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Table of Contents
PREFACE
THE CREATION OF A SOUND DESIGNER
INTRODUCTION
HOW TO USE THIS BOOK
NOTATIONAL SYSTEMS
SOUND ENERGY TRANSFORMATION
CHAPTER 1 CREATING THE SOUND DESIGN STEP-BY-STEP
...........................................1
THE FIRST SCRIPT READING
WHAT TO LISTEN FOR
GROUPING THE VOICES
DRAWING VISUAL MAPS
MEETING WITH THE DIRECTOR
THE SOUND MAP - DRAFT 1
CONSULTING BEFORE AND DURING THE SHOOT
ACCOMPANYING THE PICTURE EDIT
ANALYZING THE FINAL PICTURE EDIT
THE SOUND MAP - DRAFT 2
DEFINING VOICE SOURCES AND MODIFICATIONS
DEFINING SOUND EFFECTS AND AMBIENCE SOURCES
COORDINATING WITH THE MUSIC SCORE
EXPERIMENTATION AND OPEN OPTIONS
EXHIBITION CONSIDERATIONS
THE SOUND MAP - DRAFT 3
PRE-MIX DECISIONS
THE FINAL MIX AND PRINT MASTER
CHAPTER 2
EXPANDING CREATIVITYTAPPING
INTO THE DREAMSCAPE ..............
53
IMAGINATION TOOLS
INVENTING ORIGINAL SOUNDS
Cartoon and foley
Musique concrete
Recording techniques
Sound shaping
Emotional impact
CHAPTER 3 FROM VIBRATION TO SENSATION
..................................................................
63
THE SOURCE
THE MEDIUM
SOUND QUALITIES
Rhythm
Intensity
Pitch
Timbre
Speed
Shape
Organization
Sensitizing to sound quality
PHYSICAL EFFECTS OF SOUND
THE EAR
Hearing development
Outer ear (pinna)
Middle ear (ear canal / ear drum / ossicles)
Inner ear (cochlea)
Sensitivity
Masking
CHAPTER 4 FROM SENSATION TO PERCEPTION
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77
LISTENING MODES
Reduced
Causal
Semantic
Referential
GESTALT PRINCIPLES AND ILLUSION
Figure and ground
Completeness, good continuation and closure
Proximity and similarity
Common fate and belongingness
Illusion
SPACE
Size, distance and perspective
Echo and reverberation
Directionality
Subjective / emotional space
Movement
TIME
Temporal resolution and integration
Speed
Subjective time
TONE
Frequency perception
Loudness
Recognition
Habituation and hearing loss
Tonal center
Out of tune and beat phenomena
Historical perspective
ENTRAINMENT
CHAPTER 5 MUSIC TO OUR EARS .........................................................................................
101
ORIGINS OF MUSIC
FEELINGS VS. ORDER
EMOTIONAL SIGNIFIER
Openness
Insights
Groups
Emotional inventory
GENRES
STRUCTURE AND FUNCTION
World music
Feminine form
Violating form
THE CASE OF THE SONATA
RHYTHM AND ANTICIPATION
MELODY
HARMONY AND DISSONANCE
TONAL CENTER
SILENCE
CONTRAST
CHAPTER 6 THE HUMAN VOICE ..........................................................................................
131
THE VOCAL INSTRUMENT
DEVELOPMENT OF SPEECH
SPEECH RECOGNITION AND VERBAL UNDERSTANDING
MEANING VS. FEELING
PROSODY - VOCAL MELODY AND EMOTION
MANTRAS, NONSENSE AND BEYOND
VOICE PERSONALITIES
ALIEN LANGUAGE
SOUND AND IMAGE
EYES AND EARS
ON SCREEN, OFF SCREEN AND OUTSIDE STORY WORLD
On Screen
Off screen
Non-diegetic
MUSIC IN FILM
DIALOGUE IN FILM
SPATIAL DIMENSIONS
3D space
Hi-fi vs. Low-fi perspective
Size
Point of Audition
Sensation and texture
TEMPORAL DIMENSIONS
BRIDGING AND BREAKS
SYNCHRONIZATION
ADDED VALUE AND MULTIPLE MEANINGS
CHAPTER 7 SOUND AND NARRATIVE ...................................................................................
173
NARRATIVE ANALYSIS
MUSIC AND STORY
CHARACTER IDENTIFICATION
Objective audience perspective
Subjective character experience
Non-literal sound
Emotional associations
PRIMARY AND SECONDARY EMOTIONS
ENVIRONMENTS AND THE "SOUNDSCAPE" INVENTING SOUND OBJECTS
Impact
Firearms
Vehicles
Fire
More ideas and techniques
AUDITORY HIERARCHY
DRAMATIC EVOLUTION
Earthquake effect
PRODUCTION DESIGN AND IMAGE ANALYSIS
PERFORMANCE ANALYSIS
SOUND REFERENCES
UNIVERSAL
Cultural
Historical
Film specific
"PLEASANTVILLE" - CASE STUDY INTEGRATING STORY AND MUSIC
CHAPTER 9 THE FUTURE OF SOUND DESIGN .....................................................................
215
A WORD ON SOUND POLITICS - WHEN CAN WE START?
INTERNET AND INTERACTIVE MEDIA
APPENDIX
CLASSIFICATION OF SOUNDS
FILMOGRAPHY
BIBLIOGRAPHY
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