Theory and Practice of Sound for Moving Images
Předmět není vypsán Nerozvrhuje se
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)
Practical seminar in sound studio
Předpoklady a další požadavky
Basic understanding of video editing
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
filmsound.org 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 - http://sarapinheiro.com/about_en.php
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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