20 credits at level HE5
The key aim is to establish good specialist technical skills in sound recording, design and mixing to video. You will also develop your ability to creatively interpret scripts and expand your knowledge and understanding of audio aesthetics/styles.
As a sound recordist/ designer /mixer, you will work on a module production with students studying Digital Cinematography and Digital Editing. Your professional commitment and organisational and team work skills will be vital on this module.
If this module is over-subscribed, enrolment will be on the basis of aptitude and commitment in sound recording shown in production modules at level 1.
Preproduction: script interpretation and creating the sound design. Working with director/DOP/Production Designer. Location scout.
Production: Audio recording using digital video cameras and external field recorders. Microphone placement, recording clean dialogue, matching sound perspective with camera angle, recording sound effects to accompany the shot, recording room tone, recording additional sounds, sound consistency between shots, keeping accurate sound reports. On set procedure and communication. Health and safety. Risk assessments. Care of equipment.
Introduction to multi-channel (surround sound) reproduction, differences between cinema, home cinema, TV, web and mobile
Historical/Contemporary sound recording and design
Introduction to Foley sound recording
Using Digital Audio Workstations to process, synchronise and mix film sound.
Mastering audio for distribution on DVD, the web, mobile technologies and cinema.
Copyright legislation in relation to sampling musical recording artists, performance and spoken word.
Opportunities for work placements and employment/self employment.
The module involves 200 hours of study time. Of this, approximately approx 40 will be taught studio time, and the balance will be independent study time. You will need to organise yourself to make sure that you regularly schedule enough independent study time to complete the tasks you will be given to complete between classes
1) 1 sound exercises (25%)
2) 1 final sound design for short film (40%)
3) Critical presentation of your own work (15%)
MWP penalties for submission of late work apply. See MWP Programme Handbook.
Submitted written work must be thoroughly proofread (free of grammatical, spelling and punctuation errors). Work which does not meet these conditions of presentation will not be marked.
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
|1.||be able to demonstrate an understanding of the process of recording sound and creating a sound design||the ability to record sound and create a sound design to imbue an emotional response in an audience|
|2.||be able to explain the use of sound in production and post-production||
Analyse the use of sound in your production and post-production work
|3.||employ research techniques, concepts and asthetics of historical and contemporary film sound design in relation to your own creative ideas.||
Cite your work in relation to historical and contemporary production
|4.||be able to work effectively as part of a production team||be able to reflect on your work and how it has been created|
Your achievement of the learning outcomes for this module will be tested as follows:
|Description||sound exercise||1 final sound design for short film||Critical presentation of your work|
Before taking this module you must have successfully completed the following:
You cannot take this module if you are taking or have taken:
Digital Films/ TV:
Bleak House (2005), dir Susanna White/Justin Chadwick. London: BBC
Breaking the Waves(1996), dir Lars Von Trier, UK
Elephant (2003) DIR Gus Van Sant, USA
The King is Alive (2000), dir Kristin Levring. Sweden
Russian Ark (2002) dir Aleksandr Sokurov, Russia
Time Code (2000), dir Mike FIggis, UK
Top Spot (2005), dir Tracey Emin, London: BBC3
Bobo, J. (1998 ) Black Women Film and Video Artists. London:Routledge
Chion, M. (1994) Audio Vision. Chichester:Columbia University Press
Evans, Russell (2006), Practical DV Filmmaking. Oxford: Focal Press
Johnson, Claudia Hunter, Crafting Short Screenplays That Connect. Oxford: Focal Press.
Rea, Peter W. and Irving, David K.(2001) Producing & Directing the Short Film and Video. Oxford: Focal Press
Sonnensschein,D (2001) . Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City, CA: Michael Wiese Productions
|Host Subject Group:||Creative Studies|
|User Name||Date Accessed||Action|