EASTERN ARIZONA COLLEGE Sound Design and Foley Course Design 2014-2015

Total Page:16

File Type:pdf, Size:1020Kb

EASTERN ARIZONA COLLEGE Sound Design and Foley Course Design 2014-2015 EASTERN ARIZONA COLLEGE Sound Design and Foley Course Design 2014-2015 Course Information Division Industrial Technology Education Course Number MDC 240 Title Sound Design and Foley Credits 2 Developed by Dan Curtis & David Arond Lecture/Lab Ratio 1 Lecture/2 Lab Transfer Status ASU NAU UA Pending Evaluation Pending Evaluation Pending Evaluation Activity Course No CIP Code 10.0300 Assessment Mode Portfolio Semester Taught Upon Request GE Category None Separate Lab No Awareness Course No Intensive Writing Course No Prerequisites None Educational Value This class encompasses the principles and foundations of audio sound design for film and video. Description This course offers instruction in the concepts and functions of audio mixers and editing software used in sound design for film and video. Focus is creating and manipulating sound-effects, Foley, cleaning/processing on-location audio, and Automated Dialogue Replacement (ADR). Special topics cover audio aesthetics, usage rights, and employment opportunities. Supplies None EASTERN ARIZONA COLLEGE - 1 - Sound Design and Foley Equal Opportunity Employer and Educator Competencies and Performance Standards 1. Identify the use of audio in sound design and Foley. Learning objectives What you will learn as you master the competency: a. Describe the various techniques for processing recorded audio. b. Identify sound design careers in the film industry. c. Identify roles of the audio sound designer, director, Foley artists and producer. Performance Standards You will demonstrate your competence: o in class assignments o on final portfolio Your performance will be successful when: o learner describes the impact of digital audio design in the entertainment industry. o learner identifies the career opportunities in film industry. o learner lists the roles of the sound designer. director and producer in the film industry. 2. Describe the pre-production process in sound design and Foley. Learning objectives What you will learn as you master the competency: a. Identify the pre-production process in sound design and Foley. b. Develop an audio mixing style for different music FX. c. Prepare an audio mix for ADR and Foley audio. Performance Standards You will demonstrate your competence: o in class assignments o on final portfolio Your performance will be successful when: o learner lists the elements of the pre-production process. o learner prepares a lists of the audio tracks, script and required audio FX. o learner writes and/or develops a strategy for the audio mix of the music recording. 3. Demonstrate audio production techniques in sound design and Foley. Learning objectives What you will learn as you master the competency: a. Describe the different types of microphone used for recording Foley sound. b. Identify the key elements and constraints of audio recording and ADR. c. Demonstrate audio production techniques for sound design. Performance Standards You will demonstrate your competence: o in class assignments o on final portfolio EASTERN ARIZONA COLLEGE - 2 - Sound Design and Foley Equal Opportunity Employer and Educator Your performance will be successful when: o learner lists the types of mixers and software used in sound design. o learner demonstrates ADR audio recording techniques. o learner directs Foley artists in creating an audio design. 4. Prepare the audio equipment of a voice acting recording session. Learning objectives What you will learn as you master the competency: a. Describe microphone types and placement for audio recording. b. Demonstrate basic audio filtering and mixing techniques for ADR. c. Describe the audio functions and recording for filmmaking. d. Demonstrate the effective use of audio isolation for recording and creating audio elements. e. Demostate how to remove unwanted sound during post- production, including adding music, audio FX and ADR. Performance Standards You will demonstrate your competence: o in class assignments o on final portfolio Your performance will be successful when: o learner describes the proper microphone placement for voice ADR. o learner demonstrates the different audio mixers used in sound design. o learner describes proper audio principles for dialogue cleaning and processing. o learner demonstrates effective use of audio FX. 5. Describe post-production process. Learning objectives What you will learn as you master the competency: a. Identify post-production audio sound design. b. Demonstrate editing techniques for syncing ADR audio tracks for editing with time-code. c. Identify the use of post- production audio enhancements. d. Demonstrate the use of sound design. Performance Standards You will demonstrate your competence: o in class assignments o on final portfolio Your performance will be successful when: o learner describes audio sound design process. o learner demonstrates different audio special- effects used in filmmaking. o learner identifies the uses of audio effects in audio Software. o learner demonstrates post production audio effects. EASTERN ARIZONA COLLEGE - 3 - Sound Design and Foley Equal Opportunity Employer and Educator Types of Instruction Classroom Presentation Practical Exercises Grading Information Grading Rationale The final grade will be representative of student's scores on the class assignments and final portfolio. The final portfolio shall comprise at least 10% of the final grade. Grading Scale A 90% - 100% B 80% - 89% C 70% - 79% D 60% - 69% F Below 60% EASTERN ARIZONA COLLEGE - 4 - Sound Design and Foley Equal Opportunity Employer and Educator .
Recommended publications
  • 1 the Work of an Invisible Body: the Contribution of Foley Artists to On
    1 The Work of an Invisible Body: The Contribution of Foley Artists to On-Screen Effort Lucy Fife Donaldson, University of Reading Abstract: On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film. On-screen bodies are central to our engagement with film; the ways they are framed and captured by the camera guides our attention to character and action, while their physical qualities invite a range of engagement from admiration, appreciation and desire to awe, fear and repugnance.
    [Show full text]
  • Woods Citizens Unhappy With
    IICYCUNG ClNIU HOffIC 01 eM NftfJI IOnllS on4 'ANI ,................. --- ......,.,.... ta ......~ _, CANs : ... c..".III~ - ....._ e- M a.-. " IoeIioIa. !Co-UNE 17'.1333 M J I "." 10 ...... I _. rosse Pointe ews Complete Ne.." Coverage of AU the Pointe. Vol. 35-No, 3. lie'" e.., GROSSE POINTE, MICHIGAN, THURSDAY, AUGUST 22, 1974 fl." Ptr Year 26 Pages-Two Sections-Section One HEADLINES Dedicated Coach Receives Honor Woods Citizens SEMTA Is ... • Concerned Unhappy with Over Decree Ordinance Provides for :ng n AMual Inspection, Pav... Pla Licensing, of Buses ft.1In4Iay, A.... 15 Opereted in City R Fb°rdR R ._PRESIDENTb Many Question Necessity end Overall Benefit of Bv D-er A, W.1.. Ic a ~Jl!IIi. NlAOD. was su • PEt H If J --a _ poeDaed today to appear ill Proposed' Improvement to Ive IS I The Woods Council at the Water.gate cover.yp trial of Sunningdale Plrk Via Specil' the refUlar meeting Mon- wasnext fUedmonth.in TbeU.S. subpoenaDistrict , Assessment Method day. 1August ed19, unanl.rdl Court on behalf of John D. By Roger A, Waha mous y pus an 0 • Ebrlichman, former domes. Over a dozen residents attended the regular nance to provide for the tic counsel to Mr. Nixon. meeting of The Woods Council Monday, August 19, annual ,inspection and H. The subpoena was addressed . d' I d ri bllc h cens1ng of all buaes op- to Mr. Nixon at the "Presl. to express their ISp easure, u ng a pu. c. .ear. erated within the city. dential compoWId, San Cleo ing, with the proposed special assessment dlstnci.
    [Show full text]
  • Confusions Program [1992]
    University of Southern Maine USM Digital Commons Programs 1992-1993 Season Theatre Programs 1990-2000 Fall 1992 Confusions Program [1992] University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-1992-1993 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Confusions Program [1992]" (1992). Programs 1992-1993 Season. 5. https://digitalcommons.usm.maine.edu/theatre-programs-1992-1993/5 This Program is brought to you for free and open access by the Theatre Programs 1990-2000 at USM Digital Commons. It has been accepted for inclusion in Programs 1992-1993 Season by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. Brian C. Lamphier (Waiter, Martin) Is a senior theatre minor while enjoying a major in communication with an emphasis in Con~tJ~!!JJlie'9apmys sports broadcasting. His last performance at USM was the role by Alan Ayckbourn of Creon in "The Medea Myth" Directed by Jane Bergeron Time: The Present Diet/Ind Vanderschaaf (Lucy, Paula, Polly, Milly) is a The action takes place in a Living-Room, a Bar, freshman this year at USM, with a major In psychology. She a Restaurant, and a Marquee. has worked with the Theatre Project in Brunswick for six years. This past summer she was a camp counselor and drama coach for a YMCA camp in Winthrop, Maine. Her vUot~ell tligUlle favorite production to date was one she acted in, "Red Lucy.. ........ ...... Diet/ind Vanderschaaf Sneaks'~ a rap-rock musical.
    [Show full text]
  • Vintage Hitchcock a Live Radio Play
    Vintage Hitchcock A Live Radio Play APRIL 16 through M A Y 2 2021 Robert Jeffrey (Jeff) Wolford Samuel F. Robinson, III Debt Collection, Business Law, Personal Injury, Family Law, Criminal Defense, and Contract Lawyers in Tennessee and Georgia 423-622-6461 1700 McCallie Ave • Chattanooga, Tennessee 37404 Since 1923 The Chattanooga Theatre Centre presents VINTAGE HITCHCOCK A LIVE RADIO PLAY By Joe Landry Director RODNEY VAN VALKENBURG Original Musical Underscoring MICHAEL HUSEMAN Production Design R. SCOTT DUNLAP Technical Direction JUSTIN HOLDERMAN Sound Engineer GARY MAY Stage Managers Jesse Headrick Robert Soderstrom Produced by special arrangement with Playscripts, Inc. www.playscripts.com Headshots by Brad Cansler Thanks to Our Friends & Supporters Board of Directors Mitch Collins, President 1st Vice President Scott Shaw, 2nd Vice President AngieJennifer Griffin, Major, Secretary Alesia Carter, Treasurer Roger Cass, John Echols, Josh Garcia, Tom Griscom, Magge Hudgins, Kim Jackson, Melissa Loyd, Beth McClary-Wolford, Amy Meller, Pam Miller, Lisi Phillips, Steve Ray, Alfred Smith, Rodney Strong, Jan Suhrbier, LaFrederick Thirkill, Marté Williams, Shelia Wofford, Kat Wright Board of Stewards Owen Allen, Jo Coke, Paula Henderson, Sonia Young Founded in 1923, the Chattanooga Theatre Centre is dedicated to enriching the cultural, intellectual, and emotional development of people of all ages by providing high-quality theatrical experiences and creating opportunities to engage in them. To join us in this mission, call 423.267.8534 or visit us at TheatreCentre.com to find out how you can take part. CASTS Psycho Cast Performances on (in order of appearance) April 16 (8 PM), 17 (2:30 PM), 22 (7 PM), 24 (8 PM), 25 (2:30 PM), 30 (8 PM) and May 1 (2:30 PM) Actor 1 ...................................................
    [Show full text]
  • Glossary of Filmmaker Terms
    Above the Line Clapboard Generally the portion of a film's budget that covers A small black or white board with a hinged stick on the costs associated with major creative talent: the top that displays identifying information for each shot stars, the director, the producer(s) and the writer(s). in the movie. Assists with organizing shots during (See also Below the Line) editing process; the clap of the stick allows easier Art Director synchronization of sound and video within each shot. The crew member responsible for the design, look Construction Coordinator and feel of a film's set. Includes props, furniture, sets, Also known as the construction manager, this person etc. Reports to the production designer. supervises and manages the physical construction of Assistant Director (A.D.) sets and reports to the art director and production Carries out the director’s instructions and runs the set. designer. The first A.D. is responsible for preparing the Dailies production schedule and script breakdown, making The rough shots viewed immediately after shooting sure shooting stays on schedule and on budget. The each day by the director, along with the second A.D. is responsible for distributing information cinematographer or editor. Used to help ensure and cast notifications, keeping track of hours worked proper coverage and the quality of the shots gathered. by cast and crew, management of extras, signing Director actors in and out and preparing call sheets. The The person in charge of the overall cinematic vision of second A.D. is also in charge of the production the film and the performance of the actors.
    [Show full text]
  • Weekend of One Act Plays and Monologues at Theatre Artists Workshop in Norwalk, May 19 to 21
    Darienite News for Darien https://darienite.com Weekend of One Act Plays and Monologues at Theatre Artists Workshop in Norwalk, May 19 to 21 Author : David Gurliacci Categories : Theater Tagged as : Spring Playwrights Festival 2017, Theatre Artists Workshop 2017 Date : May 3, 2017 In three days of extraordinary performances that will entertain, amuse, enlighten and move, eight short original works for the theatre — comedy, drama, mystery and fantasy — will debut in the Theatre Artists Workshop’s 2017 Spring Playwrights Festival on the weekend of May 19 to 21. The event takes place Friday and Saturday, May 19 and 20 starting at 8 p.m. each night, and Sunday, May 21 at 3 p.m. in TAW’s beautiful black box theatre at 5 Gregory Blvd, Norwalk. From the underworld to the apocalypse, a bedroom to an airplane, these original one-act plays and monologues represent the diverse sensibilities and some of the current efforts of the Workshop’s talented playwrights. They will be performed by TAW’s gifted company of professional actors. 1 / 3 Darienite News for Darien https://darienite.com Tickets for the benefit are $25.Reservations are strongly recommended and can be made at the box office at 203-854-6830 or online. Produced by actor/writer/directors Granville Burgess of Greenwich, and Carole Schweid of Westport, who also produces the popular lunchtime series, “Play With Your Food,” the Playwrights Festival is part of the annual TAW fundraising campaign for the not-for-profit organization whose mission is to promote theatrical excellence. In Fran Dorf’s claustrophobic dystopian drama “The Basement of Everything You Need,” a married couple find themselves in paradise with no way out.
    [Show full text]
  • DOCUMENT RESUME CE 056 758 Central Florida Film Production Technology Training Program. Curriculum. Universal Studios Florida, O
    DOCUMENT RESUME ED 326 663 CE 056 758 TITLE Central Florida Film Production Technology Training Program. Curriculum. INSTITUTION Universal Studios Florida, Orlando.; Valencia Community Coll., Orlando, Fla. SPONS AGENCY Office of Vocational and Adult Education (ED), Washington, DC. PUB DATE 90 CONTRACT V199A90113 NOTE 182p.; For a related final report, see CE 056 759. PUB TYPE Guides - Classroom Use - Teaching Guides (For Teacher) (052) EDRS PRICE MF01/PC08 Plus PoQtage. DESCRIPTORS Associate Degrees, Career Choice; *College Programs; Community Colleges; Cooperative Programs; Course Content; Curriculun; *Entry Workers; Film Industry; Film Production; *Film Production Specialists; Films; Institutional Cooperation; *Job Skills; *Occupational Information; On the Job Training; Photographic Equipment; *School TAisiness Relationship; Technical Education; Two Year Colleges IDENTIFIERS *Valencia Community College FL ABSTRACT The Central Florida Film Production Technology Training program provided training to prepare 134 persons for employment in the motion picture industry. Students were trained in stagecraft, sound, set construction, camera/editing, and post production. The project also developed a curriculum model that could be used for establishing an Associate in Science degree in film production technology, unique in the country. The project was conducted by a partnership of Universal Studios Florida and Valencia Community College. The course combined hands-on classroom instruction with participation in the production of a feature-length film. Curriculum development involved seminars with working professionals in the five subject areas, using the Developing a Curriculum (DACUM) process. This curriculum guide for the 15-week course outlines the course and provides information on film production careers. It is organized in three parts. Part 1 includes brief job summaries ofmany technical positions within the film industry.
    [Show full text]
  • FILM 5 Budget Example
    TFC Production Budget-DETAIL Title: My FILM 5 Movie Budget Dated: 22-Aug-18 Series: Medium/Format: Prodco: Length: 5 mins Location/Studio: Halifax 01.00 STORY RIGHTS/ACQUISITIONS Acct Description CASH 01.01 Story Rights/Acquisitions (0) 01.95 Other (0) TOTAL STORY 01.00 (0) RIGHTS/ACQUISITIONS 02.00 SCENARIO Acct Description # # Units Unit Rate/Amt CASH 02.01 Writer(s) 1 1 --- 0.00 (0) 02.05 Consultant(s) 1 1 --- 0.00 (0) 02.15 Storyboard 1 1 --- 0.00 (0) 02.20 Script Editor(s) 1 1 --- 0.00 (0) 02.25 Research 1 1 --- 0.00 (0) 02.27 Clearances/Searches 1 1 --- 0.00 (0) 02.30 Secretary 1 1 --- 0.00 (0) 02.35 Script Reproduction 1 1 --- 0.00 (0) 02.60 Travel Expenses 1 1 --- 0.00 (0) 02.65 Living Expenses 1 1 --- 0.00 (0) 02.90 Fringe Benefits 0.00 % 0 (0) 02.95 Other 1 1 --- 0.00 (0) 02.00 TOTAL SCENARIO (0) 03.00 DEVELOPMENT COSTS Acct Description CASH 03.01 Preliminary Breakdown/Budget (0) 03.05 Consultant Expenses (0) 03.25 Office Expenses (0) 03.50 Survey/Scouting (0) 03.60 Travel Expenses (0) 03.65 Living Expenses (0) 03.70 Promotion (0) TFC0208-0612 Page 1 of TFC Production Budget-DETAIL 03.95 Other (0) 03.00 TOTAL DEVELOPMENT COSTS (0) 04.00 PRODUCER Acct Description # # Units Unit Rate/Amt CASH 04.01 Executive Producer(s) 1 1 --- 0.00 (0) 04.05 Producer(s) 1 1 --- 0.00 (0) 04.07 Line Producer(s) / Supervising Prod.(s) 1 1 --- 0.00 (0) 04.10 Co-Producer(s) 1 1 --- 0.00 (0) 04.15 Associate Producer(s) 1 1 --- 0.00 (0) 04.25 Producer's Assistant 1 1 --- 0.00 (0) 04.60 Travel Expenses 1 1 --- 0.00 (0) 04.65 Living Expenses 1 1 --- 0.00
    [Show full text]
  • Costume Design and Production for the Mystery of Edwin Drood by Rupert Holmes
    Costume Design and Production for The Mystery of Edwin Drood by Rupert Holmes THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Samantha Anne Kuhn Graduate Program in Theatre The Ohio State University 2013 Committee: Kristine Kearney, Advisor Mary Tarantino A. Scott Parry Copyright by Samantha Anne Kuhn 2013 Abstract The purpose of this paper is to document the costume design and production process for Rupert Holmes’ musical The Mystery of Edwin Drood, as produced by the Department of Theatre and the School of Music at The Ohio State University and directed by A. Scott Parry, the School of Music’s Director of Lyric Theatre. The musical was presented in the Thurber Theatre at Ohio State, November 7 through November 11, 2012. The Mystery of Edwin Drood is a musical in which a Victorian Music Hall troupe in 1892 England performs a dramatization of Charles Dickens’ final, unfinished novel, The Mystery of Edwin Drood. Told in the vaudevillian manner of English Music Hall Theatre of the late nineteenth century, the piece utilizes song, dance, bawdy humor and audience participation to tell and ultimately discover an ending to Dickens’ story. Research and designs for the production were derived from photographs, historical research and artwork of Music Hall performers and everyday English citizens from the late nineteenth century. The scenic design transformed the Thurber Theatre into a nineteenth century Music Hall, necessitating that the costume design also transform the actors into Victorian performers to support the historical demands of the script and to create an authentic experience for the audience.
    [Show full text]
  • FAQ About Film Production — 1 Action Movie Makers Training
    Action Movie makers training © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 1 Action Movie makers training FAQ About Film Production By Philippe Deseck July 2016 Content • About the Author • What is a Producer? • What is an Executive Producer? • What is a Line Producer? • What is a Supervising Producer? • What is a Co-Producer? • What is a Director? • What is a Unit Production Manager? • What is a 2nd Unit Director? • What is an Action Director? • What is an Assistant Director? • What is a Director of Photography? • What is a Script Supervisor? © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 2 Action Movie makers training • What is Sound Recordist? • What is a Video Split Operator? • What is a Key Grip? • What is a Gaffer? • What is a Safety Supervisor? • What is a Stunt Coordinator? • What is a Stunt Double? • What is a Stunt Rigger? • What is a Choreographer? • When is a Stunt Co-ordinator required on your Production? • An Example of all the Different Departments that work on a Feature Film © 2016 FAQ About Film Production — www.actionmoviemakerstraining.com 3 Action Movie makers training About the Author IMDB PROFILE: http://www.imdb.com/name/nm3455222/?ref_=fn_al_nm_1 Since a very young age Philippe has had a love for movies, particularly action movies from Hong Kong. Since 1994 Philippe has been actively involved in film, TV and radio whilst living in Thailand. Philippe’s movie credits include Street Fighter - where he was first introduced to stunt man Ronnie Vreeken, Operation Dumbo Drop and The Quest - where he met stunt man Alex Kuzelicki.
    [Show full text]
  • POST PRODUCTION PROCESS and POSITIONS
    POST PRODUCTION PROCESS and POSITIONS PRODUCERS Executive Producer - is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum. Producer - A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project. Associate Producer - Shares responsibility for creative and business issues. DIRECTION Director - The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred. POST PRODUCTION SUPERVISION Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant.
    [Show full text]
  • DGC ARC Job Classifications
    DGC ARC Job Classifications Job Classifications and Descriptions Job classifications and descriptions and their respective departments are set out below. They shall not be materially altered, amended, changed, or deleted, nor shall new classifications, descriptions or departments be established without the mutual agreement of the parties hereto. General The classifications and descriptions below of Guild Member’s established duties are not intended, nor shall they be construed, either to enlarge or diminish the duties, rights and functions of any recognized crafts or trades within the film and television industry or the participation of the Producers. DIRECTORS Directors (DIR) (a) The Director is engaged by the Producer and assigned by the Producer to direct a Motion Picture. The Director directs whatever is seen and heard in a Motion Picture. The Director has the right to be present on the set whenever shooting is in progress. The fact that the Director may also render services as Producer or Writer or in any other capacity shall not change the Director’s job classification, with reference to work performed as a Director, and during the period of such work. (b) The terms “Director” and “directing” as used herein shall include directing all related functions and activities required for translating and transferring the premise, idea, and/or concept to the audio-visual images. (c) A Director’s duties include the following: survey and approve all locations and their use as they pertain to the directorial idea and need; directorial planning
    [Show full text]