Universitat Internacional de Catalunya
Audio Postproduction
Other languages of instruction: English, Spanish,
Teaching staff
Appoinments are available on Wednesdays and Fridays from 11:00 to 11:45. It must be arranged in advance via email.
Introduction
Sound Postproduction it's an optional subject of 4 ECTS delivered on the first semester of 4th grade of Audiovisual Comunication degree. Sound postproducction stage it's one of the most importants of a production in matter of narrative and esthetic finishing.
Sound is the invisible part that complement the footage and is also the most exigent part we perciebe without being concient of that. That's because hearing unique sense we can't control voluntarily. It is the first sense developed in gestation and the fastest way to our emotional brain part. That's because it's a crucial part of the Audiovisual narrative.
The subject turns around the Sound Designer. Their job is elevate the story with sound treatment and had a leader roll on sound department. Students will discover the creative and executive aspects of this character.
They also explore different tools and techniques that are used in this stage like creating Foleys, feld reccording of ambient sounds and dubbing voices.
The content and the tools will be aborded throught Adobe Audition software, where students will learn to use different tools and methods for creative and technique pourposes, that are available on DAW softwares. (Digital Audio Workstation).
The main pourpose of the subject is to wake up on the student a hearing sensitive close to the quality standards of industry of cinema, broadcasting, etc.
Pre-course requirements
None.
Objectives
Students will learn how works a sound postproduction stage. As a consequence of that, students would have trained their hearing. Knowing how must be a sound design of quality and a good mixing.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 10 - The ability to confront difficulties and resolve problems
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 16 - The ability to manage, analysis and reflect on content
- 21 - Knowledge and mastery of the digital culture
- 24 - The ability to plan and organize both short term and long term projects
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 40 - The ability to defend and respect authorship and intellectual property
- 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
- 44 - The ability to adapt to new audiovisual formats
- 45 - The ability to know and dominate the techniques of audiovisual narrative.
- 47 - The ability to understand and run digital retouching tools, special effects, postproduction and graphics design
- 48 - Knowledge and mastery of the techniques of filming, directing, producing and editing
- 52 - The ability to apply audiovisual knowledge and techniques for commercial purposes in any form
Learning outcomes of the subject
By the end of the course, students will have:
- Developed critical listening skills, essential for discerning high-quality sound elements in any audiovisual product.
- Learned to identify the intent behind any sound element within the narrative of an audiovisual product.
- Gained the ability to handle straightforward sound post-production tasks.
- Learned to manage stereo sound mixes for platforms such as radio, advertising, social media, or fiction projects.
- Developed proficiency with audio editing software.
- Awakened an interest in sound and established a solid foundation for further expanding their knowledge through specialization after completing their degree.
Syllabus
Block 0: Developing critical listening skills.
This learning block fosters the analysis of and active listening to various audio pieces and audiovisual content, aiming to cultivate a sensitive and critical listening approach among students. This block runs throughout the semester, integrated into various sessions alongside the other topics listed below.
Block 1: Basic concepts.
This block combines lectures with practical exercises aimed at mastering the fundamentals of digital audio signals through the use of basic processing tools:
- Parametric Equalizer: Understanding and interpreting sound characteristics via the frequency spectrum; knowing how to adjust an equalization curve using the tool's various parameters.
- Single-band compressors: Controlling the dynamics of audio signals; understanding parameters and their functions, and applying them appropriately.
- Cleanup tools: Understanding how various audio cleanup tools work and applying them as needed to the source material.
Block 2: Sound design techniques.
At the start of the semester, each student will individually select a film sequence in which sound design plays a pivotal role in the narrative. The sequence must be between 2 and 5 minutes long. Throughout the course, students will completely redesign the sequence, building the soundtrack from scratch by combining original sounds with library assets. This project will involve stages such as:
- Dubbing: Students will conduct a dubbing session to provide voices for the characters in their sequence. This involves selecting appropriate voices and carrying out the studio session outside of class hours.
- Foley: Students will create the sound effects required for the sequence—sounds synchronized with the visuals, such as footsteps, the rustling of clothing, the handling of props, etc.
- Ambience recording and design: Students will record ambient sounds, applying the stereo recording techniques learned in class.
Block 3: Stereo Mixing
Once all the sounds have been created, students will mix all the elements, giving each one the prominence it deserves within a stereo environment.
Teaching and learning activities
In person
| TRAINING ACTIVITY |
| Peer learning. The aim of this activity is to ensure that students gain the ability to analyse and be critical. One way of achieving this is by correcting their peers' exercises and results, etc. Each student will be evaluated twice: as both a recipient and a transmitter of critical knowledge. Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. E-learning. Virtual learning based on ICT. Focused Praxis. Handing in occasional exercises to learn theory through practice. Mentoring programme. Ensuring a review of and in-depth look at competences and knowledge, as well as the development of habits involving social commitment and responsibility, with the strongest students providing guidance for students from lower years, particularly if they have any type of disability (physical, etc). Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product. Seminar. This activity will consist of taking an in-depth look at specific up-to-date topics in a monographic manner-in some cases these topics will have been debated socially-, via active work in small groups. Practical workshop. A highly practical working activity, where students can acquire skills that are practical or also theoretical (intellectual skills, logical skills, critical skills, intellectual learning skills, study skills, quoting skills, etc). |
Evaluation systems and criteria
In person
In-class practical exercises (20%): Practical work carried out both, in and out of class, related to the course material taught. This may include recordings, sound editing, or written assignments.
Practical test (30%): Students will have a set amount of time to complete a series of tasks using the sound editing software.
Attendance (10%): Attendance at 80% of the sessions is required to pass the course.
Attitude (10%): Proactivity and interest shown by students in class are valued positively, as is respect for the instructor and fellow classmates.
Final project (30%): This project is carried out throughout the semester, outside of scheduled class hours. It is to be submitted on a date agreed upon by the instructor and the student during the semester's first exam period.
For every submission—whether partial or final—the following will be assessed: organization of required files, file naming conventions, punctuality of submission, layout and organization of working tracks, and the treatment of each sound (clarity, cleanliness, texture, function).
The practical test will assess not only skills regarding the editing software and its tools but also the student's listening skills and their ability to identify and describe—using appropriate terminology—the characteristics of the sound being processed.
All assessments must be passed in order to calculate the final course grade. If a student fails any of the assessments, a retake will be available during the second exam period. Grades from the other assessments will be retained for the final grade calculation in that period. From the third attempt onwards, the student must retake the entire course, as well as the assessment tests.
Bibliography and resources
CHION, Michel: El sonido (Paidos, Barcelona, 1999)
RUMSEY, Francis y McCORMICK, Tim: Introducción al sonido y la grabación (IORTV, 1992)
NISBETT, Alex: El uso de los micrófonos (IORTV, 1993)
LYVER, Des: Principios básicos del sonido para video (Gedisa, 2000)
KATZ, Robert A: La masterización de audio (Focal Press, 2002)