Publication in the Diário da República: Despacho nº 6320/2018 - 28/06/2018
5 ECTS; 3º Ano, 1º Semestre, 45,0 PL + 15,0 TP + 3,0 OT , Cód. 817741.
Lecturer
- Helder Filipe Marques Pereira Gonçalves (1)(2)
(1) Docente Responsável
(2) Docente que lecciona
Prerequisites
N/A
Objectives
To enable students to listen attentively and with the necessary acuity to solve aesthetic and technical challenges during sound editing and mixing processes.
Prepare for professional contexts where different functions in sound post-production are implemented (Foley, ADR, creative design, music creation for media, editing and mixing).
Using a DAW to implement the different tasks essential for developing a multidisciplinary project in conjunction with other professionals.
Using external controllers and plugins for effects and virtual instruments that promote faster technical and creative productivity (sometimes using MIDI).
Program
1. The professional practice of sound design
1.1 Sound for large and small productions
1.2 Positions and strategies
1.3 Analysis of testimonials from sound professionals
1.4 Reference software
2. Theoretical elements of audiovisual language
2.1 Sound inside and outside the diegesis
2.2 The importance of acousmatic sound
2.3 Possibilities of transdiegesis and sound subjectivity
2.4 Synchresis and sound creation
3. Studio technology (corrective and creative)
3.1 Standalone solutions and plugins in DAW software
3.2 Normalization, EQ, compressors/limiters and reverb
3.3 Noise reduction and optimizations (vocals and other sounds)
3.4 Practical mastering elements
4. MIDI production
4.1 Virtual instruments (samplers and synthesizers)
4.2 Tones and other structures
4.3 Tempos, bars and textures
4.4 Preparing samples; the sampler in sound design
5. Sound and image synchronization with and without timecode
5.1 Editing sound from the shoot
5.2 ADR (dubbing)
5.3 Microphone strategies in Foley
5.4 New digital systems to aid synchronization
6. Sound spatialization (stereo and multipoint)
6.1 Options for collecting sound with spatial information
6.2 M/S stereo treatment
6.3 Artificial creation of movement and placement in space
6.4 Surround sound preparation and export
Evaluation Methodology
Continuous Evaluation
20% - Attendance and participation
20% - Two musical compositions of contrasting style, using the suggested virtual instruments
20% - Editing exercise, correcting captured sound and enriching sounds for documentary images
20% - Foley and ADR exercise
20% - Realization and export of a short film project (group)
Assessment by Exam (Regular Season, Appeal Season and Special Season).
30% - Two musics of contrasting style
70% - Sound design with binaural mix for proposed film
Bibliography
- Beauchamp, R. (2013). Designing sound for animation. New York : Focal Press
- Gonçalves, H. (2023). O Som e a Música no Cinema Português Contemporâneo: Processos Criativos seguido de Entrevistas. Lisboa: Documenta
- Holman, T. (2010). Sound for Film and Television. England: Focal Press
- Marques , M. (2014). Sistemas e Técnicas de Produção Áudio. Lisboa: Lidel/FCA
- Sonnenschein, D. (2001). Sound Design. EUA: Michael Wiese Productions
Teaching Method
1. Expository and demonstrative lectures and tutorials promoting self-directed learning.
2. Individual exercises involving the production and creation of sound tracks for films
3. Screening of film segments.
Software used in class
(Audacity)
Waveform Pro / Pro Tools (ou outro DAW)
Microsoft Teams
(Premiere / Resolve)
