BMA0D367 – Audio Post Production

Module code

BMA0D367

Module title

Audio Post Production

Prescription

The purpose of this module introduces the student to the concepts and skills necessary for advanced audio post-production in relation to generating film and video soundtracks. The student will be introduced to selected software and techniques to develop knowledge and experience of audio post-production procedures. The student will be required to apply industry practices to assignments and individual projects.

Programmes

BM9601

NZQA Level

Level 7

NZQA Credits

Delivery method

Web-Supported

Learning hours

Total learning hours: 150

Resources required

Learning Outcomes: 2LEARNING OUTCOMES AND PERFORMANCE CRITERIA
2.1Understand the values, methodologies and strategies which inform current professional practice in sound for film
-compare, analyse and evaluate selected texts identifying issues relevant to a specific contemporary practice
-analyse a selection of current works and identify the specific methods used in their production
-compare significant changes in methods of practice and strategies for production relevant to a specific contemporary practice
-develop and implement a strategy for the production of work which explicitly applies the analysis of values from a domain
-evaluate self-practice using normative criteria derived from a current domain
-plan and implement a conventional presentation of own works
-develop critical synergies between representative texts, examples of work and self-practice
2.2Develop an appreciation of a soundtrack's constituent parts
-analyse and discuss the purpose and intention of the aural elements in selected soundtracks
-examine and explore the different audio aspects of a soundtrack
-analyse and discuss the effect of audio elements on an audience's reception of a narrative sequence
2.3Develop skills in the planning and design of post-production audio
-demonstrate familiarity with the procedures involved, from pre-planning, through production, into post-production, laying-up, re-recording and mixing
-demonstrate understanding of the technical factors which influence the various stages of post-production decision-making
-analyse and critically assess the strategies employed in audio post-production
-research and explore a variety of out-put formats for presenting moving image productions
2.4Develop skills in post-production recording and laying-up
-demonstrate an ability to evaluate location sound and what a soundtrack requires to achieve a specific aural impact
-record post-production audio elements, including foley, atmospheres, ADR, and spots effects, to an industry standard generate special sound effects according to supplied brief

2.5Develop skills in soundtrack mixing
-analyse and discuss a sound mix's technical requirements
-analyse and discuss a sound mix in relation to narrative contexts
-demonstrate an ability to mix manipulate and audio so it serves a dramatic narrative
-explore non-narrative soundtracks
-identify and discuss non-soundtrack and non-music contexts for audio post-production
-analyse selected non-narrative soundtracks
-experiment with audio possibilities in a non-narrative context
2.6Develop technical understanding and skill in the use of audio post-production hardware and software
-demonstrate an ability to employ digital post-production software in industry practices
-demonstrate an understanding of the technical requirements of hardware configurations
-identify, discuss and evaluate responses to specific post-production scenarios
2.7Demonstrate competency in conceptual development and project management skills
-demonstrate the ability to extend a design brief with individual, negotiated criteria
-consider and reflect upon the relationship between an adopted process and the final product
-continuously self-evaluate performances independent of institutional assessment
-participate in self/peer critiques for ongoing formative assessment
-critically consider, discuss and document self and peer performances for regular graded assessment
-actively participate in and facilitate group and class critiques
Content: 3CONTENT
3.1Understanding the soundtrack
A soundtrack's purpose
A soundtrack's constituent parts
The impact of audio on an audience
3.2Planning post-production audio
Preplanning to mixing
Technical factors
Studio strategies
Output formats
3.3Recording and laying-up skills
Evaluating location sound and aural
Recording in post
Generating sound effects
3.4Mixing
Technical requirements
The mix in relation to story-telling
Serving the drama
3.5Non-narrative soundtracks
Identify contexts
Analyse work
Explore audio possibilities
3.6Hardware and software
Industry equipment
Hardware configuration
ProTools editing, recording and mixing
Logic Pro editing, recording and mixing
Problem solving

3.7Contextual Research
Contextual research into contemporary domain values and constructs
Case studies and selected readings
Research strategies and reports
3.8Communicating with a range of cultures
Content of interest to a Mori audience
New Zealand cultural identities
Content from at least one other culture
Modes of address appropriate to the audience
Teaching and Learning Strategy: LEARNING PROCESS
Lecturer prescribes project briefs that examine concepts and implementation within a professional context.
Students negotiate criteria with lecturer.
Lecturer monitors students' progress through the time management of individual projects
Students research conceptual and implementation issues to present as a class resource.
Students initiate research relating to content for their own projects.
Students use research to form a development plan which is presented to the class.
Lecturer identifies any lapses in a student's process, lecturer and student develop strategies for completing process.
Students participate in presentations of their work.
Studnets negotiate and define criteria for graded assessment.
Graded assessment performed by self, peers and tutor.
Assessment Criteria: To pass this course, students must complete all assignments and accumulate an overall course mark of no less than 50