Presentation for "Provas de Agergação" - 2 relatorio

2. RELATÓRIO PEDAGÓGICO PROVAS DE AGREGAÇÃO

5 de Janeiro 2015

Álvaro Barbosa [email protected] www.abarbosa.org

Escola das Artes Universidade Católica Portuguesa

www.porto.ucp.pt

Faculdade de Indústrias Cria>vas Universidade de São José

www.usj.edu.mo

Slide # 2 / Author: Álvaro Barbosa (www.abarbosa.org)

Álvaro Barbosa – Relatório Pedagógico


Álvaro Barbosa – Relatório Pedagógico In cinema the majority of the sounds that we hear appear to be generated naturally from the scene we are watching.

However:

� OPen up to 80% of sounds in a film are added in post-‐produc>on (100% in animated films). This implies the reproducNon of the psycho-‐acousNc phenomenon in a sound studio.

� The process of producing sound components for movies is extremely Nme consuming and technically complex, demanding extensive organizaNon and collaboraNon with other Stakeholders (Producers, Scriptwriters, Directors, Visual Ar>sts, Video Editors, Etc.)

� Sound and Music Design Dras>cally changes the message conveyed by

the Visuals.



The Sound and Image program includes:

Undergraduate degrees covering video, audio and multimedia production;

MASTER degrees in computer animation, digital arts, sound design, audiovisual production, scriptwriting;

PHD program in computer music and interactive art.



The produc8on techniques of sound are possibly much harder to study, because:

� We are accustomed to ignore (or process subconsciously) the majority of sounds in our environment.

� Our main source of informa>on from the environment is visual.

� We are accustomed to think of sound and cinema accompanied by visual informa>on.

� When analysing, it’s not possible to freeze a frame of sound and examine its concept and cinematographic expression, which one can do with image, framing and analyse its ligh>ng, framing, mise-‐en-‐scene, etc.



Introduction to Sound Design Objectives:

1.  Introduce students to music and audio, the spoken word and other sounds as an art form applied to diverse audio-‐visual media

2.  Develop the culture of analyzing sound produc>on and discuss it with a common language used by other stakeholders from an Audiovisual produc>on environment.

3.  Explain how to Formulate and convey ideas or feelings trough the use of Sound and Music

4.  Establish the role of sound as a vehicle to influence and support the interpreta>on of a Scene.



Introduction to Sound Design Outline: 1.  Motivation and the study of sound in cinema

Characterization and history. 2.  Analysis of the production process

Voices, Sound Effects, Music and Background Sound.

3.  Analysis of the transmitted message Diegetic / Non-diegetic / Meta-Diegetic sound and Oníric.

4.  Transformation and editing of sound Amplitude, Pitch, Timbre and Spatialization.

5.  Traditional techniques Silence, Sound Masking, Interior Sounds, Overlapping, Anticipation, “Split Second”, “Mickey Mousing”, “Leit Motif”.



1. Motivation and History





2. Production Process





1.   VOICE 1.1 Dialogue 1.2 Performance 1.3 Narrator 1.4 Interior Monologue

2.   BACKGROUND SOUNDS

2.1 Soundscapes 2.2 Background Voices 2.3 Objec>ve Music

(Diage>c)

3.   SOUND EFFECTS 3.1 Foleys 3.2 Hard Foleys 3.3 Special Effects 3.4 Procedural Audio

4.   MUSIC 4.1 Musical Effects 4.2 Pre-‐Exis>ng 4.3 Scored

TAXONOMY OF SOUND LAYERS



FOCUS – Procedural Audio (Andy Farnell)



FOCUS – Procedural Audio (Andy Farnell)



FOCUS – Music Composer (Alexandre Desplat)

It’s not my Music, It’s the Music for His Film”



3. Convey the Message



Pierre Schaeffer Traité Des Objets Musicaux (1967)

Pauline Oliveros Deep Listening (1988)


Álvaro Barbosa – Relatório Pedagógico Michel Chion’s Listening Modes (1990 Audio Vision)


Álvaro Barbosa – Relatório Pedagógico Michel Chion’s Listening Modes 1.   Casual Listening

Iden>fica>on of the source/origin (Dependent on context and prior knowledge)

2.   SemanNc Listening Iden>fica>on of the content of the transmimed message (Understand the Meaning of the message)

3.   Reduced Listening (P. Schaeffer) Analy>cal and descrip>ve listening of sound (independent of context and meaning)


Álvaro Barbosa – Relatório Pedagógico The space in the screen (Michel Chion “Audio Vision” – 1990)



Claudia Gorbman in 1976 in the taxonomy of sound for film “Teaching the SoundTrack” published in the magazine “Quarterly Review of Film Studies”.

DIAGETIC AND NON DIAGETIC

Sounds of Reality VS Unreal sounds that enhance Reality

META-DIAGETIC

Sound of and Altered State of Mind

ONEIRIC

Entering a Dreamlike State



4&5. Editing Techniques


Álvaro Barbosa – Relatório Pedagógico Many PracNcal Examples such as Sound Overlapping in:

O Trovão -‐ 2008, Álvaro Barbosa



Introduction to Sound Design Learning Outcomes:

1.  Understand the principles of acous>cs and psycho-‐acous>cs underlying Sound Design

2.  Analyze and explain correctly the effect of sound in any Video

3.  Know and apply the Taxonomy of sound layers in a prac>cal structure of a Sound Design project

4.  Dis>nguish high quality from mediocre Sound Design

5.  Apply Classical Audio Edi>ng Technique in a video project 6.  Fill out a Log-‐Sheet comprehensively, using the key concepts

from Sound Design Theory learned in the Module





Introduction to Sound Design Assessment:

1.  Individual Presenta>on and paper describing the sound and Music Design for a Movie

2.  Individual Exercise with Log-‐Sheets

3.  Group Project for recording and colle>ng and inventory of sound sources for and Audiovisual Project.

4.  Discussion and par>cipa>on in Class 5.  Amendance 6.  Results from Peer-‐Evalua>on (Presenta>on)

7.  Results from Hetero-‐Evalua>on (Group Work)




Thank You!!!!

[email protected] www.abarbosa.org

University of Saint Joseph| Faculty of CreaNve Industries

hmp://www.usj.edu.mo

Education

Presentation for "Provas de Agergação" - 2 relatorio