Theory and Practice of Sound for Moving Images
Předmět není vypsán Nerozvrhuje se
Jméno vyučujícího (jména vyučujících)
Výsledky učení dané vzdělávací složky
Students will gain theoretical understanding of the relations between sound and image.
Understanding the aspects of the soundtrack including foley, ambiance, music and dialogue and their interrelation.
Experience inside a digital audio workstation including setup of sessions, editing, mixing and mastering.
Understanding and ability to use relevant and necessary plug-ins while creating the soundtrack - EQ, compression, reverberation and others.
Practical seminar in sound studio
Předpoklady a další požadavky
Basic understanding of video editing
This course starts as an ‘Introduction to Theory’ of sound in cinema and video-art, approaching also theoretical aspects of production and editing. In the second half of the course students are expected to bring their own visual content to work on its sound. We finish the semester with plug-ins and mixing techniques.
to present a theoretical and practical introduction to students of the soundspace of moving image works including the tools and techniques necessary to craft the sound space.
Doporučená nebo povinná literatura
HEGARTY, P. Rumour and Radiation. New York: Bloomsbury. 2015. 216 pages. ISBN 9780415904575
ALTMAN, R. (org.). Sound Theory/Sound Practice. New York: Routledge. 1992. 298 pages. ISBN 9780415904575
CHION, M. Audio- Vision. New York: Columbia University Press Weis, E. e Belton, J. (orgs.) (1985) Film Sound. New York: Columbia University Press. 1990 239 pages. ISBN 9780231078993
WEIS E. e BELTON, J. (orgs.). Film Sound. New York: Columbia University Press. 1985. 462 pages. ISBN 9780231056373
AUGOYARD, J. F. & TORGUE, H. Sonic Experience: A Guide to Everyday Sounds. Montreal: McGill-Queen's University Press. 2006. 230 pages.
Hodnoticí metody a kritéria
Development of 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 - http://sarapinheiro.com/about_en.php
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