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Syllabus |
1.Sound in cinema
Historical context
2. Acoustics
Areas of application, amplitude, frequency, timbre
3. Psychoacoustics
Perception of sound intensity, auditory masking, directionality of sound
4. Electroacoustics
Electrical concepts, equipment and systems, technical specifications, recording media, digital and analog recorders, mixing desks, connections
5. Microphones
Types of microphones, polar patterns, sensitivity, frequency response, impedance, choice of microphone
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 plastic matter
Diegetic, non-diegetic and subjective sound, porosities, the four listening modes, sound parameters and musicality, functions of film music
8. Post-production
Digital systems, dialog, atmospherics, 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
GONÇALVES, Helder, O Som e a Música no Cinema Português Contemporâneo, Lisboa, Documenta, 2023
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
Aguilar, Sandro (Real.). (2010). Voodoo. Portugal
Coppola, Francis Ford (Real.). (1979). Apocalypse Now. E.U.A.
Gomes, Miguel (Real.). (2008). Aquele Querido Mês de Agosto
Jarmusch, Jim (Real.). (2009). The Limits of Control. E.U.A.
Lopes, Fernando (Real.). (1971). Uma Abelha na Chuva. Portugal
van Sant, Gus (Real.). (2005). Last Days. EUA
Villaverde, Teresa. (1998). Os Mutantes. PT
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