historical Voice Talent in Animation 33

H Casting Voice Talent 33

I Working with Voice Actors 34

J Recording Dialog 34

K Microphones 36

L Polar Patterns 36

M Microphone Placement 36

N Evaluating Recorded Dialog 37

O Compositing and Editing 39

P Synchronization 39

Q Signal Processing 40

1 Corrective Measures 40

2 Sound Shaping 41

3 Futzing Voice-Over 41

Chapter 4 Music 43

B The Role of Music in Animation 43

C Historical Figures in Animation Scoring 44

D The Temp Track 45

E Underscore 45

F Source Music 46

G Music Effects and Effects Scoring 46

H Music for Emotional Treatment 46

I Subtext Scoring 47

J Music for Continuity and Time Perception 47

K Music To Establish Setting and Scale 47

L Acoustic and Synthetic Instrumentation 48

M The Spotting Session 48

N Creating an Original Score 49

O Demonstrating the Score 49

P Production Music Libraries 50

Q Selected list of Production Libraries 50

R Developing a Vocabulary for Scoring 53

1 By Emotion 53

2 By Musical Styles 56

3 By Cinematic Genre 56

4 By Musical Instrumentation 56

S The Music Editor 58

T Sound-Editing Terminology 58

U Music Editing 59

Chapter 5 Sound Effects (SFX) 63

B Functions of SFX 63

C Conceptualizing SFX 64

D The History of SFX 64

E SFX Spotting Session 65

F Sources of SFX 65

G Commercial SFX Libraries 66

H Foley (Performance) Effects 66

I Ambience (Backgrounds) 67

J Searching and Auditioning SFX Libraries 68

K The Vocabulary of SFX 70

L Creating a Production SFX Library 70

M Developing an Original SFX Library 71

N Tools for Field Recording 72

1 Field Recorders 72

2 Field Microphones 72

3 Field Accessories 75

O Suggestions for Recording in the Field 76

P Location Request 78

Q Studio Recording 78

R Stereo Recording Techniques 79

1 Middle-Side (M/S) Stereo 79

S SFX Editing and Sweetening 81

T SFX Signal Processing 82

U Synchronization 82

Section III Arts Law 85

Chapter 6 Developing a Legal Sound Track 87

B Rights Versus License 87

C U.S. Copyright Act of 1976 87

D Exclusive Rights Granted to Copyright Holders 88

E Nonexclusive Rights (Fair Use) 88

F Parody 89

G Public Domain 89

H Locating the Copyright Holder 89

1 U.S. Copyright Office 87

2 Performing Rights Organizations 87

I Synchronization License 90

J Master License 91

K Mechanical License 93

L Videogram License 93

M Potential Consequences of Infringement 93

O Legal Terms 96

P Obtaining Copyright Protection 97

Q International Copyright Law 97

Section IV Tools and Techniques 99

Chapter 7 The Project Studio 101

B Platform 102

C Host Audio Application 102

D Hard-Disk Recording 103

E Waveform Editing 103

F Automation 104

G Desktop Media Players 104

H MIDI Sequencers 104

I Virtual Instruments: Synthesis and Sampling 105

J Audio Encoding 105

K DVD-V Authoring 106

L Media File Exchange (OMFI and AAF) 107

M Audio Interfaces 107

N Control Surfaces 108

O Audio Monitors 108

P Video Monitors 109

Q Audio Cables and Connectors 110

R Media Drives 111

Chapter 8 Signal Path and Signal Processing 113

B Signal Path 113

1 Source Audio 113

2 Inserts 114

3 Sends 114

4 Prefade/Postfade 115

5 Auxiliary Inputs 116

6 Master Faders (Main Out) 116

C Signal Processing 116

1 Plug-ins 116

2 Rendered Effects 117

3 Real-Time Effects 116

4 The Source-Quality Rule 118

D Types of Signal Processing 118

1 Equalization 119

2 Compression 120

3 Reverb 120

4 Reverse 121

5 Pitch Shifting 123

6 Time-Scaling 123

7 Doppler 123

8 Noise Reduction 124

Section V The Production Path 125

Chapter 9 Preproduction 127

B Phases of Pre-Production 128

1 Concept Development 128

a Script Analysis: "Hearing Between the Lines" 128

b Concept Art 128

c Treatment 130

d Understanding Genre 130

2 Storyboard 130

3 Developing the Temp Track and Pre-Score 132

4 Producing the Animatic 132

5 Enlisting a Sound Designer 132

6 Determining the Release Format 133

7 Developing an Audio Production Budget 133

8 Developing an Audio Production Schedule 133

9 Maintaining Synchronization 135

10 Project Management 135

11 Session Management 136

12 File Sharing 136

Chapter 10 Production 139

B Production Timeline for Two-Dimensional Animation 139

C Production Timeline for Three-Dimensional Animation 140

D The Evolving Workprint 140

E Production Tasks for the Sound Designer 140

1 Audio Research 141

2 SFX Acquisition 142

3 Score Considerations 142

4 Temp Tracks 142

5 Built-Up (Sweetened) Sound Effects 142

Chapter 11 Postproduction 143

B Developing the Elements of a Sound Track 143

C The Premixes 143

D The Final Mix (Rerecording) 144

E Understanding Channels and Loudspeakers 144

G The Stereo Mix 145

H The Multichannel Mix 145

I Multichannel Panning 146

1 Panning Dialog in 5.1 146

2 Panning SFX in 5.1 147

3 Panning Ambience in 5.1 149

4 Panning Music in 5.1 149

J Signal Processing at the Final Mix 150

K Setting Mix Levels 150

L Mastering 150

M Suggestions for the Final Mix 151

N Sound Characteristics of Various Release Formats 151

1 Mono Formats 151

2 Stereo Formats 152

3 Multichannel Formats 152

O Sound Design and the DVD-V Menu 153

P Creating a Release Print 153

Chapter 12 Case Study: A Trip to Granny's 155

B Production Overview 158

C The Dialog Stem 158

D The Music Stem 160

E The SFX Stem 163

Chapter 13 Case Study: Sam 173

B Production Overview 173

C The Dialog Stem 174

D The Music Stem 174

E The SFX Stem 176

DVD Navigation Outline 193.

Notes:

Includes bibliographical references (pages 187-188) and index.

ISBN:

0240807332

OCLC:

61391715