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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: - microphones - space and stereophony, acoustic-psychological aspects - working with Ambisionic format - VR AUDIO - difference between studio and live recording and recording symphonic and popular music, spatial and acoustic differences in concert locations and music halls, sound studios, influence of audience, selection of microphones - positions and distances, a choice of stereophony types - working with music - sound studio, sound director, music director - studio sound recording, musical instruments and singers in front of a microphone - acoustic properties of musical instruments (dynamics, colour, frequency emission)
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Learning activities and teaching methods
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Monologic (Exposition, lecture, briefing), Demonstration, Projection (static, dynamic)
- Participation in classes
- 39 hours per semester
- Home preparation for classes
- 21 hours per semester
- Preparation for examination
- 15 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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| 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 |
| 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 |
| - 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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| Students can use and apply correctly: - apply various technical-dramaturgical options associated with the sound recording of larger musical ensembles |
| 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 |
| - 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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| Demonstration |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| Monologic (Exposition, lecture, briefing) |
| Demonstration |
| Monologic (Exposition, lecture, briefing) |
| assessment methods |
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| Analysis of the student's performance |
| Analysis of the student's performance |
| Oral examination |
| Oral examination |
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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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