Course Title: Develop sound designs
Part B: Course Detail
Teaching Period: Term1 2019
Course Code: VART6416C
Course Title: Develop sound designs
School: 345T Media and Communication
Campus: City Campus
Program: C6150 - Advanced Diploma of Music Industry (Sound Production)
Course Contact: Program Administration
Course Contact Phone: +61 3 9925 4815
Course Contact Email: mcvet@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
John Phillips
Nominal Hours: 50
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
None
Course Description
This unit describes the skills and knowledge required to develop an overall sound design from production briefs.
It applies to individuals with a good understanding of the physical nature of sound, along with research and creative thinking skills. They collaborate with other creative personnel to develop the overall sound or musical identity of a wide range productions.
The course will cover building blocks for sound design for screen based media and other sound design applications.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUASOU503 Develop sound designs |
Element: |
1. Interpret and confirm sound design brief |
Performance Criteria: |
1.1 Participate in concept meetings with relevant people to discuss and determine creative and technical sound requirements for a production 1.2 Confirm sound requirements meet the overall production requirements in liaison with relevant people 1.3 Identify and confirm any additional sound design team members required to fulfil the brief |
Element: |
2. Break down components of sound design brief |
Performance Criteria: |
2.1 Confirm studio arrangements to ensure resources are sufficient to meet agreed technical and work health and safety (WHS) requirements 2.2 Obtain shot list and music components for soundtrack, and map musical events and duration to film shots 2.3 Identify specific equipment to produce required music score in line with shot list 2.4 Confirm specific equipment will be available to meet production requirements 2.5 Clarify music component sources and confirm availability in line with production schedules |
Element: |
3. Experiment with sound components to express ideas |
Performance Criteria: |
3.1 Identify moving image sequences that require theme, incidental or other music 3.2 Establish routines for viewing, assessing and discussing shot material with director and film editor 3.3 Source, secure and prepare music components for soundtrack, and confirm copyright requirements are met 3.4 Use safe work practices to monitor acoustic quality of soundtrack to achieve required sound 3.5 Seek feedback from relevant people about work in progress, and modify as required |
Element: |
4. Assess creative ideas |
Performance Criteria: |
4.1 Identify correct frame rate for video or film to ensure synchronisation between sound and images 4.2 Match music components to screen images or sequences 4.3 Confirm quality of music components aligns with overall production concept and style 4.4 Modify settings or sound quality of music components in soundtracks according to feedback and other sound elements, as required 4.5 Listen critically to timing, sequencing, sound quality and element integration to confirm integrity of soundtracks 4.6 Present completed soundtrack to relevant people in line with production requirements |
Element: |
5. Design sound elements |
Performance Criteria: |
5.1 Develop sound design concept, taking into consideration the brief and the ideas generated by the sound design team 5.2 Determine sound components required to implement sound design in line with creative and technical requirements 5.3 Establish clear relationship between sound components and objectives of sound design 5.4 Liaise with relevant people to incorporate additional requirements and ideas to achieve best sound design 5.5 Present sound design in required format to convey design concept 5.6 Confirm final sound design concept is consistent with brief and that potential difficulties are addressed |
Element: |
6. Evaluate final sound design |
Performance Criteria: |
6.1 Use appropriate techniques to evaluate whether final sound design meets the requirements of the sound design brief 6.2 Seek feedback and opinions from relevant people, and document results of evaluation 6.3 Communicate results of evaluation to relevant people, and use results to improve future practice |
Learning Outcomes
On successful completion of this unit, you will be able to record, develop, design and mixdown sound effects from development to final implementation. You will be able to create synthesiser patches, set up and utilise various microphone techniques and record in outdoor environments using field recording techniques.
Details of Learning Activities
In class learning activities include, but are not limited to:
. Class delivery (face to face lectures)
. Audio lab practical sessions
. Peer teaching & class presentations
. Group planning and location recording sessions
. Audio editing sessions
Out of class learning activities include, but are not limited to
. Group project recording plan
. Group location recording session
. Audio editing and mixing sessions
Class will include some out of class location recording exercises
This class describes the skills and knowledge required to develop an overall sound design from production briefs.
It applies to individuals with a good understanding of the physical nature of sound, along with research and creative thinking skills. They collaborate with other creative personnel to develop the overall sound or musical identity of a wide range productions.
Teaching Schedule
WEEK | CONTENT | PRACS | Location | ASSESSMENTS COMMENCE | ASSESSMENTS DUE | ||
Week 1 | Introduction to unit & assessments | LAB | Assessment 1 Commences | ||||
The Sound Designers | |||||||
Cinema Sound / Surround Sound | |||||||
LOGIC PRO | |||||||
Week 2 | Surround Sound Formats | OMF PRAC | LAB | Assessment 0 | Assessment 0 | ||
Pro Tools I/O | |||||||
OMF & AAF | |||||||
FCP > OMF > LOGIC / PRO TOOLS - ASSESSMENT 0 | |||||||
Week 3 | Surround Sound in Pro-Tools | STUDIO | STUDIO | ||||
Pro Tools I/O | |||||||
Class will be divided into two groups for this session | |||||||
Week 4 | LOGIC PRO | LAB | |||||
Sound Design strategies | |||||||
Sound Design / roles in film sound production | |||||||
ADR / Foley | |||||||
Week 5 | GUEST LECTURE | LAB | |||||
David Chackman | |||||||
Location Recording | |||||||
Week 6 | LOGIC PRO | LAB | Assessment 2 Commences | ||||
ASSESSMENT 3 COMMENCES | |||||||
Bass Management / Matrix v Discrete / File Management | |||||||
Week 7 | GUEST LECTURE | LAB | |||||
David Chackman | |||||||
Location Recording | |||||||
Week 8 | LOGIC PRO | LAB | |||||
Logic Pro / Pro Tools / Adobe Premiere | |||||||
Week 9 | LOGIC PRO | LAB | Assessment 3 Commences | Assessment 1 Due | |||
FCP > OMF > LOGIC / PRO TOOLS - ASSESSMENT 3 | |||||||
Week 10 | GUEST LECTURE | LAB | |||||
David Chackman | |||||||
Location Recording | |||||||
Week 11 | STUDIO | Assessment 4 Commences | Assessment 3 Due | ||||
Assessment 4 - Analog Recording Project | |||||||
Week 12 | STUDIO | ||||||
Assessment 4 - Analog Recording Project | |||||||
Week 13 | LAB | Assessment 4 Due | |||||
GUEST LECTURE | |||||||
GUEST LECTURE - Cameron Mckenzie | |||||||
Nathanael Bates | |||||||
Week 14 | LAB | Assessment 2 Due | |||||
ASSESSMENT 2 DUE | |||||||
FINAL REVIEW | |||||||
Week 15 | LAB | ||||||
Assessment and Review | |||||||
Week 16 | LAB | ||||||
Assessment and Review | |||||||
Learning Resources
Prescribed Texts
References
Other Resources
Overview of Assessment
Students will be able to create, record and produce original sound effects from scratch using advanced synthesis techniques and basic microphone and field recording techniques.
Assessment Tasks
Ungraded assessments | ||
* Assessment 0 - OMF PRAC A (Completed in class 2) | ||
Graded Assessments (refer to rubric for assessment details) | ||
* Assessment 1 - GENRE REMIX (Due Week 9) | ||
* Assessment 2 - ADR & FOLEY ASSESSMENT ("Idiot Box") (Due Week 14) | ||
* Assessment 3 - OMF TRANSFER ASSESSMENT (Due Week 10) | ||
* Assessment 4 - ANALOG SOUND DESIGN PROJECT (Due Week 12) | ||
Assessment Matrix
Course Overview: Access Course Overview