MK-2-141

• Media culture 2014 - Sound for media
• Media culture 2015 - Sound for media
• Media culture 2016 - Sound for media
• Media culture 2017 - Sound for media
• Media culture 2018 - Sound for media
• Film and media 2019 - Sound for media

1 (2019-08-01 to 2019-10-27)

Swedish

Compulsory

First

2

5 cr

After course will student understand the basics of sound as storytelling in fiction and documentary films.

Students are familiar with professional software (Pro Tools) and gear used for recording and processing.
Students can work as a Sound Engineer and Boom Operator on location.
Students can do foley and dubb.
Students can independently work in the sound studio.

Students can do foley and dubb.

Course starts with an introduction where students get ideas on how to manage the course.

Students read and present literature on sound design and sound editing. Students analyze soundtracks. Practical works consist of laying tracks for a documentary film. Students get help in the process. Students write a paper where they analyze the process on doing the actual sound. This paper shall be finished before the feedback.

Introduction to the sound studio's equipment and software. We?ll look closer on the functions of the mixing console, the signal paths in the studio, different types of microphones as well as how to use Pro Tools and plugins for editing and mixing. When course is finished students will be permitted access to the studio to use it independently for recordings and post production.

Course starts with introduction where students get ideas to manage the course. Students read and present litterature on sound design and sound editing. Students analyze soundtracks. Practical works consist of laying tracks for a film. Students get help in process. Students write a paper where they analyze the process on doing the actual sound. This paper shall be finished before the feedback.

Introduction in medieproduction.
MK-2-113

David Bordwell & Kristin Thompson: Film Art - An Introduction,
kapittel "Sound in the Cinema". McGraw Hill 1997, 2001, 2004
el. nyare upplagan.

Larry Sider & Diane Freeman: Soundscape. The school of sound
lectures 1998-2001. Wallflower Press 2003.

David Sonnenschein: Sound Design. The Expressive Power of
Music, Voice, and Sound Effects in Cinema. Michael Wiese
Productions 2001.

Rick Altman: Sound Theory, Sound Practice. Routledge 1992.

Elisabeth Weis & John Belton (eds.): Film Sound: Theory and
Practice. Columbia University Press 1985.

Pauline Reay: Music in Film - Soundtracks and Synergy.
Wallflower Press 2004.

Tomlinson Holman:
Surround Sound, 2008.

John Purcell:
Dialogue Editing for Motion Pictures, 2007.

Vincent LoBrutto:
Sound on Film - Interviews with Creators of Film Sound, 1994.

Vanessa Theme Ament:
The Foley Grail, 2009.

Ric Viers:
The Sound Effects Bible, 2008.

• Lectures - 40 hours
• Excursions and demonstrations - 8 hours
• Individual- and group instruction - 8 hours
• Practical exercises - 16 hours
• Small-group work - 28 hours
• Project- and production work/artistic activities - 16 hours
• Individual studies - 14 hours
• Seminars - 5 hours

• Total workload of the course: 135 hours
• Of which autonomous studies: 135 hours
• Of which scheduled studies: 0 hours

Participation in tuition

Essays, reports, productions and portfolio

Attending classes, making required assignment and being present in practical exersises.

• Lindfors Kauko
• Lönnfeldt John

Lindfors Kauko

https://arcada.itslearning.com/ External link

No limit (7 students enrolled)

12 months after course has ended

2019-08-12 to 2019-09-08

Date will be announced later - Reports and productions