1. Kurzkurse
2. Audio Engineering for Film

Audio Engineering for Film

Kapitel

• Welcome!
• Introduction
• A Short History of Film Sound
• Different Layers in Film Sound
• Tasks and Functions of Film Sound and Sound Design
• The Sound Department and Production Workflow
• The Three Pillars of Teamwork: Coordination, Cooperation, Communication
• Production Workflow
• Technical Basics
• Intro to Surround
• Film Sound Formats
• A Look "Next Door": Image Formats
• Technical Evolution of Film Sound: From 2D to 3D
• Timecode
• Location Sound and Field Recording
• What Constitutes a Good Location Sound Recording? - Criteria
• What Do You Need for Good Location Sound and Field Recordings?
• Successful Location Sound Recordings - Microphoning and Booming Techniques
• Order is Half the Battle: Organising Your Location Sound Recordings
• Filming Procedure for a Take
• It's All About Communication: Tips for the Set
• The "Golden Rules" of Location Sound and Field Recording
• Dialogue Editing - an Invisible Art
• Dialogue Editing - Tasks and Goals
• From Picture Compositing to Sound Post-Production - About Picture Lock, AAFs and Everything Else You Need
• First Steps
• Dialogue Editing in Detail
• Advanced Editing Tricks
• Special Aspects of Editing Dialogue for Documentaries
• Preparing to Mix
• Postsynchronisation of the Location Sound / ADR
• Reasons for and Goals of ADR
• Preparing the ADR Recording
• The ADR Recording Procedure
• Tips for ADR Recording
• Effects
• What is a Sound Effect?
• Performance Sounds: Foleys
• Handmade Sound Recordings: Foley Mixer and Foley Sound Creation
• Creating Foleys - the Recording Session
• The Three Main Elements of a Foley Track
• Impressions From the Everyday Life of a Foley Artist
• Foley Editing
• Acoustic Glue: Cinematic Ambience
• Spatial Perception and Spatial Representation Using Ambience
• Ambience as a Tool for Subjectification
• What Sources to Draw From? Source Material for Designing Cinematic Ambience Sounds
• Recording Ambiences - Tips and Examples
• On Managing the Sound Archive
• Designing Ambience and Background Effects
• Stereotypes, Contrasts, Accuracy
• Designing Ambiences for Surround and 3D
• Fades, Session and Mixing Setups
• Summary
• Film Sound at its Best: Sound Design Effects
• Starting Point - Initial Considerations
• Sound Design Techniques
• Preparing to Mix
• How to: A Small Encyclopedia of Effects
• Crashes
• Electronic Effects
• Explosions
• LFE
• Crowds
• Punches
• Gunshots
• Animals
• Sound Design Standards and Clichés
• The Grand Finale: The Mix
• Mixing: Preparation is Half the Battle
• Technical Considerations
• Technical Standards for Cinema, Broadcasting and Streaming
• Signal Flow and Routing a Film Mix in the DAW
• On Using Automation
• Listening Levels
• Mixing in Surround and 3D
• Workflow Optimisation: Routing Concepts
• Premixes
• Recommendations for Planning the Premix
• Why Premixes? - Tasks and Goals
• The Dialogue/LocationSound Premix
• The Foley and Hard FX-Premix
• The Music Premix
• The Ambience and Effects Premix
• The Main Mix
• What is the Main Mix All About?
• How Does the Main Mix Work?
• The Final Steps: Mix Playback and Mastering
• The Print Master
• Compatible Mix Versions (Special Mixes)
• M&E-Mix (IT)
• Summary
• Epilogue
• Recommended Reading
• Online Sound-Archive
• Recommended Films
• Final Exercises
• Feedback
• Legal Notice