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Lecturer(s)
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Grečnár Ján, prof. Ing. ArtD.
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Course content
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Course contents: Realisation of a feature film - Preparatory phase: script, studying script, meeting the director and consultation, location scouting, sound components and their concept, preparation of playbacks, selecting, securing and preparation of technological equipment for sound recording. - Realisation stage of film production: recording contact or supporting sound, recording of the actual sound (noises, atmosphere). - Recording contact sound and its record: advantages and disadvantages of location sound, recording equipment: analogue, digital; mixing console, using several microphones and lavalier microphones (sound colour phasing); lavalier microphones (sound colour, frequency adjustment, rules for positioning); shooting contact sound for multi-channel applications; recording scenes without dialogues and wild tracks. - Postproduction - completion phase: image and sound editing, elaboration of sound and music script, selection of sound bank noises and atmospheres, recording of missing noises and atmospheres - foley, rough editing of individual sounds, preparation, adjustment and creation of sound effects and noises, adjustment of location sound in DAW, recording music, rough editing and further post-synchronisation of music, final sound mix. - Post-synchrons in feature films, reasons for post-synchrons (noisy environment, period drama, technical problems, expression of spoken word, changes in dialogue, stylisation), supporting sound - quality of supporting sound. - Adjustment and work with location sound: cleaning sound tracks, technical adjustment of location sound, dividing into single audio tracks.
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Learning activities and teaching methods
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Lecturing
- Participation in classes
- 36 hours per semester
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| prerequisite |
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| Knowledge |
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| Students have theoretical and practical knowledge of individual stages of sound creation, options in the choice of technology, advantages and disadvantages of possible ways of recording primary sound record and further processing of the record in DAW, individual sound corrections, editing and more adjustments of atmosphere, working with sound banks and music banks. |
| Students have theoretical and practical knowledge of individual stages of sound creation, options in the choice of technology, advantages and disadvantages of possible ways of recording primary sound record and further processing of the record in DAW, individual sound corrections, editing and more adjustments of atmosphere, working with sound banks and music banks. |
| learning outcomes |
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| The student has not only theoretical but also practical experience of individual phases of sound production. |
| The student has not only theoretical but also practical experience of individual phases of sound production. |
| teaching methods |
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| Lecturing |
| Lecturing |
| assessment methods |
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| Analysis of creative works (Music, visual arts, literature) |
| Analysis of creative works (Music, visual arts, literature) |
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Recommended literature
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BARLET, Bruce. BARLETT, JennY. On-Location Recording Techniques.. Focal Press. 1999. ISBN 0-240-80379-5.
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Grečnár Jan. Zvuková realizácia filmu - umenie majstra zvuku. Juga. 2012. ISBN 978-80-89030-50-7.
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Mike Collins. Pro Tools for Music Production. Focal Press. 2002. ISBN 0-240-51640-0.
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RAYBURN, Ray A. Eargle´s Microphone Book.. Focal Press. 2013. ISBN 978-0-240-8207.
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YEWDALL, David Lewis. Practical Art of Motio Picture Sound.. Focal Press, 2003. ISBN 0-240-80525-9.
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