ABSTRACT
Sound on film came late to motion pictures, although many tried unsuccessfully to marry sound with pictures since the first film was projected in a Paris studio by the Lumiere brothers in 1895. A sound designer may cut dialogue, record music, perform Foley, edit the film, direct the film or perform any one of a hundred other jobs. Many motion pictures in the 1930s and 1940s relied on production sound that is, all the dialogue and extra sounds recorded live on the set. The chapter presents a model for how a soundtrack is professionally createdthe basic steps of how dialogue, music, and sound effects are designed, manufactured, and mixed. The possibilities of postproduction Automated dialogue replacement (ADR) give the director other storytelling devices that can enhance and complement what she achieved on the set. The special voice-over groups, or "loop groups," that perform Walla can also duplicate major characters who are not available for ADR postproduction work.
