Welcome Back from Spring Break!

Wednesday, May 4, 2011

 254 Sound
• Where you should be now: Pro Tools - you should be fairly
comfortable with the program and ready to start
experimenting. If not, just spend some time doing!

• Readings and guaranteed surprise quizzes. Like next week

perhaps. Read Mike Figgis: “Silence: The Absence of Sound”
and “What is Foley?” On my website: Sound > Reading
Links (or) > Reading Downloads.

• Final Exam will be much more about the readings and will
pickup some of the midterm questions.

Wednesday, May 4, 2011

 Now... for the Fun Stuff!

We have six weeks left (including today) & two major assignments.
1. Archival project: (due in three weeks!)
• Teams of 2. No Film / Music collaborations!
• 3-5 minute film using only the Archival footage on the
server. All sound must be created (or from freesound.org
or Sfx library on server).
• Story story story story.
• Voice Over is fine. No music except diagetic (we see the
sound source on screen.)
• No cheating: you will hand in your PT session file!

Wednesday, May 4, 2011

 Fun Stuff, continued!
We have six weeks left (including today) & two major assignments.
2. ADR project:
• Teams of any size (within reason). Film / Music
collaborations are encouraged!
• Rip one scene from a commercial movie or TV and
replace all the dialog with your own ADR’d voices.
• Big scenes with lots of characters are usually the most
fun. (ex: Spaceballs, Anchorman, Sex in the City, etc. )
• We will learn VocAlign in lab.
• Get team together now, and rip scene using Handbrake
or MacTheRipper, etc. Ask for help.

Wednesday, May 4, 2011

 Using Effects to Create a Sound World

• Foley, Hard Effects, Ambience are the major categories of

sound effects. These tracks should appear after your
dialog tracks, before music tracks in your mix.

• Sfx are used for both doc and narrative film.

• If you haven’t read the online articles on Foley, read them

now. (Surprise quizzes sure are fun for me to write...)

Wednesday, May 4, 2011

 Sources of Effects:

• Record your own (yes... you can check out mics/Zooms/

HDRs.
• Mouth noises... Radical EQ... it’s all fair game.
• The effects library is on the server. If you don’t know how
to access it yet--Ask!
• Ambience? Clip a lav to yourself, find a space. Record
lots--esp. walla. Watch for audible loop points!

Wednesday, May 4, 2011

 Recording Effects:

• Record just like VO--no reverb.

• Mic placement should be very close, except for footsteps,
which should have some presence.
• Make a “floor” stage of wood, tile, marble, catfood in a bag
(for gravel), etc. Cornstarch and fist for snow.
• Grab ambiences from the real world.
• Record foley in real time. Record hard effects and spot
them in the mix.

Wednesday, May 4, 2011

 Processing Effects:

• Don’t look for effects by name--A child’s swing, with a little

EQ, becomes a ship chain. (or vice versa).
• Remember Master and Commander. Create effects with
layers of elements.
• Create a mix of effects through sound spectrum. Low
rumble to high hiss.
• Complex sounds have a beginning, middle, and end.

Wednesday, May 4, 2011

 Tools for Processing:
• EQ--drastically cut or boost frequencies.
• Reverse (sound plays backwards).
• Reverb (mimicking other spaces).
• In lab this week we will demo:
• TCE (time compression and expansion).
• Pitch Shift.
Make sure you understand these two tools! Try them out on
some sounds from the Sfx library. Start work on the Archival
project. Don’t leave early! Use your time wisely!

Wednesday, May 4, 2011

 Three “bonus features” from Forest Gump,
sound design by Randy Thom.

Wednesday, May 4, 2011

Wednesday, May 4, 2011
Wednesday, May 4, 2011
Wednesday, May 4, 2011
 Insomnia

Wednesday, May 4, 2011

Wednesday, May 4, 2011
 Amon Tobin

Wednesday, May 4, 2011

Wednesday, May 4, 2011