| | Searching Current Courses For Fall 2016 |
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Course: |
FVM 208
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Title: | Sound for Film/Video |
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Long Title: | Sound for Film/Video |
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Course Description: | This introduction to sound for film and video provides instruction on
acquisition of audio on location and post-production methods. Students
will apply the techniques and tools discussed in class to practical
exercises and group environments. Students will analyze sound
information to prepare projects for the post-production process and
learn to synthesize the acquired results with the visual elements of the
story to enhance the emotional impact of a piece. Students will be
introduced to sweetening techniques, musical compositions and Foley. |
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Min Credit: | 3 |
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Max Credit: | |
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Course Notes: | Previously FVT 208 |
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Origin Notes: | CCA |
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Status Notes: | Revisions made 10/23/09 s@ |
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I. Choose appropriate equipment for a given audio situation/project (A,B,F)
A. Microphones
B. Mixers
C. Recorders
D. Analogue or digital workstation
II. Use music and effects libraries in film and video work (A,B,F)
A. Using aesthetic, narrative judgment
B. Using the tools
C. Evaluating needs
III. Assess needs for post-production audio treatment (A)
A. Spotting music and effects
IV. Work with others on projects (A,C)
A. Coworkers in audio post
B. Integrate with film crews for acquisition
C. Understand needs of others in post production situations
D. Understand needs of director / interpret
I. Introduction to audio issues
A. Physics of sound
B. Technical issues
C. Aesthetic issues
II. Location and studio recording
A. Microphone function and design
B. Dynamic
C. Condenser
D. Tube
E. Omni and uni-directional
F. Cardiod, hypercardioid, supercardioid
G. Shotguns
H. Brands and prices
III. Voice talent / voice work
A. Looping /dubbing / ADR
B. Walla
C. Voice-over
D. Casting professional V-O talent
E. Paying the V-O talent (union and nonunion rates)
F. Digital sound
G. Digital vs. analog
H. Dominant sampling rates
I. Recording gear (recorders, mics, mixers, etc.)
a. Brands
b. Prices
c. Usages
J. Post-production gear
a. Tape
b. Non-linear (digital audio workstations)
c. Recorders
d. Mics
IV. Location sound
A. Sound for motion pictures
B. Sound for video
C. Field recording equipment
D. Timecode and non-timecode
V. Understanding Midi and digital audio engineering
A. Computer interfaces
B. D/A ¿ A/D conversions
C. VU, PPM and waveform
VI. Music
A. Guest composer interviews
B. History of music in motion pictures
C. Planning, spotting music needs
D. Original music: director and composer collaborations
E. Music recording and mastering costs
F. Rights agreements
VII. Understanding and using SFX and music libraries
A. Library publishers
B. Cost and limitation of rights purchased
C. Layout
VIII. Spotting / M&E on DAT for class projects
A. Cue sheets
B. Aesthetics
C. Precision
IX. DAW / MIX / Tracks
A. Protools into and hands-on
B. Studio 16 intro and hands-on
X. Foley / ADR / MAG for projects
A. Foley
B. Library
C. Custom design and manipulation
XI. Budgeting / Scheduling
A. How to evaluate a studio (personnel and equipment)
B. Working in the sound for picture industry
C. How to work with production and port-production teams
D. How to prepare
E. Required technical and creative skills
F. Free lancing skills
XII. Visiting a post facility
A. Audio sweetening projects
B. Hands-on DAW Hands-on foley, ADR and walla
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Community College of Aurora |
CCA |
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