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    Front Cover
    Practical Art of Motion Picture Sound
    Copyright Page
    Contents
    A Memorial to Excellence
    Chapter 1 The Empowerment of Sound
    Chapter 2 Our Amateur Beginnings
    Chapter 3 The Passing of a Tradition and Coming of Age
    Chapter 4 Success or Failure: Before the Camera Even Rolls
    Chapter 5 The Challenging Battlefield of Production
    Chapter 6 From the Set to the Laboratory
    Chapter 7 Picture Editorial and the Use of the Sound Medium
    Chapter 8 Temp Dubs and Test Screenings: A Critical Objective View
    Chapter 9 Spotting the Picture for Sound and Music
    Chapter 10 Custom Recording Sound Effects: The Real Fun and Adventure
    The Adventure of Custom Recording
    Why a Custom Recording Specialist?
    Sound Editors Record their Own Material
    Importance of Script Breakdown
    Field Recording in 5.1
    Preparing for Successful Recordings
    Chapter 11 The Sound Librarian: The Curator of an Audio Empire
    Chapter 12 Sound Design: Myths and Realities
    Chapter 13 Sound Editorial: Sync-Sync, Chop-Chop
    Chapter 14 Sound Editorial: Ultra Low-Budget Strategies
    Chapter 15 Dialog Editors: Hollywood's Unsung Heroes
    Chapter 16 ADR and Looping: Getting the Lips to Flap in Sync
    Chapter 17 Foley: The Art of Footsteps, Props, and Cloth Movement
    Chapter 18 The Music Composer: Audio Collaboration or Mud and Destruction
    Chapter 19 The Rerecording Stage: Predubbing and the Final Mix
    Chapter 20 Production Sound: Four Digital Portable Sound Recorders
    Chapter 21 The Venerable Nagra IV-S (Analog)
    Chapter 22 Emerging Technologies: Sound Restoration and Colorization
    Glossary
    Index
    DVD and Website Information
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    Chapter 10 Custom Recording Sound Effects: The Real Fun and Adventure - Pg. 191

    Chapter 10 Custom Recording Sound Effects The Real Fun and Adventure "Why do you have to go clear out to Oklahoma to custom-record a Stearman for? Save the money--use our crop-duster sound effects from North by Northwest. Nobody will ever know the difference!" MGM/UA executive, dissuading the producer from custom-recording sound effects for The Aviator (1985 version)