|
Lecturer(s)
|
|
|
|
Course content
|
Emphasis is placed primarily on communication between the sound and editing post-production workplaces. The student's knowledge is further deepened especially in the field of involvement and management of metadata with their subsequent use in audio post-production - the acquired skills are utilized mainly in the implementation of the basic first-year exercises and individual field exercises that focus on advanced editing and automation in the DAW Avid ProTools. Thematic areas: - compiling a professional film chain from the point of view of a master of sound - wireless systems and their use in practice - TIMECODE, SMPTE, GENLOCK and working with metadata when recording contact sound - use of recorded metadata in a professional post-production chain - practice and work with automation in the DAW Avid ProTools - measurement methods II. - consultation of semester work and assigned exercises during the semester
|
|
Learning activities and teaching methods
|
Exercises on PC, Practice exercises, Students working in pairs
- Participation in classes
- 78 hours per semester
|
| prerequisite |
|---|
| Knowledge |
|---|
| The student has general knowledge in the field of information technology. Self-study is a basic prerequisite for successful mastering of the subject (according to literature, internet sources, etc.). |
| The student has general knowledge in the field of information technology. Self-study is a basic prerequisite for successful mastering of the subject (according to literature, internet sources, etc.). |
| learning outcomes |
|---|
| The student will learn to communicate in the film crew - especially in relation to directing and editing. He is able to make a short film and exercises according to the assignment. |
| The student will learn to communicate in the film crew - especially in relation to directing and editing. He is able to make a short film and exercises according to the assignment. |
| - The student knows the basic dramaturgical rules of using film dialogue, |
| - The student knows the basic dramaturgical rules of using film dialogue, |
| - explain your intentions of implementing the dialogue exercise, |
| - explain your intentions of implementing the dialogue exercise, |
| - can explain dialogue processing procedures in audio post-production, |
| - can explain dialogue processing procedures in audio post-production, |
| - describes the basic difference in SW solutions for dialog cleaning (Izotop, Waves, AconDigital, etc.), |
| - describes the basic difference in SW solutions for dialog cleaning (Izotop, Waves, AconDigital, etc.), |
| - lists and describes the basic rules for importing/exporting a project within DAW (DigitalAudioWorkstation). |
| - lists and describes the basic rules for importing/exporting a project within DAW (DigitalAudioWorkstation). |
| Skills |
|---|
| - The student uses the rules of film dialogue dramaturgy, |
| - The student uses the rules of film dialogue dramaturgy, |
| - identifies appropriate dialogue capture for a given scene, |
| - identifies appropriate dialogue capture for a given scene, |
| - can use partial exercises to define the basic needs for correct cleaning of dialogs with basic editing functions of DAW or expanding SW, |
| - can use partial exercises to define the basic needs for correct cleaning of dialogs with basic editing functions of DAW or expanding SW, |
| - applies acquired knowledge to semester work (dramaturgy, recording, post-production), |
| - applies acquired knowledge to semester work (dramaturgy, recording, post-production), |
| - is able to present his semester work within the sound composition specialization (examination committee, AAV presentation, etc.). |
| - is able to present his semester work within the sound composition specialization (examination committee, AAV presentation, etc.). |
| teaching methods |
|---|
| Knowledge |
|---|
| Practice exercises |
| Exercises on PC |
| Exercises on PC |
| Students working in pairs |
| Students working in pairs |
| Practice exercises |
| assessment methods |
|---|
| Analysis of educational material |
| Analysis of a work of art |
| Analysis of a work of art |
| Analysis of educational material |
|
Recommended literature
|
-
AVID. ProTools Reference Guid v.12.8.2. Guide Part Number, 2009. ISBN 9329-65871.
-
Bláha Ivo. Zvuková dramaturgie audiovizuálního díla.. 3. vydání, Praha: AMU, 2014. ISBN 978-80-7331-303-6.
-
BRIXEN B. Eddy. Audio Metering - Measurements, Standards and Practice.. 2. vydání. UK: Focal Press, 2014. ISBN 978-0-240-81467-4.
-
Grečnár Jan. Zvuková realizácia filmu - umenie majstra zvuku. Juga. 2012. ISBN 978-80-89030-50-7.
-
HUBER, M. David & RUNSTEIN E. Robert. Moder recording Techniques.. 9. vydání, NewYork: Routledge, 2018. ISBN 978-1-138-95437-3.
-
MILES Dean. Location audio simplified: Capturing your audio..and your Audience.. UK: Focal Press, 2014. ISBN 978-1138018778.
-
OWSINSKI Bobby. The mixing engineer´s handbook.. 4. vydání, USA: BobbyOwsinski Media Group, 2017. ISBN 978-0-9985033-4-9.
-
VIERS Ric. The Location Sound Bible: How to Record Professional Dialog for Film and TV.. USA: Michael Wiese Productions, 2012. ISBN 978-1615931200.
-
VLACHÝ Václav. Praxe zvukové techniky. 3. vydání, Praha: Muzukus, 2008. ISBN 978-80-86253-46-5.
|