| Code |
16625
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| Year |
1
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| Semester |
S2
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| ECTS Credits |
6
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| Workload |
OT(15H)/PL(45H)
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| Scientific area |
Cinema
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Entry requirements |
None.
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Learning outcomes |
The aim of this curricular unit is to contextualize the introduction of sound in cinema and get students to identify the processes needed to capture and edit sound for a film. Subsequently, some concepts about the relationship between music, sound and cinema will be introduced. By the end of the semester, students should feel prepared to ensure that they collect and organize the sound objects needed to create a soundtrack and make a critical assessment of the sound of a film.
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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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Teaching Methodologies and Assessment Criteria |
Location sound equipment and the use of DAW software form the basis of the practical work required. Elements of acoustics and psychoacoustics will be crucial for a good knowledge of the materials and the possibilities of the software and plugins.
The theoretical component is combined with the practical component and the assessment is based on a written test and practical exercises in sound capture and sound post-production for cinema.
(Prof. João Henrique Vilão)
Theoretical assessment - 5%
Participation and practical assessment (production sound) - 40%
(Prof. Helder Filipe Gonçalves)
Attendance - 20%
Participation and submission of a folder with exercises carried out in Audacity + another set of exercises carried out in DAW (Digital Audio Workstation) software - 20%
Analytical comments on audiovisual excerpts, focusing on sound. - 5%
Attendance: 10%
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Language |
Portuguese. Tutorial support is available in English.
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