Course Description
Building on MUSC 3172, this course introduces students to immersive spatial audio, music and sound editing in the context of a postproduction workflow. Students will also learn the art of original sound design with both modern synthesizers and live recordings.
Course Content
1. Industry Overview
- Film School - terminology, shot types, director lingo, crew description, hierarchy, above the line/below the line, dramatic arc analysis, intro analysis, scene cutting analysis
- Career overview - working in a post-house vs freelance
- Opportunities presented by new digital media vendors and streaming services
2. Sound Editing Part 1
- Processing library sound effects with Digital Signal Processing (DSP) and advanced audio manipulation tools
- The art of layering sound effects to create original compelling sound moments
3. Sound Editing Part 2
- Using elastic audio, pitching, time-based effects, automation, spectral tools to create professional sound effects for horror, sci-fi, and fantasy content
- Monster/supernatural being sound design creation and voice modulation tools
4. Sound Design with Foley
- Introduction to creating a sound effects library
- Categories, metadata, workflow and best processes
- Creating sound effects with non-synchronized Foley recordings
5. Sound Design with Synthesizers Part 1
- Understanding the components of a synthesizer (Vital)
- Common simple sound effects with subtractive synths
- Bass bends, cinematic booms, comms glitches, button beeps etc.
6. Sound Design with Synthesizers Part 2
- Using modulators and wavetable manipulation to make common sci-fi and fantasy sound effects
7. Sound Design with Synthesizers Part 3
- Using samples and wavetables with advanced synthesis techniques to create complex and multilayered sci-fi sound effects
- Transformers, explosions, weapons, computer noises, etc.
8. Intro to Spatial Audio
- How Head Related Transfer Function (HRTF) works and how Ambisonic sound is recorded
- Processing and monitoring spatial audio recordings in Pro Tools
- Spatial audio headphone monitoring in virtual environments
9. Spatial Audio Field Recording Capture
- How to capture sound in various environments in spatial audio
- Capture ambiences and individual sounds from common categories to be processed and filed for a project or library
10. Spatial Audio Field Recording Processing
- Setting up processing and bussing for monitoring spatial audio in Pro Tools
- Finalizing captured sounds with RX Correction, compression, EQ and other DSP
- File management, labelling, meta tagging for easy filing
11. Mixing in 5.1 and Dolby Atmos Intro
- How 5.1 systems differ from 7.1.2 or other Atmos systems
- Monitoring in a real Atmos room
- Monitoring in a headphone environment using HRTF monitoring tools
- 5.1 Mix Tutorial
- 5.1 to 2.0 downmixing
- Overview of LT RT (Left Total, Right Total) and analog surround mixing
12. Mixing in Dolby Atmos Part 1
- Group Cinematic assets assembly and setup for Dolby Atmos
- Understanding Dolby Atmos specs for mixing room
- Understanding Dolby specs for delivery to streaming services
13. Mixing in Dolby Atmos Part 2
- Finalizing a surround mix for final project
- Review of new tools and innovations in immersive audio
- Industry overview for using immersive audio
14. Mixing in Dolby Atmos Part 3
- Final mixing for group projects
- Compression/EQ/room building and other final mix techniques
Learning Activities
Lectures, demonstrations and hands-on studio experience
Means of Assessment
Assessment will be based on course objectives and will be carried out in accordance with the Douglas College Evaluation Policy. A sample evaluation scheme is included below.
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Field Recording Library
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10%
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Synth Sound Design Library
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20%
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Short Audiobook in Spatial Audio
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30%
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Ambisonic Field Recordings
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10%
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Dolby Atmos Full Re-Recording
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30%
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TOTAL
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100%
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Learning Outcomes
Upon successful completion of this course, students will be able to:
- Demonstrate competency with field recording sound capture techniques;
- Design sounds with synths and studio recordings;
- Develop an immersive audio sound library;
- Manipulate human voice sources to create original vocal sound design and effects;
- Edit music to film using original score and licensed music;
- Describe new innovations in immersive technology;
- Mix in immersive audio for Dolby Atmos and Ambisonics;
- Mix in traditional 5.1 ‘Surround'.
Textbook Materials
Textbooks and materials are to be purchased by students. A list of required textbooks and materials is provided for students at the beginning of each semester.
Example texts may include:
1. The Sound Effects Bible (Viers, Tim) How to Create and Record Hollywood Style Sound Effects, Published Michael Wiese Productions
2. Practical Art of Motion Picture Sound (Yewdall, David Lewis) Published Routledge