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Sound Design sample PDF

Sound Design sample PDF

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Published by: Michael Wiese Productions on Jun 11, 2010
Copyright:Attribution Non-commercial

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09/12/2014

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SOUNDDESIGN
 The Expressive Power of Music, Voice,and Sound Effects in Cinema
by David Sonnenschein
 
 TABLE OF CONTENTS
 ACKNOWLEDGMENTS .................................................................. xiiiFOREWORD ................................................................................... xPREFACE ........................................................................................ xvii
 THE CREATION OF A SOUND DESIGNER
.................................. xviiINTRODUCTION ........................................................................... xix 
HOW TO USE THIS BOOK 
......................................................... x
NOTATIONAL SYSTEMS
............................................................ xxi
SOUND ENERGY TRANSFORMATION
........................................ xxiiCHAPTER 1 CREATING THE SOUND DESIGN STEP-BY-STEP ...... 1
 THE FIRST SCRIPT READING
...................................................
2 WHAT TO LISTEN FOR
.............................................................
2
Objects, actions, environments, emotions, and transitions 
.................
2
 Explicit sounds 
.........................................................................
3
 Environments 
.........................................................................
5
Clues to the emotions 
................................................................
6
 Physical or dramatic transition
...................................................
9GROUPING THE VOICES
...........................................................
10DRAWING VISUAL MAPS
...........................................................
12 MEETING WITH THE DIRECTOR
..............................................
15 THE SOUND MAP — DRAFT 1
....................................................
18CONSULTING BEFORE AND DURING THE SHOOT
....................
23 ACCOMPANYING THE PICTURE EDIT
.......................................
25 ANALYZING THE FINAL PICTURE EDIT
....................................
26 THE SOUND MAP — DRAFT 2
....................................................
31DEFINING VOICE SOURCES AND MODIFICATIONS
...................
32DEFINING SOUND EFFECTS AND AMBIENCE SOURCES
............
35COORDINATING WITH THE MUSIC SCORE
..............................
43EXPERIMENTATION AND OPEN OPTIONS
................................
45EXHIBITION CONSIDERATIONS
................................................
46 THE SOUND MAP — DRAFT 3
....................................................
49PRE-MIX DECISIONS
.................................................................
50 THE FINAL MIX AND PRINT MASTER
........................................
52
CHAPTER 2 EXPANDING CREATIVITY ............................................ 53
 TAPPING INTO THE DREAMSCAPE
...........................................
55IMAGINATION TOOLS
...............................................................
56
 v 
 
INVENTING ORIGINAL SOUNDS
...............................................
57
Cartoon and foley
....................................................................
57
 Musique concrète
.....................................................................
58
 Recording techniques 
................................................................
60
Sound shaping 
........................................................................
60
 Emotional impact 
.....................................................................
61
CHAPTER 3 FROM VIBRATION TO SENSATION............................ 63
 THE SOURCE
............................................................................
63 THE MEDIUM
...........................................................................
64SOUND QUALITIES
....................................................................
65
 Rhythm
.................................................................................
65
 Intensity
...............................................................................
66
 Pitch
....................................................................................
67
Timbre
.................................................................................
67
Speed 
...................................................................................
68
Shape
...................................................................................
68
Organization
.........................................................................
70PHYSICAL EFFECTS OF SOUND
.................................................
70 THE EAR
...................................................................................
72
 Hearing development 
...............................................................
72
Outer ear (pinna/ear canal)
.......................................................
73
 Middle ear (ear drum/ossicles)
....................................................
73
 Inner ear (cochlea)
...................................................................
74
Sensitivity
.............................................................................
74
 Masking 
................................................................................
75
CHAPTER 4 FROM SENSATION TO PERCEPTION ........................ 77
LISTENING MODES
...................................................................
77
 Reduced 
.................................................................................
77
Causal 
...................................................................................
78
Semantic 
................................................................................
78
 Referential 
.............................................................................
78
 Less is more
............................................................................
79GESTALT PRINCIPLES AND ILLUSION
.......................................
79
 Figure and ground 
...................................................................
80
Completeness, good continuation, and closure
..................................
81
 Proximity and similarity
...........................................................
81
Common fate and belongingness 
..................................................
82
 Illusion
..................................................................................
83
SOUNDDESIGN /
Sonnenschein
 vi

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