Designing sound for animation

Content: Machine generated contents note: ch. 1 Foundations of Audio for Image --
Overview --
Perception of Sound --
Sound --
Hearing Versus Listening --
Localization --
Acoustics --
Rhythm and Tempo --
Noise and Silence --
Physics of Sound --
Sound Waves --
Frequency --
Amplitude --
Timbre --
Wavelength --
Speed of Sound --
Digital Audio --
Digitizing Audio --
Sampling Rates --
Bit-Depths --
Audio Compression --
ch. 2 Sound Design Theory --
Overview --
Sound Classifications --
Chion Classifications --
Diegetic and Non-Diegetic Sound --
Narrative Functions --
Guided Perception --
Drawing the Audience into the Narrative --
Directing the Eye --
Establishing or Clarifying Point of View --
Clarifying the Subtext --
Contrasting Reality and Subjectivity --
Extending the Field of Vision --
Tension and Release --
Continuity --
Promoting Character Development --
Theoretical Concepts Specific to Dialogue --
Theoretical Concepts Specific to Score --
Theoretical Concepts Specific to SFX --
Interpreting Picture Edits --
Overview --
Shots --
Framing --
Camera Placement --
Camera Movement --
Movement of Objects --
Perspective Shot (POV) --
Insert Shots and Cutaways --
Cuts --
Transitions --
Dissolves --
Wipes --
Fades --
Sound Transitions --
Scenes --
Parallel Edit --
Montage Sequence --
Time-Lapse and Flashback Sequences --
Conclusion --
ch. 3 Dialogue --
Overview --
Principal Dialogue --
Narration --
Group ADR and Walla --
Developing the Script --
Casting Voice Talent --
Caricature --
Recording Dialogue --
The Recording Script --
Directing Voice Talent --
The ADR Studio --
Microphones --
Recording Set-Up --
Cueing a Session --
Preparing Tracks for Lip Sync --
Lip Sync Animation --
ADR --
Evaluating Recorded Dialogue --
Dialogue Editing --
Designed Languages --
ch. 4 Music --
Overview --
Underscore --
Source Music --
Songs --
Title, Montage, and End Credit Sequences --
Workflow for Original Score --
Rationale for Original Score --
Temp Music --
The Spotting Session --
Writing Original Cues --
The Scoring Session --
Workflow for Production Libraries --
Production Libraries --
Searching a Library --
Managing a Project --
Developing Cues --
Licensing Cues --
Workflow for Copy-Protected Music --
Overview --
Rights Versus License --
Synchronization, Master, and Videogram License --
Public Domain --
Fair Use --
Parody --
Music Supervision --
Historical Trends in Animation Scoring --
The Golden Age --
The Television Age --
The Animation Renaissance --
ch. 5 Sound Effects (SFX) --
Overview --
The SFX Stem --
Temp Tracks and Spotting Sessions --
The Sound Department --
Sound Editors --
Commercial SFX Libraries --
Searching SFX Libraries --
Developing an Original SFX Library --
Creating an Original Library --
Field Recorders --
Field Microphones --
Field Accessories --
Suggestions for Field Recording --
Record like an Editor --
Objectivity --
Area-Specific Frequency Response --
Signal-To-Noise Ratio --
Dynamic Range --
File Management --
The Sound Designer --
Performing Design Elements --
ch. 6 Foley --
Overview --
The Foley Stage --
Spotting Foley --
The Foley Artist --
Footsteps --
Props --
The Cloth Pass --
Cueing a Session --
The Foley Mixer --
Overview --
Recording with Preparatory Cues --
Playlisting --
Looping --
Foley Editing --
ch. 7 The Production Path --
Overview --
Preproduction --
Overview --
Enlisting a Sound Crew --
Developing a Soundtrack Budget --
Project Management --
Production Standards --
Release Formats --
Production --
Overview --
Creating Temp Tracks --
Production Tasks for the Sound and Music Departments --
Postproduction --
Overview --
Picture Lock --
Postproduction Tasks for the Sound and Music Departments --
ch. 8 Sound Editing --
Overview --
Syncing Sound To Picture --
Trimming and Cutting --
Fades --
Compositing Takes --
Ring-Outs --
Time-Scaling --
Pitch Shifting --
Vari-Speed --
Reverse and Rewind --
Sound Replacement --
Noise Reduction --
Side-Chain Gate --
Futzing --
Doppler --
Looping --
Preparing Tracks for Delivery to the Mix --
ch. 9 The Final Mix --
Overview --
The Re-Recording Mixer(s) --
Speaker Calibration --
Dynamic Range --
Configuring the Session --
Pre-Dubs --
Creating the Stems and Printmaster --
The Stereo Mix --
Panning --
Leveling --
Signal Processing --
Reverb --
Equalization (EQ) --
Peak Limiting --
The Multi-Channel Mix --
The Direct/Ambient Perspective --
The "Inside the Band" Perspective --
Mastering for Various Release Formats --
Bouncing to Disk or Tracks --
Encoding --
Layback --
ch. 10 Case Studies.