Syllabus |
1. Sound in the cinema historical context 2. Acoustics Application domains, amplitude, frequency, timbre 3. Psychoacoustics Sound intensity perception, auditory masking, sound directionality 4. Electroacoustics Electrical concepts, equipment and systems, technical specifications, recording media, digital and analog recorders, mixing consoles, connections 5. Microphones Microphone types, polar patterns, sensitivity, frequency response, impedance, microphone choice 6. Direct sound The importance of pre-production, equipment (organization and maintenance), capture techniques, body positioning, analysis and problem solving 7. Sound as a vehicle of meaning and as a plastic material Diegetic, non-diegetic and subjective sound, porosities, the four listening modes, sound parameters and musicality, functions of film music 8. Post-production Digital systems, dialogues, environments, foley, effects, virtual instruments, mixing
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Main Bibliography |
CHION, Michel, A audiovisão: som e imagem no cinema, Lisboa, Texto & Grafia, 2011 FONSECA, Nuno, Introdução à Engenharia de Som, Lisboa, Lidel/FCA, 2007 HENRIQUE, Luís, Acústica Musical, Lisboa, Fundação Calouste Gulbenkian, 2007 HUBER, David M. , Modern Recording Techniques, New York, Focal Press, 2005 MARQUES, Miguel, Sistemas e Técnicas de Produção Áudio, Lisboa, Lidel/FCA, 2014 SONNENSCHEIN, David, Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema, Studio City, MWP, 2001 YEWDALL, David, The Practical Art of Motion Picture Sound, New York, Focal Press, 2007
Filmography Aguilar, Sandro (Real.). (2010). Voodoo. Portugal Coppola, Francis Ford (Real.). (1979). Apocalypse Now. USA Gomes, Miguel (Real.). (2008). Aquele Querido Mês de Agosto Jarmusch, Jim (Real.). (2009). The Limits of Control. USA Lopes, Fernando (Real.). (1971). Uma Abelha na Chuva. Portugal van Sant, Gus (Real.). (2005). Last Days. USA Villaverde, Teresa (R). (1998). Os Mutantes. Portugal
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