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Lecturer(s)
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Grečnár Ján, prof. Ing. ArtD.
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Hruda Pavel, MgA.
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Course content
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The student will get acquainted with the technical-dramaturgical possibilities and their advantages/disadvantages in the recording of these musical ensembles. The course unit also deals with the processing of musical groups (ensembles) in the studio and live environment, as well as the subsequent processing in sound post-production with its possibilities, advantages/disadvantages discussed.
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Learning activities and teaching methods
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Exercises on PC, Practice exercises, Students working in pairs
- Participation in classes
- 78 hours per semester
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| prerequisite |
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| Knowledge |
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| 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 |
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| 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. |
| Students can describe and characterize: - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles - characterise their advantages/disadvantages in recording these 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 possibilities/advantages/disadvantages of post-processing in audio post-production |
| Students can describe and characterize: - define various technical-dramaturgical possibilities associated with the sound recording of larger musical ensembles - characterise their advantages/disadvantages in recording these 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 possibilities/advantages/disadvantages of post-processing in audio post-production |
| Skills |
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| Students can use and apply correctly: - 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 - 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) - practical post-processing in audio post-production |
| Students can use and apply correctly: - 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 - 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) - practical post-processing in audio post-production |
| teaching methods |
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| Knowledge |
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| Students working in pairs |
| Exercises on PC |
| Practice exercises |
| Practice exercises |
| Exercises on PC |
| Students working in pairs |
| assessment methods |
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| Analysis of educational material |
| Analysis of a work of art |
| Analysis of educational material |
| Analysis of a work of art |
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Recommended literature
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AVID. ProTools Reference Guid v.12.8.2. Guide Part Number, 2009. ISBN 9329-65871.
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Bláha Ivo. Zvuková dramaturgie audiovizuálního díla.. 3. vydání, Praha: AMU, 2014. ISBN 978-80-7331-303-6.
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BRIXEN, B. Eddy. Audio Metering - Measurements.. Standards and Practice, 2. vydání. UK: Focal Press, 2014. ISBN 978-0-240-81467-4.
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Grečnár Jan. Zvuková realizácia filmu - umenie majstra zvuku. Juga. 2012. ISBN 978-80-89030-50-7.
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HUBER, M. David & RUNSTEIN E. Robert. Moder recording Techniques.. 9. vydání, NewYork: Routledge, 2018. ISBN 978-1-138-95437-3.
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MILES Dean. Location audio simplified: Capturing your audio..and your Audience.. UK: Focal Press, 2014. ISBN 978-1138018778.
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OWSINSKI Bobby. The mixing engineer´s handbook.. 4. vydání, USA: BobbyOwsinski Media Group, 2017. ISBN 978-0-9985033-4-9.
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VIERS Ric. The Location Sound Bible: How to Record Professional Dialog for Film and TV.. USA: Michael Wiese Productions, 2012. ISBN 978-1615931200.
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VLACHÝ Václav. Praxe zvukové techniky. 3. vydání, Praha: Muzukus, 2008. ISBN 978-80-86253-46-5.
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