Technical Sound Production and Post-production 2

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
311TSP2 Z 1 30S English summer

Subject guarantor

Name of lecturer(s)

Learning outcomes of the course unit

Ability to record basic professional-level production film sound.

Beginner understanding of sound design and general film sound post-production.

Mode of study

Hands-on training with the basic sound recording set used for FAMU film productions.

Training sessions in editing, voiceover and mixing studios.

Prerequisites and co-requisites

Previous experience with film sound recording necessary for students joining course only for spring semester.

Course contents

Complete introduction to production and post-production sound techniques, from basic location and field recording techniques through post-production (editing, sound design, final mixing)

Spring semester:

Advanced production recording techniques and problem-solving.

Sound design part 2.

ADR and voiceover workshop.

Foley workshop.

Mixing workshop part 2.

After week 6: production and post-production.

Recommended or required reading

Sonnenschein, David. Viers, Ric. The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Michael Wiese Productions, 2014.

Sonnenschein, David. Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. 2001.

Altman, Rick. Sound Theory, Sound Practice. New York: Routledge, 1992.

Chion, Michel. Audio-Vision: Sound on Screen. New York: Columbia University Press, 1994.

[and any other book by Chion]

Assessment methods and criteria

Each student will be required to record sound on-set for two FAMU student film productions each semester, and will be assessed according to the quality of this work.

In addition, each student will sit in and observe at least one final mixing session each semester from the films they have recorded.

Note

George Cremaschi works with a variety of approaches and strategies in the areas overlapping music, sound art and noise. In thirty years as a composer and performer he has a long and diverse history of working with musicians, filmmakers, dancers and choreographers, visual artists, and writers. Some of his current projects include the groups KRK (w/Matthew Ostrowski), Rohr Rohr (w/dieb13 and Gino Robair) and Lambs Gamble (w/Fritz Welch and Eric Boros). He is also the founder (w/Petr Vrba) and director of Prague Improvisation Orchestra (PIO), a 15-member group working with conducted and free improvisation and graphic scores.

As an improviser he has worked with many people including Liz Allbee, Marshall Allen, Han Bennink, Greg Goodman, Mats Gustafsson, Joelle Leandre, Thomas Lehn, Paul Lovens, Louis Moholo, Butch Morris, Evan Parker, Rova Quartet, Cecil Taylor.

As an interpreter, he has performed works by many composers including Adamčiak, Andriessen, Braxton, Cage, Cardew, Nicolas Collins, Feldman, Mingus, Oliveros, Penderecki, Tenney, Xenakis, etc and has appeared on over 40 recordings on Apestaartje, Beak Doctor, Black Saint, Emanem, Evander, Evolving Ear, Leo, Music & Arts, Nine Winds, Rastascan and other labels. Born in New York where he studied music and composition, he later lived for many years in California and currently lives in Prague, Czech Republic where he teaches film sound at FAMU.

Further information

No schedule has been prepared for this course

The subject is a part of the following study plans