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Դɼ | Dorothy F. Schmidt College of Arts and Letters | School of Communication and Multimedia Studies
2012 Fall Syllabus | DIG 3253C-001 Digital Audio Recording & Editing | 4 Credits | W @ 1 p.m. - 4:50 p.m. | AT 416 | FTL Campus
Professor: Shane Christian Eason, BFA, MFA
Contact Info: 954 762 5246 + HYPERLINK "mailto:eason@fau.edu" eason@fau.edu
Online Resources: HYPERLINK "http://www.fau.edu/scms" www.fau.edu/scms + HYPERLINK "http://proteus.fau.edu/" htt p : / / p r o t e u s . f a u . e d u
O c e L o c a t i o n : A s k e w T o w e r 8 1 9 , F A U F o r t L a u d e r d a l e
O c e H o u r s : M o n d a y f r o m 1 0 a . m . - 1 p . m . , b y a p p o i n t m e n t
T u e s d a y f r o m 7 a . m . - 9 a . m . , b y a p p o i n t m e n t
W e d n e s d a y f r o m 1 0 a . m . - 1 p . m . , b y a p p o i n t m e n t
I m p o r t a n t U n i v e rsity Dates for Fall 2012
Aug. 18 Fall Semester Begins
Sept. 3 Labor Day Holiday (University Closed)
Nov. 12 Veterans Day Holiday (University Closed)
Nov. 22 - 25 Thanksgiving Holiday (University Closed)
Nov. 29 Final Examination Period
Dec. 7 Fall Semester Ends
Dec. 24 -25 Winter Holiday (University Closed)
Dec. 31 - Jan. 1 New Years Holiday (University Closed)
Communication
All one-on-one communication will be conducted during the allotted cour s e p e r i o d o r d u r i n g o c e h o u r s h e l d b y t h e p r o f e s s o r . O t h e r c o m m u n i c a t i o n r e g a r d i n g c o u r s e w o r k o r F A U S C M S p o l i c y w i l l b e d o n e t h r o u g h y o u r F A U e m a i l . T h e r e i s n o c o m m u n i c a t i o n t h r o u g h t h i r d p a r t y e m a i l a d d r e s s e s s u c h a s G m a i l , Y a h o o , e t c . Y o u m a y a c c e s s your FAU email and other account information through MYFAU at HYPERLINK "http://myfau.fau.edu" myfau.fau.edu or through FAU Blackboard at HYPERLINK "http://blackboard.fau.edu" blackboard.fau.edu.
Disability
In compliance with the Americans with Disabilities Act (ADA), a student that requires special accommodations regarding course work due to a physical or mental disability, must regist e r w i t h t h e O c e o f S t u d e n t s w i t h D i s a b i l i t i e s . I t i s t h e r e s p o n s i b i l i t y o f t h e s t u d e n t t o n d t h e a s s i s t a n c e n e e d e d , a n d r e g i s t e r p r o p e r l y w i t h F A U O S D a t t h e s e l o c a t i o n s : B o c a R a t o n S U - 1 3 3 , D a v i e L A - 2 4 0 , J u p i t e r S R - 1 1 0 , a n d T r e a s u r e C o a s t C O - 1 1 7 . A d d i t i onal information regarding registration can be found at HYPERLINK "http://osd.fau.edu/" www.osd.fau.edu.
FAU Honor Code
Students at Դɼ are expected to maintain the highest ethical standards. Academic dishonesty is considered a serious breach of these ethical standards, because it interferes with the university mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, copy and paste the University Regulation 4.001 link at HYPERLINK "http://www.fau.edu/" http://www.fau.edu/ regulations/chapter4/4.001_Code_of_Academic_Integrity.pdf.
Plagiarism
The most common o e n s e u n d e r t h e A c a d e m i c C o d e o f C o n d u c t i s p l a g i a r i s m w h i c h t h e c o d e d e n e s a s t h e p r e s e n t a t i o n o f t h e w o r k o f a n o t h e r p e r s o n a s o n e s o w n o r w i t h o u t p r o p e r a c k n o w l e d g m e n t . T h i s c o u l d b e m a t e r i a l c o p i e d w o r d f o r w o r d f r o m b o o k s , j o u r n a l s , i n t e r n e t s i t e s , professors course notes, etc. It could be material that is paraphrased but closely resembles the original source. It could be the work of a fellow student, for example, an answer on a quiz, data for a lab report, a paper or assignment completed by another student. It might be a paper bought through one of the many available sources. Plagiarism does not refer to words alone it can also refer to copying images, graphs, tables and ideas. Presentation is not limited to written work. It also includes oral p r e s e n t a t i o n s , l m a n d v i d e o a s s i g n m e n t s , a n d a r t i s t i c w o r k s . I f y o u t r a n s l a t e t h e w o r k o f a n o t h e r p e r s o n i n t o a n o t h e r l a n g u a g e a n d d o n o t c i t e t h e s o u r c e , t h i s i s a l s o p l a g i a r i s m . I f y o u c i t e y o u r o w n w o r k w i t h o u t t h e c o r r e c t c i t a t i o n , t h i s t o o i s p l a g i a rism. In simple words: do not copy, paraphrase or translate anything from anywhere without saying from where you got it. Use quotation marks appropriately. For more information regarding plagiarism, please see HYPERLINK "http://www.fau.edu/handbook" www.fau.edu/handbook.
Writing Across Curriculum and Computation Skills - Gordon Rule
To comply with Floridas State Board of Education regarding the Gordon Rule, all students must successfully complete 12 credits of writing and 6 credits of mathematics, with grades of C or higher, as a requirement for admission to the upper division. Courses approved to satisfy the Gordon Rules writing component, administered through the Writing Across Curriculum Program at FAU, are coded as WAC (Gordon Rule) in the FAU course schedule and catalog. Courses approved to satisfy the Gordon Rules mathematics component are coded as Gordon Rule, computational in the FAU course schedule and catalog. To have courses from out-of-state institutions evaluated as Gordon Rule equivale n t , s t u d e n t s m u s t p r o v i d e e i t h e r a c o u r s e s y l l a b u s o r a l e t t e r f r o m t h e p r e v i o u s i n s t i t u t i o n o n o c i a l l e t t e r h e a d t h a t d e m o n s t r a t e s t h e y h a v e f u l l l e d t h e w r i t i n g o r m a t h e m a t i c s c r i t e r i a l i s t e d a b o v e . P l e a s e s e e H Y P E R L I N K " h t t p : / / w w w . f a u . e d u / r e g i s t r a r " www.fau.edu/registrar for additional information.
Zero Tolerance
No food or drink in labs or equipment area; use of cell phones during class is prohibited; access to the internet during class lecture is prohibited; FAU campus is a smoke free environment; a 20 minute break will be supplied for a 3 and 4 credit course.
Equipment, Lab + Studio Access
Current communication students that are enrolled in good standing in the SCMS at FAU may reserve production equipment, external hard drives, and labs. Al l e l d e q u i p m e n t w i l l b e c h e c k e d i n o r o u t d u r i n g s c h e d u l e d h o u r s f r o m A T - 9 1 4 , u n l e s s a n a r r a n g e m e n t i s m a d e i n a d v a n c e . A l l e q u i p m e n t m u s t b e r e t u r n e d o n t i m e a n d i n p r o p e r w o r k i n g o r d e r . L a t e r e t u r n s a n d n e g l i g e n t h a n d l i n g o f e q u i p m e n t w i l l r e s u l t i n s u s p e n d e d e q u i p m e n t a c c e s s , g r a d e p e n a l t i e s , c o u r s e f a i l u r e , a n d / o r n e s f o r r e p l a c e m e n t o r r e p a i r . S t u d e n t s a r e r e s p o n s i b l e f o r a l l l o s s a n d d a m a g e t o e q u i p m e n t w h i l e i t s i n t h e i r p o s s e s s i o n . P r o p e r c a r e a n d m a i n t e n a n c e o f p r o d u c t i o n f a c i l i t i e s a n d e q u i p m e n t i s i m p o r t a n t . B e f o r e w a r n e d t h a t t h e m i s h a n d l i n g o f e q u i p m e n t o r f a c i l i t i e s a t a n y t i m e d u r i n g t h e s e m e s t e r w i l l r e s u l t i n s u s p e n s i o n o f y o u r p r i v i l e g e s . A l l s t u d e n t s m u s t p a r t i c i p a t e f u l l y i n w o r k s h o p s t o a c c e s s s p e c i c e q u i p m e n t a n d f a c i l i ties. Review attached policy and procedures for more information pertaining to equipment and facility usage.
Equipment + Facility Access
Equipment for check-out and check-in is located in AT-914. The Multimedia Labs are located in AT-414, AT-415, AT-416, and AT-928. The production studio is located in AT-921. Access to equipment and facilities are determined by the professor and will be announc e d i n t h e r s t w e e k o f t h e c u r r e n t s e m e s t e r . A d d i t i o n a l l y , a n o p e n l a b w i t h s i m i l a r h a r d w a r e , s o f t w a r e , a n d p r i n t i n g c a p a b i l i t i e s i s a v a i l a b l e i n H E C - 6 1 1 . P l e a s e r e f e r t o H Y P E R L I N K " h t t p : / / w w w . f a u . e d u / i r m / b r o w a r d " w w w . f a u . e d u / i r m / b r o w a r d f o r p o l i c y a n d operation hours for that lab.
Goals + Objectives of DIG 3253C Digital Audio Recording and Editing
The objective of this course is to introduce you to aesthetic principles and ideas that will help you investigate the creative potential of sound as an expressive medium. Through readings, presentations, discussions, and projects, you will investigate and review the historical and contemporary aspects of sound art works. This course has two interrelated objectives: to explore the aesthetic possibilities of sound relationships while offering students a strong grounding in the technical aspects of sound production.
This course will explore the basics and characteristics of audio as expression for film and video production in its most fundamental forms. This active production course is designed to give participants a general introduction to sound for film and video production, providing historical, technical, conceptual, artistic, aesthetic, and theoretical insight into the genre and medium. Students will be given refreshers in hands on training of the operation of digital video production equipment that include camera kits, tripods, lighting gear, audio gear, etc., and the supplemental editing stations that include current video and audio editing programs.
Students will also be instructed to prepare project treatments, scripts, story boards, edit logs, mix logs, etc., and develop a general understanding of the various steps of the film production process that may include research and planning for film sound. Students will be asked to develop an understanding of the central aesthetic and be aware of the critical questions of the cinematic field, such as the specific features of the medium that include real time, screen space, feedback, liveliness, portability, storytelling, etc. A student should understand the relationship between cinema and other forms of visual and performing arts, and will need to look at the areas of cultural production through photography, painting, television, sculpture, dance, etc., and how it relates to audio for film. Also, a student should become familiar with the politics of discursive cinematic and audible forms and structures.
The course is designed to facilitate the development of a personal voice and point of view in a students film, video and audio work. Students will develop their communicative skills through the medium and begin to develop a unique visual style of expression. The goal is for students to develop a forum for exploring and transmitting their raw, personal experience; develop a voice; and use the medium in a manner that can effectively communicate original ideas as filmmakers and artists.
To complete the course, a student must fully complete a number of assignments on time that include short video and audio projects, in class exercises, out of class exercises, presentations, and so on. Students will present their work to the class and lead discussion of both technical and aesthetic points relating to their own projects. Students are also required to demonstrate an ability to respond to, analyze and evaluate film, video and audio work through extensive readings and screenings.
Expectations + Prerequisites (Course Pre-Req: FVNM Majors + RTV 3260 with a Minimum Grade of C)
A willingness to read, write, work, and discuss. Much of what we do in class involves higher-level thinking; conceptualizing and planning projects; evaluating the meanings generated by a particular screening; and engaging aesthetic, political, and philosophical ques t i o n s a b o u t l m a n d v i d e o . Y o u s h o u l d b e p r e p a r e d f o r c r i t i c a l d i s c u s s i o n w h e n y o u c o m e t o c l a s s . T h i s i s a n a c t i v e p r o d u c t i o n c l a s s , t h e r e f o r e v i s i t o r s a r e n o t p e r m i t t e d u n l e s s p e r m i s s i o n i s g r a n t e d b y t h e p r o f e s s o r .
S t u d e n t s s h o u l d p o s s e s a n o p e n m i n d . The work presented in class will bear very little relationship to mainstream or Hollywood cinema. Instead, the course asks students to explore new areas of media production, and perhaps even rethink some of their presumptions in existing areas. Watching certain t y p e s o f l m c a n b e c h a l l e n g i n g , a n d e v e n f r u s t r a t i n g a t r s t . T o b e n e t m o s t f r o m t h i s c l a s s , y o u w i l l u n d o u b t e d l y h a v e t o a d j u s t y o u r p r e c o n c e p t i o n s a s a s p e c t a t o r , y o u r h a b i t s o f a t t e n t i o n , y o u r v i e w i n g p r a c t i c e s , a n d p e r s o n a l t h r e s h o l d s .
F u r t h e r m o r e , c onsider this as a safe space classroom. To create a climate for open and honest dialogue, and to encourage the broadest range of viewpoints, its important for class participants to treat each other with respect. Name calling, accusations, verbal attacks, sarcasm, and other negative exchanges are counter productive to successful teaching and learning.
The purpose of class discussions is to generate greater understanding about di e r e n t a s s i g n m e n t s a n d t o p i c s i n c i n e m a p r o d u c t i o n . T h e e x p r e s s i o n o f t h e b r o a d e s t r a n g e o f i d e a s , i n c l u d i n g d i s s e n t i n g v i e w s , a c c o m p l i s h e s t h i s g o a l . H o w e v e r , i n e x p r e s s i n g v i e w p o i n t s , s t u d e n t s s h o u l d t r y t o r a i s e q u e s t i o n s a n d c o m m e n t s i n a w a y t h a t w i l l p r o m o t e l e a r n i n g , r a t h e r t h a n d e f e n s i v e n e s s a n d c o n i c t i n o t h e r s t u d e n t s . T h u s , q u e s t i o n s a n d c o m m e n t s s h o u l d b e a s k e d o r s t a t e d i n s u c h a w a y t h a t w i l l p r o m o t e g r e a t e r i n s i g h t i n t o a n d a w a r e n e s s o f t o p i c s a s o p p o s e d t o a n g e r a n d c o n i c t .
R e m e m b e r t h a t i t s a l l r i g h t t o d i s a g r e e w i t h e a c h o t h e r . T h e p u r p o s e o f d i a l o g u e a n d d i s c u s s i o n i s n o t t o r e a c h a c o n s e n s u s , n o r t o c o n v i n c e e a c h o t h e r o f d i e r e n t v i e w p o i n t s . R a t h e r , t h e p u r p o s e o f d i a l o g u e i n t h e c l a s s r o o m i s t o r e a c h h i g h e r l e v e l s o f l e a r n i n g b y e x a m i n i n g d i e r e n t v i e w p o i n t s a n d o p i n i o n s .
D I G 3 2 5 3 C D i g i t a l A u d i o R e c o r d i n g & E d i t i n g F A U C o u r s e C a t a l o g D e s c r i p t i o n
C o m p r e h e n s i v e o v e r v i e w o f t h e b a s i c s o f u s i n g d i g i t a l a u d i o e q u i p m e n t i n a s t u d i o e n v i r o n m e n t t o r e c o r d a n d e d i t a u d i o . S t u d e n t s a r e i n t r o d u c e d t o a u d i o s y s t e m s , a u d i o / v i d e o p o s t - p r o d u c t i o n , a u d i o e d i t i n g a n d s u r r o u n d s o u n d m i x i n g u s i n g s o f t w a r e p a c k a g e s . S o u n d d e s i g n t h e o r y i s c o v e r e d .
D i s c l a i m e r
B e a w a r e t h a t t h e l m , v i d e o , a n d o t h e r m e d i a s c r e e n e d i n c l a s s m a y c o n t a i n c o n t e n t u n s u i t a b l e for some, and is therefore for mature persons. Each screening is done regarding artistic development, ideas, philosophy, cinematic attributes, cinematic history, and stylistic approach.
Attendance + Presentation
All classes start on time. Tardy arrivals or an early departure from class may constitute a grade loss. Proper reason and documentation must be given in this situation. Three late arrivals and/or early departures may result in one full day of absence.
Being absent on a presentation day, may count a g a i n s t a p r o j e c t g r a d e . A t t e n d a n c e a n d p a r t i c i p a t i o n o n d a y s t h a t t h e c l a s s i s d i s c u s s i n g a n d s c r e e n i n g a s s i g n m e n t s a r e v i t a l t o y o u r d e v e l o p m e n t . Y o u r p r e s e n c e o n t h e s e d a y s g u r e s i n t o y o u r a t t e n d a n c e g r a d e . I f a c l a s s i s m i s s e d , i t i s y o u r r e s p o n s i b i l i t y t o c o v e r a l l a s s i g n m e n t s a n d r e a d i n g s . D i s c u s s a m i s s e d c l a s s w i t h y o u r p e e r s o r r e v i e w t h e c o u r s e s y l l a b u s . T h e r e i s l i t t l e t i m e f o r r e p e t i t i o n .
I f t h r e e o r m o r e c l a s s e s a r e m i s s e d i n t h e s e m e s t e r , w i t h o u t p r o p e r r e a s o n a n d / o r d o c u m e n t a t i o n , y o u w i l l l o s e 2 5 % o f t h e n a l g r a d e . B e i n g a b s e n t f o r 5 o r m o r e c l a s s e s d u r i n g t h e s e m e s t e r , w i t h o u t p r o p e r a n d / o r j u s t i e d r e a s o n s , w i l l r e s u l t i n a f a i l i n g g r a d e .
P r o m p t a n d r e g u l a r a t t e n d a n c e f o r t h e f u l l c l a s s p e r i o d i s e x t r e m e l y i m p o r t a n t . Y o u r c l a s s m a t e s a r e a valuable source of support and idea generation within your development. For this reason, you will be asked to share your ideas, work in progress, and completed work with classmates for critical opinion and discussion. Each production assignment will have a formal screening and critique.
Grading
All students must be enrolled with Դɼ in good standing. A student whose GPA (Grade Point Average) is below 2.5 will be dropped from the FVNM track and placed into the Media and Cultural Studies track. A GPA of 2.5 is required for transfer into the program. Please review your FAU catalog or go online to HYPERLINK "http://www.fau.edu/scms" www.fau.edu/scms for more information regarding the FAU School of Communication and Multimedia Studies.
Grade Scale
100 - 95 = A 94 - 90 = A- 89 - 86 = B+ 85 - 83 = B 82 - 80 = B- 79 - 76 = C+
75 - 73 = C 72 -70 = C- 69 - 66 = D+ 65 -63 = D 62 - 60 = D- 59 - 0 = F
Required + Recommended Text Books, Materials + Supplies
1. HYPERLINK "http://www.abebooks.co.uk/book-search/title/sound-design-the-expressive-power-of-music-voice-and-sound-effects-in-cinema/author/sonnenschein-david/sortby/3/" Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema (REQUIRED)
Sonnenschein, David. Published by Michael Wiese Productions - Studio City, California, 2001.
2. HYPERLINK "http://www.peachpit.com/store/product.aspx?isbn=0321647483" Sound Editing in Final Cut Studio (REQUIRED)
Sobel, Jeff. Published by Peach Pit Press - California, 2010.
3. HYPERLINK "http://search.barnesandnoble.com/Film-Sound/Elisabeth-Weis/e/9780231056373" Film Sound: Theory and Practice (RECOMMENDED)
Edited by: Weis, Elizabeth and Belton, John. Published by Columbia University Press - New York, 1985.
4. HYPERLINK "http://us.penguingroup.com/nf/Book/BookDisplay/0,,9780452286788,00.html?The_Filmmaker's_Handbook_Steven_Ascher" The Filmmakers Handbook: A Comprehensive Guide for the Digital Age - 3rd Edition (RECOMMENDED)
Ascher, Steven & Pincus, Edward. Published by Plume of the Penguin Group - New York, NY, USA, 2007.
5. HYPERLINK "http://www.peachpit.com/store/product.aspx?isbn=0321636813" Final Cut Pro 7 Visual Quickpro Guide - 10th Edition (RECOMMENDED)
Brenneis, Lisa. Published by Peach Pit Press - California, 2010.
6. DV/HD Tapes, CD-RWs, DVD-RWs, External Hard Drive, SD Card, Flash Drive, Video Equipment, Editing Programs,
Journal, Sharpies, etc. (REQUIRED)
*Note: Some material is supplied, but be prepared to buy additional materi a l . I f d e s i r e d , y o u m a y u s e a h o m e c o m p u t e r a n d e d i t i n g p r o g r a m , p o r t a b l e h a r d d r i v e s , a n d p e r s o n a l l m o r v i d e o e q u i p m e n t . H o w e v e r , o n c a m p u s w o r k s h o p s a n d q u i z z e s w i l l m a k e u s e o f F A U S C M S g e a r a n d e d i t i n g l a b s . R e g a r d i n g t e x t b o o k s , m o s t a r e a v a i l a b l e t o buy new or used. Further, some textbooks are available for rent and may be downloadable. Textbooks can be found at the HYPERLINK "http://fau.bncollege.com/webapp/wcs/stores/servlet/BNCBHomePage?storeId=23051&catalogId=10001" FAU Bookstore and through HYPERLINK "http://www.amazon.com" Amazon.com, HYPERLINK "http://Alibris.com" Alibris.com, HYPERLINK "http://Half.com" Half.com, and HYPERLINK "http://Textbooks.com" Textbooks.com. Its your responsibility to find books and supplies wit h i n y o u r b u d g e t .
R e q u i r e d A r t i c l e s + S c r e e n i n g s
A d d i t i o n a l r e a d i n g s m a y b e a s s i g n e d o n a w e e k l y b a s i s . F i l m a n d v i d e o s c r e e n i n g s w i l l b e d o n e i n c l a s s . T h e r e m a y b e i n s t a n c e s w h e n e x t r a c r e d i t i s a v a i l a b l e f o r o c a m p u s e v e n t s o r s c r e e n i n g s . A n n o u n c e m e n t s r e g a r d i n g o c a m p u s e v e n t s w i l l b e p r e s e n t e d i n a d v a n c e o r w h e n a v a i l a b l e .
A s s i g n m e n t s + W o r k s h o p s
Y o u r g r a d e w i l l b e d e t e r m i n e d b y y o u r p e r f o r m a n c e a s a t i m e b a s e d m e d i a a r t i s t a n d f i l m m a k e r d u r i n g t h e s e m e s t e r . Y o u r g r a d e w i l l a l s o b e d e t e r m i n e d b y y o ur performance and your familiarity with basic operating procedures and the integrity of your work. By the end of the semester, you will have assumed new skills, (or advanced skills), for camera work, editing, lighting, sound, etc. You will produce a number of short videos for presentation to the class and grade points. All video work should hold emotion and convey a sense of direction. Do not be afraid of taking risks with each assignment. This is a liberal environment.
Students must supply proper production notes with each assignment when requested. Grades for all production assignments are based on the work in progress, formal screenings, and the required proposals and paperwork. For each individual production assignment, marks will be distributed into a number of categories. The project categories will be for ideas, pre production notes, production rushes, execution, image treatment, sound treatment, r o u g h c u t , n a l c u t , f o r m a l p r e s e n t a t i o n , e t c .
E a c h p r o d u c t i o n a s s i g n m e n t w i l l b e d i s c u s s e d a n d s c r e e n e d a t v a r i o u s s t a g e s o f d e v e l o p m e n t b e f o r e i t s n a l c u t d a t e . F i l m f o r m s s u c h a s a n i m a t i o n o r m u s i c v i d e o w i l l n o t b e a c c e p t e d . P o p u l a r m u s i c f o r u s e i n soundtracks is discouraged. Aside, all assignments and presentations must be approved by the professor before moving forward.
Classes will also consist of workshops of the facilities and equipment. Once a workshop is complete, you may access the facility or equipment. Missing a workshop will jeopardize your chances of using the equipment properly, or entirely. It is up to you to n d t i m e o u t s i d e o f c l a s s f o l l o w i n g l e c t u r e s a n d w o r k s h o p s t o p r a c t i c e a n d a d v a n c e y o u r s k i l l s w i t h t h e e q u i p m e n t a n d f a c i l i t i e s o e r e d t h r o u g h t h e F A U S c h o o l o f C o m m u n i c a t i o n a n d M u l t i m e d i a S t u d i e s .
L a t e P o l i c y f o r A s s i g n m e n t s
P r o p o s a l s a n d p r o j e c t s w i l l be marked down one full letter grade per day after the due date. Assignments turned in after class on the day its due will be considered one day late. Projects turned in without the required paperwork are considered incomplete and will be marked down for each day that the paperwork is not turned in. In addition, you must complete all assignments on time to pass the course.
Arriving late on a day of a quiz, workshop, or presentation may result in a zero. Extensions or rewrites are not an option for assignment completion unless a dire need is presented. Assignments will not be accepted through e-mail or web sites. Nor will assignments be accepted through the means of others; accepted after hours; or left outside of, or under doors.
If an assignment is going to be late, you MUST dr o p o m a t e r i a l t o A T - 8 1 2 d u r i n g n o r m a l o p e r a t i n g h o u r s , 1 0 a . m . - 4 p . m . , M - F . T h e r e , y o u w i l l b e i n s t r u c t e d b y a s t a m e m b e r t o s i g n p a p e r w o r k . Y o u r m a t e r i a l w i l l b e s t a m p e d w i t h a r e c e i v e d d a t e . I f t h i s p r o c e d u r e i s n o t f o l l o w e d , y o u r m a t e r i a l w i l l b e c o m e v o i d a n d g r a d e d a s i s , l a t e , o r i n c o m p l e t e . B e a w a r e t h a t t h e t i m e l i s t e d h e r e i n i s s u b j e c t t o c h a n g e a n d i s d e p e n d e n t o n s t a a v a i l a b i l i t y .
P r o d u c t i o n A s s i g n m e n t 1 : L o c a t i o n S o u n d R e c o r d i n g ( T R T 5 m i n . )
S t u d e n t s w i l l r e c o r d a m b i e n t ( w i l d ) s o u n d i n 5 distinct location. Each location must have good, clean sound. Each of the audio recording must be at least 3 minutes in length. Locations will be your choice. The audio clips should be recorded with the proper microphones, portable mixers, headsets, and recorders. The clips will then be transferred from tape or disc to a nonlinear audio editing and mixing program such as Soundtrack Pro or Final Cut Pro. Clips will then be edited and cleaned.
The finished audio should be clear sounding, with no interference, and should consist of all five locations running 45 seconds each. The first half of each clip will have no video accompaniment. The second half of the video will have the actual video source. At the beginning, or end, of each clip, identify the locations with an information slate on screen. The project will be presented formally to the class for critique and discussion.
Production Assignment 2: Sound Effects Recording (TRT 5 min.)
Students will record 15 different types of sound effects (foley) from raw materials readily available to them. To capture sound that is distinctly crisp and has no echo, the proper video camera, microphones, portable mixers, headsets, and recorders are to be used. Remember, the best place to record for freshly made sound effects, or foley for non diegetic audio, is in a quiet space with no noise interruption, such as a small insulated room or recording studio. Be sure to turn off all impeding appliances (air conditioner, smoke alarm, clocks, radio, TV, computer, fridge, fluorescent lights, cell phones, etc.) that could interfere with the recordings. Each of the clips will then be transferred from tape or disc to a nonlinear audio edit and mixing program such as Soundtrack Pro or Final Cut Pro. Clips will then be edited and cleaned.
The finished assignment should be no more than 5 minutes in length and must consist of all 15 original sound effects. The first clip of each sound will not have video. The repeated second clip of the same sound effect will have the video accompaniment of you creating that particular foley sound. At the beginning or end of each clip, identify the sound effect, and the tool(s) used to create the foley, in an information slate on screen. The project will be presented formally to the class for critique and discussion. For reference guides to foley creation, see the list supplied in class, or go to the resource page at HYPERLINK "http://www.epicsound.com" www.epicsound.com. Further, feel free to create something entirely new from scratch.
Production Assignment 3: Soundscape Creation (TRT 5 min.)
This assignment will consist of both diegetic and non diegetic audio. However, the clips used must come from the first two assignments. The idea here is to create a soundscape that could potentially be used for a film or video project. Use the recorded sound from the previous two assignments to create a flowing soundscape that has a tempo and rhythm.
Other options for this assignment is to try a radio play that includes your recorded ambient and foley sound. Keep in mind that this may take longer as voice actors are needed. Each actor would need to be recorded cleanly, over multiple takes, in a controlled environment, while reading from an original written script.
A third possibility is a radio documentary. Again, clean voice recordings of your subjects interviewed must be done. Any ambient sound or foley sound would need to be relevant to the documentary youre doing.
Create the soundscape in Soundtrack Pro or Final Cut Pro. There is no video accompaniment for this assignment. The audio should be clean and clear to enhance any emotion. You may follow the documentary, narrative or experimental approach to the project. The project will be presented formally to the class for critique and discussion.
Production Assignment 4: Sound Editing + Mixing using Found Media (TRT 5 min.)
The purpose of this assignment is to focus on audio and video as a tool for reproduction and transformation and to explore how recycled images and sounds alter and sensationalize reality. Manipulating existing images and sound can undermine their original meanings. It can also demonstrate the value of taking something out of one context, and placing them into new contexts. Found footage can be used to explore a formal property of television (or of video itself) such as editing and sound manipulation.
The video clip that you will use will be supplied by the professor and it is up to the student to recreate the audio track. Be sure to take notes on original audible cues, score, sound effects, ambiance, and dialogue. All the sounds that you use must be new or can be appropriated from somewhere else such as existing video, film, television, radio, audio tape, cd, etc.
Note that popular music cannot be used. Public domain music can be used. Further, you may experiment with audio sampling. The footage must then be edited on a nonlinear system such as Soundtrack Pro or Final Cut Pro. Be prepared to discuss the choices made within the context of the video. The video must then be presented to the class for critique and discussion.
Production Assignment 5: Scratch Video or Video Scratching (TRT 5 min.)
Using original or found footage, create a video that incorporates image and sound manipulation, repetition, and rhythm. The idea is to create beats that flow by remixing images into a coherent rhythmic sound. Video scratching is used to disrupt the linear movement of traditional film and television.
The video scratching creates anticipation. Actions move back and forth until they are allowed to play out. Video scratching is also known as video beat box. Footage must be edited on a nonlinear system such as Soundtrack Pro or Final Cut Pro. You may follow the abstract or experimental approach to the project. Be prepared to discuss the choices made within the context of the video. The video must then be presented to the class for critique and discussion.
Production Assignment 6: Open Form + Open Concept (TRT 5 min.)
Use a number of the skills adopted from the previous assignments and use them into a new video or audio piece. The content of the assignment is solely up to you. It may be objective or subjective; political; personal; abstract; obscure; formal, etc. Attribute close attention to how you and the camera move and interact, and to how an image is constructed and framed. Furthermore, take time in recording, editing and mixing your audio. Be aware of aesthetic and technical capabilities of video such as color, light, line, camera placement and so on. As well, be aware of technical and aesthetic capabilities of audio such as volume, timbre, color, mic placement, etc. Images must be original and the use of a tripod for this assignment is encouraged. Both non diegetic and diegetic sound is also encouraged and must be original. The footage must then be edited on a nonlinear system. Be prepared to discuss the choices made within the context of the video during class. The video will be presented to the class for critique and discussion.
Audio/Sound Performance Paper
Throughout the semester you will have an opportunity to see and hear a number of live performances or films throughout the area. Choose a performance, or film, that is going to happen within the next months and attend. While there, observe and listen to how the sound carries within the space. Then, in a 3 - 5 page paper with 12 font and double spacing, write of the aesthetic and technical attributes, or lack there of, within the performance.
Treat the paper like a review and not a formal academic research document. Its your choice of the live act, audio installation or film .However, before attending the event, you must discuss the performance with the professor.
The goal of the assignment is to allow the student to become more involved in a live event, applying strict attention to the sound environment. Further, you must attach an original or photocopy of the events receipt to the formal paper.
Filmmakers Written Journal
Throughout the semester you are expected to keep a filmmakers journal. The journal is a notebook dedicated to sketching ideas, teasing out points from readings, responding to assigned screenings, keeping note of video projects, and so on. Furthermore, you are to include thoughts of your creative process and inspirations. Carry it with you for the semester inserting quotes, ideas, sketches, etc. Do not use the journal for personal issues. Do not use the journal for lecture notes. Do not use the journal as a vent for dislikes of instructors or the university. There is a chance at the end of the semester to vent frustration in the course evaluations. The journal will be handed in twice during the semester. Mid-semester and in the last week of class. The journal will receive a grade based on the consistency of your responses to course readings, screenings and discussions. Keep the journal constant such as once a day. The size of the journal must be 7 x 9 or larger and hand written.
Quizzes, In Class Assignments, Workshops + Participation
There will be no production quizzes scheduled for the semester. There will be a number of in class production assignments throughout the semester. You must complete all workshops and production assignments to obtain grade points. Remember that there is a number of formal production assignment presentations with critiques. To obtain full grade points, participation is key, and every assignment must be completed in full, and on time. Furthermore, participation points may be deducted for unauthorized cell phone use, internet use, and class interruptions.
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Production Assignment 1 - Location Sound Recording 10
Production Assignment 2 - Sound Effects Recording 10
Production Assignment 3 - Soundscape Creation 15
Production Assignment 4 - Sound Editing and Mixing with Found Media 15
Production Assignment 5 - Scratch Video/Video Scratching 15
Production Assignment 6 - Open Form + Open Concept 15
Audio/Sound Performance Paper 10
Artist/Director Journal 5
Participation and Attendance 5
Total Marks 100
2012 Fall Semester Agenda - DIG 3253C Digital Audio Recording and Editing
Key - READ = Readings DNC = Due Next Class SCRN = Screening RVW = Review TBD = To Be Determined
Week One - 08/22/12
Course Introduction
Syllabus Review
Production Experience Questionnaire
Production Assignments
Equipment and Facilities Regulations
Equipment and Facilities Walk Through
Student Introductions
READ: Introduction from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
DNC: Ideas for Production Assignments 1 - 6, First Draft Typed
Week Two - 08/29/12
Notational Systems
Sound Energy
Audio Kits
Sound Editing Basics
Production Assignment Discussion
In-Class Editing
SCRN: M. Hulots Holiday (Jacques Tati, 1953, France)
READ: Chapter 1 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Sound Mixing Basics from Sound Editing in Final Cut Studio
Lesson 2: Getting to Know Soundtrack Pro from Sound Editing in Final Cut Studio
DNC: Ideas for Production Assignments 1 - 6, Second Draft Typed
Week Three - 09/05/12
Creating the Sound Design Step by Step
Sound Mixing Basics
Using Final Cut Pro
Using Soundtrack Pro
Production Assignment Discussion
In-Class Editing
READ: Chapter 2 + 3 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Lesson 4: Fixing Audio Files from Sound Editing in Final Cut Studio
The Art of Sound from Film Sound: Theory and Practice (pgs. 92-95)
Sound Mixing and Apocalypse Now from Film Sound: Theory and Practice (pgs. 356-360)
DNC: Raw Sound Clips for Production Assignment 1 + 2
Week Four - 09/12/12
Expanding Creativity
The Art of Sound Discussion
Sound Mixing of Apocalypse Now
Raw Sound Clips for Production Assignment 1 + 2
Production Assignment Discussion
In-Class Editing
READ: Chapter 4 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Lesson 6: Recording in Soundtrack Pro from Sound Editing in Final Cut Studio
DNC: Final Mix and Formal Presentation of Production Assignments 1 + 2
Week Five - 09/19/12
From Vibration to Sensation
Fixing Audio Files
From Sensation to Perception
Recording with Sound Track Pro
Final Mix and Formal Presentation of Production Assignments 1 + 2
Production Assignment Discussion
In Class Editing
READ: Chapter 5 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Lesson 7: Editing Dialogue from Sound Editing in Final Cut Studio
SCRN: Apocalypse Now (Francis Ford Coppola, 1979, USA)
DNC: Rough Edit and Mix of Production Assignment 3
Week Six - 09/26/12
Music To Our Ears
Editing Dialogue
Rough Edit and Mix of Production Assignment 3
Production Assignment Discussion
In Class Editing
READ: Sound in Films from Film Sound: Theory and Practice (pgs. 98-111)
DNC: Final Mix and Formal Presentation of Production Assignments 3
Filmmakers Journal
Week Seven - 10/03/12
Final Mix and Formal Presentation of Production Assignments 3
Filmmakers Journal
Production Assignment Discussion
In Class Editing
READ: Lesson 8: Automated Dialogue Recording from Sound Editing in Final Cut Studio
SCRN: Leighton Pierce: Select Film and Video Works (Leighton Pierce, 1978 - 2008, USA)
Week Eight - 10/10/12
Found Footage Video Clip Distribution for Production Assignment 4 - TBD
Production Assignment Discussion
In Class Editing
READ: Chapter 6 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Lesson 9: Spotting Sound Effects from Sound Editing in Final Cut Studio
SCRN: Found Footage Film - Title TBD
DNC: Rough Cut for Production Assignment 4
Week Nine - 10/17/12
The Human Voice
Automated Dialogue Recording (ADR)
Spotting Sound Effects
Sound in Films Discussion
Rough Cut for Production Assignment 4
Production Assignment Discussion
In Class Editing
READ: Chapter 7 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
SCRN: Select Short Works of the National Film Board of Canada and American Indie Films
DNC: Final Cut, Mix and Formal Screening for Production Assignment
Week Ten - 10/24/12
Final Cut, Mix and Formal Screening for Production Assignment 4
Production Assignment Discussion
In Class Editing
DNC: Rushes for Production Assignment 5
Week Eleven - 10/31/12
Sound and Image
The Sound Designer Discussion
Sound and Narrative
Rushes for Production Assignment 5
Production Assignment Discussion
In Class Editing
READ: The Sound Designer from Film Sound: Theory and Practice
Lesson 10: Scoring Using Loops from Sound Editing in Final Cut Studio
DNC: Rough Cut for Production Assignment 5
Week Twelve - 11/07/12
Scoring using Loops
Advance Mixing Techniques
Conjoining Multitrack Projects
Rough Cut for Production Assignment 5
Production Assignment Discussion
In Class Editing
READ: Chapter 8 from Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
Lesson 11: Advanced Mixing Techniques from Sound Editing in Final Cut Studio
SCRN: Select Short Works of the National Film Board of Canada and American Indie Films
DNC: Final Cut, Mix and Formal Screening for Production Assignment 5
Week Thirteen - 11/14/12
Final Cut, Mix and Formal Screening for Production Assignment 5
Sound Review Formal Paper Discussion
Production Assignment Discussion
In Class Editing
READ: Ideology and the Practice of Sound Editing and Mixing from Film Sound: Theory and Practice
Lesson 12: Conforming Multitrack Projects from Sound Editing in Final Cut Studio
Manifesto: Dialogue on Sound from Film Sound: Theory and Practice
DNC: Rushes for Production Assignment 6
Sound Review Formal Paper
Week Fourteen - 11/21/12
Manifesto: Dialogue on Sound Recording
Ideology and the Practice of Sound Editing and Mixing
Sound Review Formal Paper
Rushes for Production Assignment 6
Production Assignment Discussion
In Class Editing
DNC: Rough Cut for Production Assignment 6
Week Fifteen - 11/28/12
Rough Cut for Production Assignment 6
Production Assignment Discussion
In Class Editing
DNC: Final Cut and Formal Screening of Production Assignment 6
Filmmakers Journal
Week Sixteen - 12/05/12
Final Cut & Formal Screening of Production Assignment 6
Filmmakers Journal
Wrap
End Notes
*Changes to the agenda may develop.
*Screenings, editing, lab work and open discussion will occur only if time permits.
*Note that all assignment will be graded and returned one week following due date.
*For assignments that fall at the end of the semester, please pick up material in AT-812 one week later.
*If the material cannot be retrieved at the end of the semester, supply a full sized self addressed stamped envelope for return.
*All editing lab hard drives will be erased and reformatted one week following the end of the semester.
*All material is held for a 12 month period and then destroyed if unclaimed.
*FAU is not responsible for material lost, stolen, or left behind in a classroom. There is a lost and found located in AT-914.
Դɼ School of Communication and Multimedia Studies | Prof. Shane Christian Eason | 2012
PAGE \* MERGEFORMAT 3
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