Sound design : the expressive power of music, voice, and sound effects in cinema / by David Sonnenschein.

Incluye bibliografía e índice

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 -- The first script reading -- What to listen for -- Objects, actions, environments, emotions, and transitions -- Explicit sounds -- Environments -- Clues to the emotions -- Physical or dramatic transition -- 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 creativity -- Tapping into the dreamscape -- Imagination tools -- Inventing original sounds -- Cartoon and foley -- Musique concrète -- Recording techniques -- Sound shaping -- Emotional impact.

Chapter 3 -- From vibration to sensation -- The source -- The medium -- Sound qualities -- Rhythm -- Intensity -- Pitch -- Timbre -- Speed -- Shape -- Organization -- Physical effects of sound -- The ear -- Hearing development -- Outer ear (pinna/ear canal) -- Middle ear (ear drum/ossicles) -- Inner ear (cochlea) -- Sensitivity -- Masking.

Chapter 4 -- From sensation to perception -- Listening modes -- Reduced -- Causal -- Semantic -- Referential -- Less is more -- Gestalt principles and illusion -- Figure and ground -- Completeness, good continuation, and closure -- Proximity and similarity -- Common fate and belongingness -- Illusion -- Space -- Size, distance, and perspectiv -- 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 -- 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 -- Rhythm of the body -- Meter and phrasing -- Repetitiveness -- Perception of rhythm -- Anticipation -- Melody -- Harmony and dissonance -- Tonal center -- Silence -- Contrast.

Chapter 6 -- The human voice -- 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.

Chapter 7 -- Sound and image -- Eyes and ears -- On screen, off screen, and outside the story world -- On screen -- Off screen -- Nondiegetic -- Music in film -- Emotional signifier -- Continuity -- Narrative cueing -- Narrative unity -- Programmatic music -- Anempathetic music -- Dialogue in film -- Theatrical speech -- Textual speech -- Emanation speech -- Elimination -- Ad libs and proliferation -- Multilingualism and foreign language -- Dialogue recording and postproduction -- Spatial dimensions -- 3-d space -- Hi-fi vs. Low-fi perspective -- Size -- Point of audition -- Sensation and texture -- Temporal dimensions -- Rhythm of life -- Linearity -- Narrative cueing -- Bridging and breaks -- Synchronization -- Point of synchronization -- Added value and multiple meanings.

Chapter 8 -- Sound and narrative -- Narrative analysis -- Music and story -- Character identification -- Objective audience perspective -- Subjective character experience -- Nonliteral 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 -- A word on sound politics — when can we start? -- Internet and interactive media

Appendix -- Classification of sounds -- Filmography -- Bibliography -- Index.

"The clash of light sabers in the electrifying duels of Star Wars. The chilling bass line signifying the lurking menace of the shark in Jaws. The otherworldly yet familiar pleas to "phone home" in the enchanting E.T." "These are examples of the different ways sound can contribute to the overall dramatic impact of a film. To craft a distinctive atmosphere, sound design is as important as art direction and cinematography - and it can also be an effective tool to express the personalities of your characters" -- tomado de la contraportada