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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
- Participation in classes
- 39 hours per semester
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| prerequisite |
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| Knowledge |
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| Students gain knowledge for realisation of feature film and film music recording, music mix and final mix preparation, working with effect processors and the actual sound mix for an AV work. |
| Students gain knowledge for realisation of feature film and film music recording, music mix and final mix preparation, working with effect processors and the actual sound mix for an AV work. |
| 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 978-0-240-82075.
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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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