Enhanced descriptions from Syndetics:

Sound 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 any project employing sound.

Includes detailed and insightful interviews with leading sound designers, including Randy Thom, Director of Sound Design at Skywalker Sound, and Glenn Kiser, Director of the Dolby Institute, as well as practical projects to help you hone your skills using video and sound files available from the companion website - https://bloomsbury.com/cw/sound-design-for-moving-image - making this is a complete sound course to take you from novice skills to confident practitioner.

Reviews provided by Syndetics

CHOICE Review

It is hard to imagine how a 184-page book can present so much information in such vivid detail, but Scott-James (De Paul Univ.) has succeeded in a most impressive way. Covering the development of sound design from the earliest period of the Han dynasty in China to the latest digital recording techniques, this text is both highly informative and visually stunning. Today, when so few texts attend to the design and layout of the final product, this book is refreshing in its use of excellent typography, illustrations, and layout design. Besides offering a well-rounded overview of the field, the book devotes three chapters to practical guidance on sound design from pre- to post-production. A companion website, easily accessed from the publisher's page, provides hours of examples to bring the text to life, not just in the reader's imagination but through viewing relevant clips from most of the films referred to in the text. This book will be an invaluable resource for professionals in the field and for aspiring sound designers who wish to learn about the development of sound design over the ages. Summing Up: Highly recommended. All levels. --James M King, emeritus, University of Georgia