Publication in the Diário da República: Despacho nº 6320/2018 - 28/06/2018
6 ECTS; 2º Ano, 1º Semestre, 30,0 PL + 30,0 TP + 3,0 OT , Cód. 817716.
Lecturer
- Helder Filipe Marques Pereira Gonçalves (1)(2)
(1) Docente Responsável
(2) Docente que lecciona
Prerequisites
Knowledge about sound, propagation and reception.
Practice with sound capture and organisation of sound files on the computer.
Objectives
To encourage students to listen attentively and with the necessary acuity to solve aesthetic and technical challenges during sound editing and mixing processes.
Encourage correct original sound creation, a complete approach to Foley and ADR (dubbing) techniques.
Learn to plan coherent and up-to-date sound solutions for documentary, fiction and experimental contexts.
Understand the multiple functions of using music in sound mixing for cinema.
Focus on the use of a DAW for the different tasks essential for the implementation of a multidisciplinary project and in coordination with other professionals.
Program
1 Sound design theories and concepts
1.1 Sound spatialization
1.2 Unusual sounds
1.3 Supervision and final control in the mix
1.4 Sound and diegesis
2. Critical listening
2.1 Sound as a sign
2.2 Reduced, causal, semantic and referential listening
2.3 Music with an index
2.4 Octaves and intervals of the harmonic series
3. Applications of sound design (beyond documentary cinema)
3.1 Sound in installations
3.2 Sound in experimental cinema
3.3 Acousmatic music
3.4 Sound plasticity
4. Sound design technologies
4.1 Stereo, surround, atmos
4.2 Monitors
4.3 Equalizers, reverbs and compressors
4.4 DAW, automation and BUS
4.5 Audio processing
5. Sound design techniques and practices
5.1 Microphone positioning
5.2 Musique concrète
5.3 Creating sounds through manipulation
5.4 Creating sounds by synthesis and/or mixing
5.5 Sound supervision
6. The professional practice of sound design
6.1 Capturing for sound libraries
6.2 Foley
6.3 ADR
6.4 Sound editing and mixing
Evaluation Methodology
Continuous assessment:
20% - Attendance and participation
20% - A1. Experimental exercise, based on a scene that had sync sound
20% - A1. Essay: critical analysis of a film soundtrack
15% - A2. Realization of practical tasks of reference in the work of sound design
20% - A3. Practical work: creation of the soundtrack for an advertisement
25% - A4. Practical work: creation of the soundtrack for a narrative excerpt (pairs)
Assessment by Exam (Regular Season, Appeal Season and Special Season)
30% - A1. Sound capture for image and presentation of synchronous montage; creation of a second version of the video, with elements of unrealism in the sound aspects
70% - A2. Sound design of an excerpt from an animated film
The evaluation is done according to the provisions of Article 11 of the Academic Regulations of IPT's Schools. Students who obtain a mark of 10 or more in the Frequency Examination are exempt from exams.
Bibliography
- Chion, M. (2011). A Audiovisão Som e Imagem no Cinema. Lisboa: Edições texto&grafia
- 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. (2002). Sound Design the Expessive Power of Music, Voice, and Sound Effects in Cinema. New York: Michael Wiese Productions Studio
Teaching Method
A. Expository and demonstrative lectures and tutorials promoting self-directed learning.
B. Individual exercises involving the production and creation of sound tracks for films
C. Viewing and listening to film segments.
Software used in class
(Audacity)
Waveform / Pro Tools (DAW)
Microsoft Teams
