|
Official Course
Description: MCCCD Approval: 4-22-2003 |
|||||
|
MTC120 2003
Fall – 2011 Fall |
LEC 3.0 Credit(s) 3.0 Period(s) 3.0 Load Occ LAB 0.0 Credit(s) 2.0 Period(s) 1.4 Load |
||||
|
Introduction to Sound Design for Film and Video |
|||||
|
Basic principles of recording and mixing sound for film and video. Includes voice over, automatic dialog replacement (ADR), foley, ambience, special effects and music. Emphasis on analog and digital recording techniques in the field as well as in a controlled environment. Prerequisites: (TCM100 and TCM136) or permission of Instructor. |
|||||
|
Cross-References: TCM120 |
|||||
Go to Competencies Go to Outline
|
MCCCD Official Course Competencies: |
|
|
|
|
|
MTC120 2003 Fall – 2011 Fall |
Introduction to Sound
Design for Film and Video |
|
1. |
Explain the acoustic principles of sound. (I) |
|
2. |
Identify and explain the different parts of the recording chain. (II) |
|
3. |
Demonstrate the techniques necessary to use a mixer board. (III) |
|
4. |
Explain the fundamental components of signal routing. (IV) |
|
5. |
Identify the principles of recording foley, automatic dialog replacement, voice over, special effects, ambience and music. (V) |
|
6. |
Demonstrate the uses of analog and digital recording decks. (VI) |
|
7. |
Explain the current methods of synchronization. (VII) |
|
8. |
Describe the current file formats used in audio recording. (VIII) |
|
9. |
Demonstrate the proper use of compressors. (IX) |
|
10. |
Demonstrate the types of microphones used in recording sound for film and video. (X) |
|
11. |
Transfer sound from one piece of equipment to another in both digital and analog formats. (XI) |
|
12. |
Explain the techniques used when transferring video to film/optical tracks. (XII) |
Go to Description Go to top of
Competencies
|
MCCCD Official Course Outline: |
||
|
|
||
|
MTC120 2003 Fall – 2011 Fall |
Introduction to Sound
Design for Film and Video |
|
|
||
|
I. Basic Principles of Acoustic Waveforms A. Frequency B. Amplitude C. Velocity D. Shape E. Phase F. Harmonic II. Recording Chain A. Transducers B. Analog C. Digital D. A/D converters E. D/A converters III. Mixer Board A. Channel inputs B. Track selection C. Master section D. Meter bridges IV. Signal Routing A. Patch bays B. Connectors C. Auxiliary sends and returns V. Recording Principles A. Foley B. Special effects C. Automatic Dialogue Replacement (ADR) D. Voice over E. Music F. Ambience VI. Analog and Digital Decks A. Different uses of each machine B. Syncing C. Transfer to digital audio work station non-linear editing system VII. Synchronization A. SMPTE B. MIDI time code C. Normal VIII. Current File Formats A. AVI B. AIFF C. Quicktime D. OMFI IX. Compression A. Ratio B. Threshold C. RMS/Peak D. Make-up gain E. Hard knee/soft knee F. Attack/Release X. Microphones A. Condenser/Dynamic B. Phantom power C. Filters D. Pop screens E. Booms XI. Digital/Analog Transfer Mediums A. Digital/analog B. SPDIF, AES/EBU C. Fiber optic D. Fire Wire XII. Transferring audio to film A. Optical tracks B. 16, 35mm C. Mono/stereo |
|
|