MCCCD Program Description

Introduction to Sound Design for Film and Video

Course: MTC120

First Term: 2012 Fall

Lecture 3 Credit(s) 3 Period(s) 3 Load
Subject Type: Occupational
Load Formula: S

Description: Basic principles of recording and mixing sound for film and video. Includes voice over, automatic dialog replacement (ADR), foley, ambience, special effects and music. Emphasis on analog and digital recording techniques in the field as well as in a controlled environment.

MCCCD Official Course Competencies
1. Explain the acoustic principles of sound. (I) 2. Identify and explain the different parts of the recording chain. (II) 3. Demonstrate the techniques necessary to use a mixer board. (III) 4. Identify the principles of recording foley, automatic dialog replacement, voice over, special effects, ambience and music. (IV) 5. Demonstrate the uses of analog and digital recording decks. (V) 6. Describe the current file formats used in audio recording. (VI) 7. Demonstrate the proper use of compressors. (VII) 8. Demonstrate the types of microphones used in recording sound for film and video. (VIII) 9. Transfer sound from one piece of equipment to another in both digital and analog formats. (IX) 10. Demonstrate the types of microphones used in recording sound for film and video. (X) 11. Transfer sound from one piece of equipment to another in both digital and analog formats. (XI) 12. Explain the techniques used when transferring video to film/optical tracks. (XII)
MCCCD Official Course Competencies must be coordinated with the content outline so that each major point in the outline serves one or more competencies. MCCCD faculty retains authority in determining the pedagogical approach, methodology, content sequencing, and assessment metrics for student work. Please see individual course syllabi for additional information, including specific course requirements.

MCCCD Official Course Outline
I. Basic Principles of Acoustic Waveforms A. Frequency B. Amplitude C. Velocity D. Shape E. Phase F. Harmonic II. Recording Chain A. Transducers B. Analog C. Digital D. A/D converters E. D/A converters III. Mixer Board A. Channel inputs B. Track selection C. Master section D. Meter bridges IV. Recording Principles A. Foley B. Special effects C. Automatic Dialogue Replacement (ADR) D. Voice over E. Music F. Ambience V. Analog and Digital Decks A. Different uses of each machine B. Syncing C. Transfer to digital audio work station non-linear editing system VI. Current File Formats A. Audio Video Interleave (AVI) B. Audio Interchange File Format (AIFF) C. Quicktime D. Open Media Framework Interchange (OMFI) VII. Compression A. Ratio B. Threshold C. RMS (Root Mean Square)/Peak D. Make-up gain E. Hard knee/soft knee F. Attack/Release VIII. Microphones A. Condenser/Dynamic B. Phantom power C. Filters D. Pop screens E. Booms IX. Digital/Analog Transfer Mediums A. Digital/analog B. SPDIF (Sony/Philips Digital Interconnect Format), AES (Audio Engineering Society)/EBU (European Broadcasting Union) C. Fiber optic D. Fire Wire C. Filters D. Pop screens E. Booms XI. Digital/Analog Transfer Mediums A. Digital/analog B. SPDIF, AES/EBU C. Fiber optic D. Fire Wire XII. Transferring audio to film A. Optical tracks B. 16, 35mm C. Mono/stereo

MCCCD Governing Board Approval Date: 2/28/2012

All information published is subject to change without notice. Every effort has been made to ensure the accuracy of information presented, but based on the dynamic nature of the curricular process, course and program information is subject to change in order to reflect the most current information available.