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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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