Description
Book SynopsisSound Design for Moving Image offers a clear introduction to sound design theory and practice to help you integrate sound ideas into your productions. Contemporary soundtracks are often made up of hundreds of separate tracks, and thousands of individual sounds, including elements of dialogue, music and sound effects. As a result, many budding filmmakers find them a daunting prospect, and are tempted to leave sound to the last stages of post-production. This book, from award-winning Sound Designer Kahra Scott-James, encourages you to incorporate sound into your pre-production planning, to make the most of this powerful narrative tool. Adopting a specific framework in order to help demystify sound design for moving image, the book isn''t designed as a sound engineering handbook, but as a guide for moving image content creators wanting to explore sound and collaborate with sound designers. Regardless of medium, the same, or similar concepts can be adopted, adapted, and applied to a
Trade ReviewThe book offers extensive coverage of how sound and animated narrative correspond, backed by ample examples, case studies and interviews. It takes readers step by step through different stages of preproduction, production and postproduction process in a clear, easy to follow manner. Relevant, detailed, inspired. * Matej Dimlic, Principal Lecturer, University of Westminster, UK *
This is a fantastic book about sound, how audio was discovered, confronted and became too important to ignore, and seamlessly takes us to present-day artwork in sound design tailored for animation but has inclusive moments for all film genres. It’s a document which reminds us of many reasons why good movies sound that way.
* Dave Sluberski, Senior Lecturer, Rochester Institute of Technology’s School of Film and Animation, USA *
This is a great book that comprehensively covers the history of sound design and clearly communicates the dramatic changes happening in professional sound design. * Robert Steel, Associate Professor, DePaul University, USA *
Table of ContentsIntroduction
1. Early Practice 2. Sound as Design 3. Contemporary Sound Design 4. Preproduction 5. Production 6. Postproduction Conclusion Glossary Index
