Teaching Responsibility
LJMU Schools involved in Delivery:
LJMU Partner Taught
Learning Methods
Lecture
Workshop
Module Offerings
5603STE -SEP-PAR
Aims
To provide learners with the practical skills and theoretical understanding necessary to record, mix and create sound for moving image in post-production employing professional approaches and techniques in a multichannel audio environment.
Learning Outcomes
1.
Employ established forms and conventions in the production of audio for moving image.
2.
Record and mix audio for a defined piece of vision selecting appropriate technical methods.
3.
Use a surround capable desk / DAW to produce multi-channel mixes.
4.
Explain the key technical principles and workflows associated with sound for moving image.
Module Content
Outline Syllabus:
Timecode Revisited
VITC, BITC, LTC and Serial timecode; 9-pin command modes; Principles of layback; Audio for video layback in practice; Syncing DAWs accurately to picture; The frame rate transfer problem; Understanding Pull Up/Pull Down.
Video and television signals and formats
Chrominance, Luminance and Sync; Recording formats and embedded audio / timecode; Interlaced vs. non-interlaced images; digital video formats and codecs.
Sound FX
Building effects; Suspending disbelief; Foley FX; Digital Effects and EQ as tools for FX building.
DAWS in Post
Internal Signal Routing; External Signal Routing; 5.1 Stems and Panning; Using software monitor paths; Typical linear and non-linear workflows.
Dialog
ADR or Looping; Microphone technique for dialog replacement; beeps and streamer generation for ADR.
Multichannel Sound
Multi-channel sound history; Matrixed 4:2 surround theory, advantages and limitations; Dolby Surround and Steering; Compatibility Issues; Recording and Mixing prerequisites; Surround sound monitoring and signal paths; The role of the matrix; LT/RT Encoding; Practical considerations for mixing; Bandwidth limitations and solutions; Using the centre channel; Premixes; Monitoring Modes; Using automation; Discrete multi-channel formats, Dolby Digital, DTS and SDDS; Down Mixing advantages and disadvantages; Bass Management Issues in 5.1.
Workflow and File Interchange
AAF and OMF interchange formats; wrapped and un-wrapped datasets.
Timecode Revisited
VITC, BITC, LTC and Serial timecode; 9-pin command modes; Principles of layback; Audio for video layback in practice; Syncing DAWs accurately to picture; The frame rate transfer problem; Understanding Pull Up/Pull Down.
Video and television signals and formats
Chrominance, Luminance and Sync; Recording formats and embedded audio / timecode; Interlaced vs. non-interlaced images; digital video formats and codecs.
Sound FX
Building effects; Suspending disbelief; Foley FX; Digital Effects and EQ as tools for FX building.
DAWS in Post
Internal Signal Routing; External Signal Routing; 5.1 Stems and Panning; Using software monitor paths; Typical linear and non-linear workflows.
Dialog
ADR or Looping; Microphone technique for dialog replacement; beeps and streamer generation for ADR.
Multichannel Sound
Multi-channel sound history; Matrixed 4:2 surround theory, advantages and limitations; Dolby Surround and Steering; Compatibility Issues; Recording and Mixing prerequisites; Surround sound monitoring and signal paths; The role of the matrix; LT/RT Encoding; Practical considerations for mixing; Bandwidth limitations and solutions; Using the centre channel; Premixes; Monitoring Modes; Using automation; Discrete multi-channel formats, Dolby Digital, DTS and SDDS; Down Mixing advantages and disadvantages; Bass Management Issues in 5.1.
Workflow and File Interchange
AAF and OMF interchange formats; wrapped and un-wrapped datasets.
Additional Information:
This module is a pre-requisite to undertake 6603STE Advanced Post Production.
This module is a pre-requisite to undertake 6603STE Advanced Post Production.