Theory and Practice of Sound for Moving Images

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Subject guarantor:

Eric ROSENZVEIG

Name of lecturer(s):

Eric ROSENZVEIG, Sara PINHEIRO

Learning outcomes of the course unit:

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

Mode of study:

Practical seminar in sound studio

Prerequisites and co-requisites:

Basic understanding of video editing.

Recommended optional programme components:

A series of recommended films will be assigned to watch and listen to

Course contents:

Theory and practical instruction in sound design and editing

Recommended or required reading:

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

Planned learning activities and teaching methods:

1st class ? February 16 ? Introduction

A) Theory

historical evolution of sound design

the picture edit vs. the sound scene

planning vs. execution ? how to think in terms of audio

listening and hearing

B) The Editing Session

Session settings, Organizing

Exporting from video editing programs

Import Options: Video Formats and Audio Settings

Sample Rate, Bit Rate

OMF

Audio Tracks, Aux Tracks, Buses, Sends and Master Tracks

Muting/Soloing/Groups

Monitoring tips/level

working w/'hit points' or to TimeCode or directly w/video

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2nd class ? March 2 ? Basic Editing

A) Theory

sound and image conjunction

trends in sound design roughly post 2005

B) Practice

Production sound

Dialogue, Room tone, Ambiance, Foley/bruncliky,

Cutting, Panning, Fading

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3rd class ? March 16 ? Transforming Sound

Theory & Practice: effects processing: delay, pitch shifting, harmonization, timeshifting, reversing, etc.

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4th class ? April 27 ? Mixing

Theory & Practice: EQ, Reverbs, Noise reduction, Automation, submixing to stems, etc.

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5th class ? May 4 ? Mastering

Theory & Practice: Normalizing, Compressors, enhancers

from Audio workstation back to your video editing software

Assessment methods and criteria:

Students own soundtracks, attendance

Course web page:

Note:

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.

Schedule for winter semester 2014/2015:

The schedule has not yet been prepared

Schedule for summer semester 2014/2015:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon	místnost 436 Učebna CAS 436 (Lažanský palác) PINHEIRO S. 15:40–18:30 EVEN WEEK (paralelka 1)
Tue
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Mon	15:40–18:30	PINHEIRO S.	Učebna CAS 436 Lažanský palác		paralelka 1

The subject is a part of the following study plans:

• Audiovisual Studies - Bachelor (qualification subject)
• Audiovisual Studies - Master (qualification subject)