Sound and film Music Editing

Display Schedule

Subject guarantor

Jiří MOUDRÝ

Name of lecturer(s)

Jiří MOUDRÝ, Michal PEKÁREK

Learning outcomes of the course unit

A, B) The course aim is to prepare study and group exercises and the management of basic procedures of digital editing, modifications and sound mixing in ProTools.

C) The course aim is to prepare students for their own music recording editing practice based on an understanding of music logic and acoustic norms.

Mode of study

A) Presentation of instructor experience. Discussion. Creative activities.

Individual assignments focused on practicing editing and dialogue adjustments and background noise, mixing in ProTools.

B) dtto + more complex adjustments to sound material.

C) Exercises using group resolutions to prepared assignments.

Prerequisites and co-requisites

A, B) General experience with computers.

Knowledge of Apple OS X. a working with ProTools 8.xx

Students must complete „Film Sound Procedure and Technology 1“

C) Natural musicality, analytical listening skills and aesthetic sensitivity.

Course contents

A (Computer modifications fo sound in Mixing 1)

Students develop their working skills in the digital processing of sound. The task is to prepare for study and group exercises and master tthe basic procedures of editing and modifying sound.

The course content is individual assignments focused on the practicing of editing and modifying mixes in ProTools.

B (Computer modifications for sound in Mixing 2)

The instruction focuses on additional devleopment of theory knowledge and student skills in working in the ProTools environment.

1. More complex sound mateiral: Dialogues, Background noise, Music
2. Preparations of automated mixing
3. Automated mixing

C. (Music editing)

Students, based on tasks, are introduced to potential editing modifications in music recordings, particularly, in working with archived music to acquire experience. the presentation focuses on and understanding of the logic of music forms and the nature and psychology of acoustics - a requirement of cultivated editing with music material.

Recommended or required reading

A)

Bláha, I. (2004): Zvuková dramaturgie audiovizuálního díla. AMU, Praha. (ISBN 80-7331-010-4)

Borwick, J. (1994): Sound Recording Practice. Oxford University Press, Oxford. (ISBN 0-19-816381-9)

http://www.filmsound.org/

Hůrka, M. - Estetika zvuku ve filmu ( C?sFÚ 1965)

Kuna, M. - Zvuk a hudba ve filmu ( Panton 1968)

Owsinski, B. (1999): The Mixing Engineer's Handbook. Mix Books, Vallejo. (ISBN 0-87288-723-5)

Owsinski, B. (2000): The Mastering Engineer?s Handbook. Mix Books, Vallejo. (ISBN 0-87288-741-3)

Stadtrucker, I. - Zvukové majstrovstvo ve F a TV (SPN 1977)

Vrzal, M. (2007): Střih záznamu hudby. AMU, Praha. (ISBN 978-80-7331- 114-8)

Zenkl, L. - ABC hudební nauky ( Supraphon)

B)

Bláha, I.: Zvuková dramaturgie audiovizuálního díla, FAMU 2006 - kapitoly: Zpracování zvukového záznamu, Zvukové přechody, Míchací plán.

Special sound material for demonstration and practice of editing methods with music and editing exercise assignments.

Assessment methods and criteria

Credit is awarded for: submission and presentation of the required work:

A) a/final dialogue edit of the work M+Š

b/ final post-synchronic of background noise edit - Foley Test

c/ final adjustments of volume level of post-synchronic background noise - Foley Test - passing of the final interview

B) a/ final edit of contact dialogues

b/ final edit of post-synchronic dialogues

c/ final adjustment of background noise volume - completion of the final interview

C) Grading is conditioned by class participation (70%) and mastery of theory issues (30%).

Schedule for winter semester 2018/2019:

The schedule has not yet been prepared

Schedule for summer semester 2018/2019:

• Week view
• List

The subject is a part of the following study plans

• Sound Design - Bachelor-1819 (required subject)