Course # / Title:

AET 4400       Post Production Techniques

Semester:

Spring 2008

Instructor:

Ken Landers,  B. Mus., M.A.

Instructor Contacts:

615.460.6174    landersk@mail.belmont.edu

Instructor Office Hours:

Monday 1PM-3PM, Tuesday 11AM-1PM, Wednesday 9AM-11AM, Thursday 11AM-1PM

Course Credit:

3 hours

Class Location:

Ocean Way Studio C

Meeting Time(s):

Tuesday 2:30-5PM

Final Exam:

Tuesday, 6 May 2008 @ 2PM

 

Goals of the Mike Curb College of Entertainment & Music Business: 1) To provide a personalized, career-oriented and practical education that emphasizes leadership, innovation, private enterprise and entrepreneurship.  2) To equip students with the tools to think critically, communicate effectively, accept responsibility, make successful decisions, and prosper in diverse work environments. 3) To emphasize quality classroom instruction within the parameters of ethical Christian principles.

 

Course Description: Prerequisites: AET 3090, AET 3190, and permission of instructor. Application of audio/studio technology in the production of video sound design, CD mastering, and post-mix/re-mix sweetening techniques used in music production.

 

Course Learning Outcomes:

In this course, students will:

 

Performance Criteria:

The students will:

 

Honor Code:  It is the responsibility of each student to abide by the Belmont University Honor Code.  “In affirmation of the Belmont University Statement of Values, I pledge that I will not give or receive aid during examinations; I will not give or receive false or impermissible aid in course work, in the preparation of reports, or in any other type of work that is to be used by the instructor as the basis of my grade; I will not engage in any form of academic fraud. Furthermore, I will uphold my responsibility to see to it that others abide by the spirit and letter of this Honor Pledge.”

 

Accommodation of Disabilities:  In compliance with Section 504 of the Rehabilitation Act and the Americans with Disabilities Act, Belmont University will provide reasonable accommodation of all medically documented disabilities.  If you have a disability and would like the university to provide reasonable accommodations of the disability during this course, please notify the Office of the Dean of Students located in Beaman Student Life Center (460-6407) as soon as possible.

 

 

Course Requirements:

 

A.    Attendance:  Class attendance follows university policy as stated in the current Undergraduate Bulletin.  Class participation is expected; attendance and absence will be noted.  Students are encouraged to attend all class sessions.  This class moves very fast and covers lots of material.  There will be no make-up exams given.  If a student has an excused absence (official notice from the provost) and misses an exam, the other exam grades will be averaged without that test.

 

B.    Materials:

a.     Textbook(s)

     Audio In Media, 8th Edition by Stanley Alten.  Wadsworth 2007.

     Sound for Film and Television, 2nd Edition by Thomlinson Holman.  Focal Press 2001.

     Practical Art of Motion Picture Sound, 3rd Edition by David Yewdall.  Focal Press 2007.

     Digidesign Pro Tools 7.2 Reference Guide – free download from http://www.digidesign.com. 

1.     You will have to create a myDigi account – free.  Download Pro Tools 7.2 Mac OS X or Win XP documentation.  You will get an installer for your system that is OS X or XP specific. Remember that our class will be based on an OS X system, the XP installer may be XP centric only- I don’t know, I do not have an XP system to check this documentation on.  Documentation is available on the OWN-C system as well.

 

        Dolby Surround Mixing Manual (part no. 91536, issue no. 2) – free download from http://www.dolby.com/assets/pdf/tech_library/44_SuroundMixing.pdf

 

     (Optional - highly recommended)  5.1 Surround Sound: Up and Running by Thomlinson Holman.  Focal Press 1999.  This is a terrific guide to surround sound from one of the renowned masters of motion picture surround.  If you don’t purchase this book, I suggest checking it out of the Belmont library for the readings.

 

     Occasional readings through Blackboard, online, or on reserve in the library.

 

b.      CD-Rs and DVD-Rs as needed (for backup and turning in projects)

 

c.     Web Access.  Students will be required to access various informational sources on the internet.  Blackboard access (via BIC) is also necessary.

 

d.     (Optional – highly recommended) A Firewire/IEEE-1394 (7200 rpm or better) or USB 2.0 drive will allow project portability and speedy methods of backup.  Mac (OS X) formatted drives will connect with no problems, Windows formatted drives require certain methods be used.  See the instructor before connecting a Windows-formatted drive to the Pro Tools system.

 

C.  Assignments:

a.      Participation.  Students must be prepared for class and involved in class discussions.  Of course, you do have to be present to be involved!

 

b.    Edit Project. (Solo)  An introductory project introducing students to editing on ProTools.  This will be a stereo edit of a mix, edited for time.  Students will edit a selected song and create a cohesive edit of a specified length.  Project will be bounced to disk and turned in on an audio CD as well as a data CD containing all session data and audio files.  Students will have 3 hours of studio time for this project.

 

c.     Mix Project. (Solo)  Students will be provided with raw mix files.  Using these files students will arrange and mix the song.  Students will use editing techniques, plug-ins, automated mixing, and will integrate analog processing into the Pro Tools mix.  A bounced project mix will be turned in on an audio CD and the entire project will be turned in on the class drive in a properly labeled and arranged file.

 

d.    Class Project. Students, working as a “mock” audio post company, will replace all audio on a 4-7 minute segment of a movie or television release.  This includes all dialogue, live sound effects, designed effects, ambiance beds, and music.  Professionalism throughout the project is required.  Students will turn in synchronized audio for supplied video with full documentation of the project.  Students will follow standard industry practices and conventions. 

 

e.     Television Sound Analysis (TSA) – Solo Project   Students will choose a scene from a television show (current or on DVD) and breakdown the scene according to sound effects, music, & dialogue.  Students will chart the sound on a time line (a cue chart or “binkey”) and document their cue chart with no less than two typewritten pages.  Be certain to document those involved in the sound work analyzed.

 

f.      Movie Sound Analysis (MSA) – Solo Project  Students will choose a scene from a movie (on DVD) and analyze the scene according to sound effects, music, & dialogue.  Students will chart the sound on a time line (a cue chart or “binkey”) and document their cue chart with no less than two typewritten pages. Be certain to document those involved in the sound work analyzed.

 

g.    Video Game Sound Analysis (VGSA) – Solo Project  Students will choose a scene from a video game (a section with actual gameplay, not cutscenes) and will analyze the scene according to sound effects, music, & dialogue.  A timeline chart isn’t applicable as games are typically self-paced.  An action-reaction chart will be made instead documenting the actions of the player and the sonic reactions of the game.  Two typewritten pages of documentation are also required as is a list of sound credits.

 

h.    Post Interview. (Solo)  Students will contact and interview a professional working in audio post for film or video.  The interview will be turned in typed in a standard interview format.  The interview shall be no less than 15 questions and be intelligent and well planned.  Developing a familiarity with the interviewee’s work prior to the interview is highly recommended.  Students will also turn in any unedited recordings (audio and/or video) made during the interview as well.  See magazines such as EQ, Mix, and Electronic Musician for examples of properly formatted interviews in this genre.

 

D.            Testing:  There will be four written exams.

1.     Exam 1                   29 January 2008

2.     Exam 2                   26 February 2008

3.     Exam 3                   8 April 2008

4.     Exam 4 (Final)         Tuesday, 6 May 2008 @ 2:00 PM          

 

a.           “Pop” or surprise quizzes can be given at the discretion of the instructor.  Be prepared for them at any time.  Pop quizzes (if given) will be averaged into the exams grade.  Pop quizzes will be worth no more than 5% of the total grade.

b.           Makeup exams will not be given.  An unexcused, missed exam will result in a grade of 0.  In the case of an excused absence, the weighting of the other exams will be adjusted to account for the missed exam.

 

E.            Basis of grade evaluation: Grading scale as per the current Undergraduate Bulletin. 

a.     Item Credit

                      i.              Attendance/Participation                    10%

                     ii.              Exams                                             40%

                    iii.              Music Editing & Mix Projects             20%

                    iv.              Class Project                                    20%

                     v.              Papers                                             10%

b.     Total Percentages = 100%

 

F.  Class Schedule: 

 

Date

Class Topic

Readings

Assignments

15 Jan

Class Intro; History of DAWs; Pro Tools Intro

PA Ch. 17

PTG Ch. 2 - 4, 6 – 8

 

22 Jan

Advanced Editing – Pro Tools Mixing

PTG Ch. 15 – 20, 26 – 28

Edit Project Assigned.

29 Jan

Exam 1 – DAWs - Pro Tools

History/How it works - Film Audio

PTG Ch.  9 – 14;

SFT Appendix I & III

Mix Project Assigned.

5 Feb

History/How it works - Television Audio

PA Ch. 20

Edit Project Due.

12 Feb

 

History/How it works - Surround Sound

PA Ch. 7 - 9;

PTG Ch. 29 – 33;

DSMM Ch. 2 & 4 

(Optional SS Ch. 2, 5)

TSA Assigned.

19 Feb

Location Synchronization; Assets Management – Project Management

AiM Ch. 7;

PA Ch. 4 & 11;

SFT Ch. 6-8

Mix Project Due.  Post Interview Assigned.

26 Feb

Exam 2 – Film & Television, Assets & Project Management

Techniques for Location Recording (Dialogue)

PA Ch. 5 & 6;

SFT Ch. 4 & 5

(Optional: SS Ch. 3)

TSA Due.  Start Class Project.  MSA Assigned.

4 Mar

Techniques for Location Recording (Effects)

PA Ch. 10;

PTG Ch. 33 – 35

 

11 Mar

Automated Dialogue Replacement

AiM Ch. 10-11;

PA Ch. 14 –15

MSA Due.

18 Mar

Sound Design Techniques

AiM Ch. 15;

PA Ch. 12 & 13

 

1 Apr

Foley Techniques

PA Ch. 16

VGSA Assigned.

8 Apr

Exam 3 – Audio Techniques

Music Recording

PA Ch. 18

 

15 Apr

Mixing Dialogue & Effects

AiM Ch. 18-19;

PA Ch. 19;

DSMM Ch. 5-6

(Optional SS Ch 4 & 6)

Post Interview Due.

22 Apr

Music Mixing & Editing for Film

AiM Ch. 13 & 17

 

29 Apr

Video Games and New Media

SFT Ch. 10 – 11; DSMM Ch. 7

Class Project Due.  VGSA Due.

6 May

Final Exam – Covers Entire Class

 

 

 

AiM = Audio In Media 7th Ed.                                                             SFT = Sound for Film & Television

PA = Practical Art of Motion Picture Sound               PTG = Digidesign Pro Tools Reference Guide v7.0

DSMM = Dolby Surround Mixing Manual                  SS = 5.1 Surround Sound: Up & Running (Optional)

TSA = Television Sound Analysis                                                           MSA = Movie Sound Analysis

VGSA = Video Game Sound Analysis