Patrick Winters has been working in sound design for 30 years and teaching sound design for 12 years. He has personal experience working on major motion pictures as well as creating his own short films, stretching minimal budgets to get the best sound tracks possible.

• Table of ContentsPrefaceAcknowledgments1. IntroductionPurposeSound DefinitionSound's AbilitiesSound SupervisorContracts, Agreements and Licenses2. Location Sound: How Was That for Sound?Common MistakesSingle SystemDouble SystemTimecodeSmart SlateBoom and LavaliereWired and WirelessWide Shots and Close-UpsTwo-plus Camera Set-UpExerciseSample Sound Report Form3. Sound DesignDefinedIntroductionMovie ExamplesRecordingCreatingEditing and ProcessingMixingExercises4. Dialogue Editing: It's Work, Not MagicIntroductionPicture LockCollecting MaterialsFile ManagementThe ProcessCleaningSmoothingEditingSplit TracksRoom ToneFixing IssuesProcessingExercise5. ADR: What Did They Say?IntroductionSpottingMicrophonesWorking with ActorsProduction ADR RecordingPost-Production ADR RecordingEditingExerciseADR Cue Sheet Form6. Walla/Group /Loop Group/Group ADR/Rhubarb: Why Can't I Hear Them?IntroductionGroup LeadersResearch and ScriptingWallaSpecificsCalloutsEffortsScreamsPerformingRecordingEditingResourcesExercise7. Narration: It Isn’t DialogueIntroductionPurposesPre-ProductionRecordingEditingProcessingExercise8. Sound Effects: Creating RealitySound Effect FunctionsTypes of Sound EffectsThe Grey Area (Foley and Sound Effects)Production Sound EffectsLocation Sound EffectsCustom-Recorded Sound EffectsFoley Sound EffectsLibrary Sound EffectsSpottingCreatingRecordingEditingProcessingExercise9. Foley: Who or What is Foley?Foley HistoryOverviewSpotting and CueingSynchronized RecordingMicrophonesPerformanceMoves or ClothSpecifics or PropsPats and GrabsFootstepsLibrariesEditingSound Effect ResourcesExercise10. Backgrounds: What's an Ambience, Atmosphere or Background?IntroductionSpottingProduction SoundRoom ToneRecordingLibraryEditingLayeringProcessingExercise11. Musical Score: In The Mood?IntroductionMaking NotesSpotting SessionCuesHits or Hit PointsTempo MapClick Tracks and Guide TracksTemp ScoresMusic SoftwareScoringTheme and MotifTitles, Montage and CreditsComposing, Arranging, Orchestrating and InstrumentationRecording Performance (Tracking)Digital MusicGarageBandSong Score, Pop Music and Source MusicCue PackagesBandsMusicalsLibrary Music: Hard Drives, CD's and DownloadsEditingStemsMixingDeliverablesExercise12. Mixing Myself PreparationIntroductionPreparing Your Mixing RoomReference Levels Room Monitor CalibrationNLE or DAWMixing In-The-Box By MyselfSession Set-UpStereo, LCR or Surround?13. Pre-Mixing or Predubbing and DSPIntroductionMixing PreparationTrack LayoutVirtual MixingMix ToolsLevelsGain StagingFadesPanningConstant Gain or Constant PowerEqualizationCompressionNormalizingNoise GateExpansionExciterDe-EsserNoise ReductionReverberation and DelaysDe-VerberationEffects and FiltersLimiterPremixingBuses, Auxes, Sends and ReturnsVCA FadersMaster FaderMeteringTwo Pops and Tail PopsDialogue and ADR PreMixFoley PremixSound Effects PremixDesign Effects PremixBackgrounds PremixMusic PremixTemp Mix14. Mixing MyselfIntroductionSet-UpGetting StartedDialogue FirstADRSound EffectsAmbiencesFoleyMusicDME Stems and M&EMaster OutputQuick and Dirty Mix15. Studio MixIntroductionMixer InterviewMix PreparationPremixesStemsMixingRun ThroughDialogue MixingSound Effects MixingFoley MixingAmbience MixingMusic Mixing16. DeliverablesIntroductionFilmDCPDVD/Blu-RayStreamingBroadcast TelevisionMarketingArchiving17. SummaryClean Production SoundCreating Sound DesignMixingConclusionInternet ResourcesGlossaryBibliographyIndex