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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
- Preparation for examination
- 15 hours per semester
- Home preparation for classes
- 21 hours per semester
- Participation in classes
- 39 hours per semester
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| prerequisite |
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| Knowledge |
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| Prerequisites not specified |
| Prerequisites not specified |
| Skills |
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| Prerequisites not specified |
| Prerequisites not specified |
| learning outcomes |
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| Knowledge |
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| - 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 |
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| - 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 |
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| Knowledge |
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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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