Theory and Practice of Sound for Moving Images

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Kód Zakončení Kredity Rozsah Jazyk výuky Semestr
373TPS Z 2 24/H anglicky letní

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Výsledky učení dané vzdělávací složky

The ability to to craft soundtracks for your moving image projects using a digital audio workstation (DAW)

Forma studia

Practical seminar in sound studio

Předpoklady a další požadavky

Basic understanding of video editing

Obsah kurzu

Theory and practical instruction in sound design and editing

Doporučená nebo povinná literatura

Film Sound ? ed. Weis and Belton

Audio-Vision - Michel Chion

Sound Theory Sound Practice ? ed. Rick Altman

Lowering the Boom ? ed. Beck and Grajeda

The Foley Grail ? Vanessa Ament articles by Walter Murch

Hodnoticí metody a kritéria

Students own soundtracks, attendance


Today, audio is a plastic medium ? akin to sculpture. It can be shaped carefully for aesthetic and technical reasons. Imagine this class as a music composition class where your instrument is the studio and you will learn to sculpt sound for moving images. Most of what you learn can also be applicable to making music using the same tools ? a digital audio work station with good monitor speakers.

Audio post production is both an art and a craft that is easy to understand but difficult to master, particularly if your ear is untrained. Hence we will focus on close listening and attempting to hear what you are listening to, throughout the class.

The class will be divided into two parts A) theory which will be often taught through examples, and B) practice. Students are expected to bring in their own projects to work on.

We will focus on the musicality of making soundtracks - rhythm, pitch, density, mass, line, colour, while learning about editing tools. The same tools are used to work on the micro/sample/sound level and then overall at the macro level for the whole soundtrack/composition/song. That distinction is important to keep in mind throughout ? what level are you working at ? individual sounds or the overall composition?

Sara Pinheiro -

Eric Rosenzveig was a professional musician from 1986-1992 at which point he started working with the visual artist Willy LeMaitre, creating sound for moving image, often derived from live analysis of video. After the electric guitar his instrument became David Rokeby's Very Nervous systém and the MAX software environment. In his own work he has tried to find a space between sound and image where the two mediums become inseparable. He teaches electroacoustic composition at NYU and from 2008-2013 sound for moving image at FAMU International.

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