Postproduction I

Curriculum Guideline

Effective Date:
Return to Course
Print Guideline
Course
MUSC 3172
Discontinued
No
Course Code
MUSC 3172
Descriptive
Postproduction I
Department
Music
Faculty
Language, Literature & Performing Arts
Credits
3.00
Start Date
End Term
Not Specified
PLAR
No
Semester Length
15 Weeks
Max Class Size
26
Course Designation
None
Industry Designation
None
Contact Hours

Lecture:2 hours/week

and

Lab:2 hours/week

Method(s) Of Instruction
Lecture
Lab
Learning Activities

Lectures, demonstrations and hands-on studio experience

Course Description
The rapid expansion of streaming services has created an unprecedented demand for postproduction audio services beyond traditional theatrical release films and television broadcasting. Upon completion of this course, students will be able to create commercial-quality audio for visual media using Pro Tools.
Course Content

1. Introduction to Sound for Visual Media

  • Overview of postproduction studios and tools
  • Elements of postproduction sound
  • Workflow of the production process from location audio capture to deliverables for post-production work

2. Location Audio Capture Part 1

  • On-set location sound capture by shooting an example short film with typical ‘problem recordings’ for later correction
  • Recording techniques for location sound: boom operation, lavalier setups
  • Mixing audio signals for separation for sound capture
  • Synchronization: free-run sync for audio and video devices
  • Backup of audio and video assets to editing software

3. Location Audio Capture Part 2

  • Editing in the Davinci workstation, assembling audio and video synchronized to a timeline
  • Simple sound correction in Davinci
  • Output an AAF/OMF for Pro Tools transfer
  • Opening an OMF in Pro Tools
  • Introduction of Isotope RX correction suite

4. Location Audio Correction/ Dialogue Editing for live sound acquisition

  • Techniques for editing a scene, diagnosing audio for correction
  • Izotope RX tools explored
  • Checkboarding, fading, clip gain, techniques
  • The track laying procedure
  • Separating PFX from main dialogue
  • Using spare takes to fill gaps

5. Fine tuning Advanced Dialogue Editing

  • Finalizing with automation and compression techniques
  • Advanced Izotope RX correction - Using RX Connect for problem areas

6. Review of Mixing Specs for Broadcast

  • Stereo, Surround, Immersive sound: current specifications for theatrical release and streaming services
  • Mixing techniques for live audio compression/EQ/room building with reverb

7. Re-Recording Mixing Techniques

  • Room building with Impulse Responses (IR)
  • Automation/mix fine tuning
  • Addition of background ambiences to ‘complete’ a scene

8. Automated Dialogue Replacement (ADR)

  • Recording Techniques for ADR: Loebing booms, animation pre-lay, Lavalier
  • Pro Tools ADR (automated dialog replacement) workflow
  • Time sync methods: 3 beep and streamers
  • Basic editing techniques

9. ADR Editing Techniques

  • Manual editing, elastic audio
  • Vocalign Synchronization methods

10. Screenplay Analysis

  • Understanding key storytelling terminology to relate to directors and visual storytellers
  • Script Analysis: The Storytelling Arc
  • Understanding editing by dramatic beats, pacing, camera angles
  • Analysis of diegetic and non-diegetic sound in visual storytelling
  • Sonic signifiers and cultural sensitivity

11. Foley Part 1

  • Tools and setup required for a competent Foley Studio
  • Personnel and skillsets for a functioning Foley studio
  • Brief overview of history of Foley and its modern uses
  • Analysis of industry examples
  • Commonly used Foley sounds and how they are created
  • Breakdown of a Foley Sheet: hands, feet, cloth, extras

12. Foley Part 2

  • Foley Sound recreations: horror Foley, dry ice, water, lightsabers, etc.
  • Foley labelling and track prep for mixing
  • DIY Foley techniques: How to build a Foley room, pits, etc.
  • Safety procedures and care of equipment

13. Sound Editing Basics

  • Using library sounds to enhance diegetic sound moments for live action
  • Pro Tools editing techniques using popular keyboard shortcuts

14. Premixing Techniques

  • Integrating stems of sound elements into a single mix session
  • Premixing stems using folder tracks, compression, EQ, automation techniques

15. Final 2.0 Mixing and Layback

  • Creating finished stems, Music and Effects (M AND E) delivery, versioning
  • Mixing techniques for eventual localization for international markets
Learning Outcomes

Upon successful completion of the course, students will be able to:

  • Critically analyze the basic elements of audio postproduction;
  • Describe the dramatic storytelling arcs for sound purposes;
  • Demonstrate fluency with basic workflow terminology used in audio postproduction;
  • Edit raw location dialogue and refine it with modern correction tools;
  • Skillfully create custom sound effects and Foley;
  • Mix in standard delivery formats, including stereo, 5.1 surround and Ambisonic/Virtual Reality (VR);
  • Cultivate an ongoing awareness of culturally sensitive sounds.

 

Means of Assessment

Assessment will be based on course objectives and will be carried out in accordance with the Douglas College Evaluation Policy. An example evaluation scheme is included below:

Location Audio Capture

5%

Location Audio Correction and Cleanup

15%

Location Audio Edit

10%

Location Audio Mix

10%

ADR Recording and Editing

20%

Screenplay Analysis and Music Cue Breakdown

10%

Final Sound Design and Edit Project

30%

 TOTAL

100%
Textbook Materials

Textbooks and materials are to be purchased by students. A list of required textbooks and materials is provided for students at the beginning of each semester.  

Example texts may include:

1. The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects (Viers, Tim) Michael Wiese Productions
2. Practical Art of Motion Picture Sound (Yewdall, David Lewis) Routledge

 

Prerequisites

MUSC 1282

or

MUSC 2172

or

Equivalent