Animacion

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动画配音配乐 动画配音配乐 动 画 音 效 动 画 音 效

DESIGNING SOUND for ANIMATION 动画配音配乐 动画音效

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不要用于任何的交易 ! 不要用于商业用途 ! 只供所有朋友私下学习参考 !

中国定格动画论坛:http://stopmotion.5d6d.com 动画艺术实验室:http://www.mtime.com/group/13233 数字图形图像动画论坛:http://www.dingge.com/forum 《动画方面的资料》http://www.verycd.com/topics/2759089 《定格动画方面的资料》http://www.verycd.com/topics/2752583

sudonghai@163.com DESIGNING SOUND for ANIMATION
Robin Beauchamp

Acquisitions Editor: Amy Eden Jollymore Assistant Editor: Cara B. Anderson Production Manager: Simon Crump Marketing Manager: Christine Degon Interior Design: Jennifer Plumley Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005 Robin Beauchamp,published by Elsevier. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44)1865 843830, fax: (+44) 1865 853333, e-mail: permissions@elsevier.co.uk. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of CongressCataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 0-240-80733-2

For information on all Focal Press publications visit our website at www.books.elsevier.com 05 06 07 08 09 10 10 9 8 7 6 5 4 3 2 1

Printed in the United States of America

To Leigh, Scott, Tyler, and Boomer

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Contents

About the Author Credits Acknowledgments Introduction A. Overview B. The Elements of a Sound Track C. Scope of Book D. Using This Book

xiii xv xvii xix xvii

8. Speed of Sound, 8

B. Perception of Sound
1. 2. 3. 4. 5. 6. 1. 2. 3. 4. 5. 6. Hearing Versus Listening, 9 Defining a Space, 9 Stereo Imaging, 10 Rhythm and Tempo, 10 Noise, 10 Silence, 12

9

C. DigitalAudio
Capturing Audio, 12 Sampling Rates, 12 Bit-Depths, 14 Linear Pulse Code Modulation, 15 Multichannel Audio Compression, 15 MPEG Layer 3 and aacPlus, 16

12

Section I: Foundations and Theory
Chapter 1. Foundations of Audio for Image A. Physics of Sound
1. 2. 3. 4. 5. 6. 7. Overview, 3 The Anatomy of a Sine Wave, 4 Frequency, 4 Amplitude, 5 Timbre, 7 The Volume Envelope, 7 Wavelength, 81
3 3

Chapter 2. Sound Design Theory A. Overview B. Sound Classifications C. Differences in Visual and Audio Processing D. Influence of Sound on Time Perception vii

17 17 17 18 19

viii E. Sounds influence on Spatial Perception F. Drawing the Audience into the Narrative G. Sound for Character Development H. Plausibility Versus Reality I. Metaphoric Sound J. Off-Screen Sound K. Tensionand Release L. Smoothing Visual Edits M. Developing Continuity N. Interpreting Picture Edits and Film Conventions O. Guided Perception P. Conclusion

Designing Sound for Animation

19 20 20 21 21 22 22 23 23 23 25 25

M. Microphone Placement N. Evaluating Recorded Dialog O. Compositing and Editing P. Synchronization Q. Signal Processing
1. Corrective Measures, 40 2. Sound Shaping, 41 3.Futzing Voice-Over, 41

36 37 39 39 40

Chapter 4. Music A. Overview B. The Role of Music in Animation C. Historical Figures in Animation Scoring D. The Temp Track E. Underscore F. Source Music G. Music Effects and Effects Scoring H. Music for Emotional Treatment I. Subtext Scoring J. Music for Continuity and Time Perception K. Music To Establish Setting and Scale L. Acoustic and Synthetic...
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