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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: - Music and dialogue playback: dialogue, music, technology of recording with music playback, securing synchronisation during a rewrite (pilot. TC). - Recording film music: preparation of a music script, length of individual parts of film music, sound studio (equipment, sound directing), recording according to the action in the picture. - Usage and selection of music from sound banks: working with sound banks, suitability of stereo-recording for multi-channel formats, authorship rights. - Noises and atmospheres in a feature film: ways of sound acquisition, location sound, synchron sound recording with no dialogues, post-synchron noises (techniques of recording, communicating with foleys), active foleys and atmospheres, creating new atmospheres by layering and combining, adjustment and stylisation, creative ways of making atmospheres and noises, preparation of noise audio tracks in DAW - adjustment, rough cut and creating transitions. - Final sound mix for a feature film: completing individual audio tracks, alternative solutions for sound directing of individual scenes, creating streams, classical way of analogue mixing, mix with DAW, combined methods of mixing (analogue/digital multi-stem recording and DAW), automated way of mixing, mix in large mixing studios. - International sound bands: contents of IT Bands (singing, reports, human non-dialogue sounds, breaths, gasps, sighs, laughs, and more).
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Learning activities and teaching methods
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Lecturing
- Home preparation for classes
- 21 hours per semester
- Preparation for examination
- 15 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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| - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles |
| - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles |
| - characterise their advantages/disadvantages in recording these musical ensembles |
| - characterise their advantages/disadvantages in recording these musical ensembles |
| - students can describe the different categories of group musical ensembles |
| - students can describe the different categories of group musical ensembles |
| - explain the processing of recording musical groups (ensembles) in studio and live environments |
| - explain the processing of recording musical groups (ensembles) in studio and live environments |
| - explain the possibilities/advantages/disadvantages of post-processing in audio post-production |
| - explain the possibilities/advantages/disadvantages of post-processing in audio post-production |
| Skills |
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| - apply various technical-dramaturgical options associated with the sound recording of larger musical ensembles |
| - apply various technical-dramaturgical options associated with the sound recording of larger musical ensembles |
| - analyse and select adequate methods of recording the sound of larger musical ensembles |
| - analyse and select adequate methods of recording the sound of larger musical ensembles |
| - students can list the important categories of group musical ensembles |
| - students can list the important categories of group musical ensembles |
| - apply appropriate and suitably chosen methods of processing the recording of musical groups (ensembles) in studio and live environments (including the choice of appropriate software) |
| - apply appropriate and suitably chosen methods of processing the recording of musical groups (ensembles) in studio and live environments (including the choice of appropriate software) |
| - practical post-processing in audio post-production |
| - practical post-processing in audio post-production |
| 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 978-0-240-82075.
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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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