Professional Sound Production 2

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
311PSP2 Z 1 8S English summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

Students will understand the functions of the soundtrack in film and the basic techniques necessary to create a soundtrack – from planning to shooting to post-production.

Mode of study

There will be some theoretical discussion, but overall focus will be on practical considerations in recording and creating soundtracks for low-budget short films.

Lectures will be accompanied by examples taken from film and television, and book and internet references.

Prerequisites and co-requisites

-

Course contents

Two parts, one in fall and another in spring, each with one class per week for four weeks (90 min lectures).

Lectures will be accompanied by examples taken from film and television, with book and internet references in addition.

Overall focus will be on practical considerations in recording and creating soundtracks for low-budget short films, with some theoretical discussion.

Spring (February-March)

week 5 – critical review of first semester films from a sound perspective; uses of media and devices such as telephone, radio, TV, computer, invented device etc

week 6 – using specific locations for their sound; working with voice and dialogue part 2; working with music (and composers) part 2

week 7 – advanced editing and sound design: open-source sound programs such as lloopp, Cecilia, Soundmagic; working with sound production software like Ableton, Garage Band, Logic; online instruments; advanced foley

week 8 – basic mixing and mastering of film soundtracks; monitoring concepts; 5.1 vs stereo

During the production phase of each semester I will consult with any interested filmmakers who attend the course on how they will approach recording sound and help with finding a competent sound recordist if necessary. I will again consult during post-production, and produce the final mix of those films as time and schedule permits.

Recommended or required reading

-

Assessment methods and criteria

attendance (1 possible absence) + a short test

Note

During the production phase of each semester I will consult with any interested filmmakers who attend the course on how they will approach recording sound and help with finding a competent sound recordist if necessary. I will again consult during post-production, and produce the final mix of those films as time and schedule permits.

George Cremaschi was born in New York, where he studied music and composition. He has worked professionally as a musician, composer and recording engineer since the 1980s throughout the US, South America and Europe. He has appeared on over fifty commercially available recordings as a musician, and written and produced countless compositions and scores for many settings from solo to orchestra, electronics, film, dance, poetry and theater.

He works regularly with a variety of international and local groups, frequently participating in interdisciplinary site-specific collaborations with choreographers, video artists and light designers, and also is the co-founder and leader, with Petr Vrba, of Prague Improvisation Orchestra (PIO), a 15-member group working with a wide range of improvisational concepts.

In addition to teaching film sound production at FAMU since 2011, he is professor of sound art and sound production at Prague College and has been guest lecturer at conservatories in Belgrade, Brno, Malmö, Oakland, Prague, Tallinn and Vienna.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans