SEATTLE CENTRAL COMMUNITY COLLEGE Creative Academy. Film & Video Communications

Transcription

1 SEATTLE CENTRAL COMMUNITY COLLEGE Creative Academy Film & Video Communications COURSE SYLLABUS (adapted from Sal Tonnachio and Andrew Senna s 2010 syllabus) Course: Com 236 Audio Production Credits: 3 Lecture Hours: 3 Meeting Times: Thursdays 1-4 PM (and one make-up class on Monday Nov 28 th ) Office Hours: Wednesdays 10AM 12PM and by appointment Course website: Fall 2011 Room: Studio Siegal Center 1500 Harvard Ave. Siegal Center 1500 Harvard Ave. Instructor: Jill Freidberg Office Phone: (206) jfreidberg@sccd.ctc.edu

2 Course Description: This course teaches basic sound theory and the production skills used in the film and video industries. Students will learn both the theoretical and practical aspects of audio equipment and audio production techniques. Students will learn how to solve their own problems and answer their own questions, when using new equipment and/or working in new environments. Students completing the course will be able to capture and manipulate sound for use in film and video production. The course will follow the program goals of the related Film and Video Production classes. Prerequisites: Satisfactory completion of all 1 st Year requirements, with no less than a 2.0 in all 2 nd Year courses, or approval from the associate dean of Communications & Design. Course Purpose/Overview/Goals: The purpose of this course is to 1. Have students discover for themselves through manipulation of visual and aural elements the importance of sound in the the art of moving pictures. 2. Equip students with confidence in their ability to use sound production and post-production tools in the art and industry of film and video. Program Outcomes: Upon completion of this course, students will have the skills to: Demonstrate an understanding of basic sound theory Capture sound in both field and studio settings Use professional equipment, teminology, and procedures related to audio production Demonstrate the proper selection and handling of microphones Demonstrate an understanding of Automatic Dialogue Recording Demonstrate an understanding of Foley and sound effects Demonstrate an understanding of digital and analog recording methods Demonstrate an understanding and use of line-up tones, meters, and levels Demonstrate an understanding of audio patch bays and signal routing Demonstrate an understanding of time code and synchronization Manipulate sound in a post-production setting, including editing, processing, and mixing. 2

3 Methods of Instruction: 1. Practical assignments in field and studio recording 2. Practical assignments in sound editing and sound design 3. Viewing and analysis of different uses of sound in film and video 4. Workshops with guest instructors employed in different aspects of the industry (audio production and post-production) 5. Combined use of logbooks, textbooks, and online resources in troubleshooting recording and equipment questions. TextBooks / Resources (required): 1) Yewdall, David Lewis. Practical Art of Motion Picture Sound. 2) Please review and use the resources for this class posted at: Text Books (recommended): 1) Holman, Tomlinson. Sound for Film and Television. ISBN Expectations: Classes will start promptly at 1p.m. More than 1 unexcused absence will result in failing the class. Always call when you anticipate a lateness or absence. Producers are ultimately responsible for equipment. Failure to return equipment beyond scheduled check-in time may result in a loss of studio, editing and further equipment checkout privileges until equipment is returned. Wear headphones. Do not ever, not ever, record audio without monitoring that audio with headphones. Though it is understood that copyrights may belong to the students, the following credit must appear in the credits of all narrative and documentary work accomplished through this program: A production of Film and Video Communications Seattle Central Community College Seattle, Washington 3

4 Grading: Professionalism = 50%, Progress = 50% Professionalism (50% grade): This course, and all other second-year courses, will be graded as if you were already working in the industry. What would get you fired in the real world will probably get you a failing grade here. Professionalism includes: Attendance; punctuality; turning in assignments on time; returning gear promptly and in good condition; collaborative attitude; following instructions; taking good notes; logging field exercises; and keeping log books legible, organized, and up to date. Progress (50%): You re here to learn, which means you get to make mistakes. And we want you to learn to learn. Therefore, progress includes: Willingness to re-work assignments; receptivity to student and instructor critique; participation in classroom discussions; demonstrated familiarity with assigned reading and films; effort exerted in solving own problems and answering own questions; regular use of log books to document problem solving process; regular use of logbooks for reflection and self-evaluation. Please note also that you MUST complete your internship OR register for the class and receive permission from Sal Tonacchio regarding your plans for completion of your internship by the end of FALL QUARTER in order to continue in this program. Note on Grading of Video/Audio Assignments: Your assignments will be graded primarily on effort level, since the quality of the work is a subjective matter. All assignments will be critiqued, and chances will be given to remake each one. Extraordinary effort will warrant a 4.0. This will avoid the concern that any subjective aesthetic decisions guide the grade. I may dislike the piece, but if you give every effort toward its completion, you will receive a 4.0. If you turn it in but refuse to try to better the piece, you will receive a 2.0. If your effort is in the middle, this will garner a 3.0. Grading of production assignments will also be based on attention to the correct use and operation of equipment. Demonstrating that you have learned from technical mistakes will improve your grade. Repeatedly making the same mistake (using the wrong mic for the job, failing to test gear before checking it out, etc) will damage your grade. If your audio is illegible and you were NOT wearing headphones when you recorded it, the assignment will receive a 0 unless you do it over. 4

5 Assignments: Recording / Editing: Most weeks you will receive an assignment that involves some aspect of field recording, studio recording, sound design, and/or sound editing. Late assignments receive a 0. Reading. As assigned. Logbooks. Each student will keep a logbook that will be periodically turned in for review, throughout the quarter. That logbook will be used for logging production exercises, documenting problem-solving and research; and selfevaluation throughout the quarter. Americans With Disabilities Act: If you need course adaptations or accommodations because of a disability; if you have emergency medical information to share with me, or if you special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible. 5

6 COM 236 COURSE SCHEDULE (Subject to change) Week 1 Sept. 29 Workshop all day. Geared up and in the field working on the 1-minute news segment assigned the day before in COM 260. Assignments for Week Two READ Introduction to Production Sound (on website) Log Book: solve problems from news segment production Finish news segment assignment / prep for review in COM260 Week 2 Oct. 6 Review syllabus, rules, and overview of quarter The Importance of Sound: View clips from sound masterpieces in cinema. View and discuss work from previous week / share results of problemsolving. Troubleshoot issues that arose during news segment production. Which mics to use, why, and when. Stereo vs Mono. Recording multiple channels. Assignments for Week Three: READ: Using a microphone boompole and Two-track mixing for location dialogue. (on website) Listening exercise / Record silence Record sound effects and use them to create sound bed for the Com 260 assignment Odes Logbook: Problem solving assignment Week 3 Oct. 13 Guest Instructor: Scot Charles Audio Production on the set and in the studio. Rigging and mixing multiple mics. Using a boom microphone. Relationship between sound dept and director. 6

7 Assignments for Week Four SEE Heart Breaks Open at Seattle Gay and Lesbian Film Festival Logbook: Solve problems from studio exercise READ (and listen to) Womb Tone and Dense Clarity (on website) Week 4 Oct. 20 Guest Instructor: Gabriel Miller. Recording sound and running camera, at the same time. How to plan ahead, coordinate with the director, and prepare for all your sound needs in the field and on a budget. Field Exercise: Camera/Sound all-in-one and on the move. Assignments for Week 5: Logbook: Problem solving from field exercise Prep field exercise for class review Find (and bring in if possible) clips that depend on sound for the edit. Week 5 Oct. 27 Workshop. Outdoor recording exercise. Combining skills from previous two classes. Assignments for Week 6 READ: Ch 12 Start recording effects and developing sound bed / landscape ideas for Super 8 project Logbook: Problem solve field exercise Prep field exercise for class review Week 6 Nov. 3 Intro to post-production sound. Field Trip to Bad Animals! Meet at Bad Animals at 1pm SHARP th Avenue, (Belltown) a) What is sound editing and sound design? b) Who is Foley? c) Working with sound effects, building a multi-dimensional sound landscape. d) Work-flow. 7

8 Assignments for Week 7 READ: Ch 10 and 17 Found Sound project Logbook: Found Sound problem solving Week 7 Nov. 10 Working with Audio in Final Cut Pro. a. Importing, syncing, and working with audio tracks. File formats. b. Levels, pan, basic filters and fixes c. Saving, backing up, exporting Field Exercise: Sound, No Picture: A Murder (due on Monday November 28th) Assignments for Week Eight READ: Ch. 13, Ch. 9, and pgs Work on A Murder exercise Logbook problem-solving Murder exercise Week 8 11/17 Guest Instructor Brendan Hogan (Heart Breaks Open sound editor) Finishing your sound edit / preparing for the mix a) Soundtrack Pro b) Understanding EQ Workshop EQing and finishing sound on short videos from quarter Assignment for Week 9 (after Thanksgiving break) Finish Murder exercise for Monday, Nov 28 th Week 9a (Make-up class) 11/28 Review and Critique Murder Projects Super 8 Sound Bed exercise Week 9b 12/01 Super 8 sound critiques 8

9 Assignment for Week Ten Put sound bed under Super 8 edit Week 10 12/08 Mixing and Preparing for DVD (8mm Project) Complete final mix, prepare mix for delivery to DVD formats, stereo, AC3, etc. Final critique of 8mm Project 9