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Multiplatform Sound Design

This document provides an overview for a university course on multiplatform sound design. It introduces the unit coordinators and lecturers, learning outcomes which include employing critical insight into sound use in media and developing time management systems. It outlines the weekly topics such as animation sound design, dialogue, and sound effects. Assessment includes online quizzes and a sound design project. It also gives background on sound design, describing its role in storytelling and how it originated, and provides examples of influential films. Main sound design categories like dialogue, music, foley, and effects are defined.

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Quoc Huynh
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69 views26 pages

Multiplatform Sound Design

This document provides an overview for a university course on multiplatform sound design. It introduces the unit coordinators and lecturers, learning outcomes which include employing critical insight into sound use in media and developing time management systems. It outlines the weekly topics such as animation sound design, dialogue, and sound effects. Assessment includes online quizzes and a sound design project. It also gives background on sound design, describing its role in storytelling and how it originated, and provides examples of influential films. Main sound design categories like dialogue, music, foley, and effects are defined.

Uploaded by

Quoc Huynh
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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MULTIPLATFORM SOUND DESIGN

Overview Contact Details


Unit coordinator: John Willsteed
[email protected] Contact for questions about enrolment, class allocations, etc.

Lecturers/Tutors: David Williams


[email protected]

Dion Clark
[email protected] Contact us for questions about assessment items, unit content, etc.

Overview What Youll Learn


1. Employ critical insight into the use of sound in a range of media 2. Use sound as a storytelling device in applicable formats 3. Develop data and time management systems 4. Apply a range of interactive systems and programs 5. Produce and integrate sound components in an interactive project.

Materials needed

HEADPHONES!!
(ideally good ones)

Portable USB Storage (Hard Drive, Memory Stick)

BACK UP YOUR DATA!!

Week to Week Outline


Week 1: Sound Design in a Nutshell Week 2: Animation Sound Design Week 3: Dialogue Week 4: Sound Effects, Foley and Atmos Week 5: -- Project Week No class -Week 6: Plugins and Signal Flow

Week to Week Outline


Week 7: Game and Interactive Sound Design Concepts Week 8: File Naming Conventions and Audio Pipeline Week 9: -- Project Week No Class -Week 10: Implementation of Audio Into Unity Week 11: Video Game Guest Lecture (TBD) Week 12: Sound to Picture Guest Lecture (TBD)

Assessment
Online Quiz Fundamentals of Sound Design
Due: End of Week 4 Weighting: 20%

Online Quiz Sound Design for Multiplatform Applications


Due: End of Week 12 Weighting: 20%

Sound Design work to Multimedia, Interactive Sound Design work and Written Report
Due: Week 13 Weighting: 60%

What is Sound Design?


A very broad term with multiple definitions. In the context of this subject, Sound Design is the process of specifying, acquiring, manipulating or generating audio elements. Employed in a variety of disciplines, including Film, Television, Theatre, Animation, Advertising, Installation Pieces, Interactive Multimedia and Video Games.

Where did it originate?


The first person to be credited with the title of Sound Designer was Walter Murch, for his work on Apocalypse Now (Coppola, 1972) "an individual ultimately responsible for all aspects of a film's audio track, from the dialogue and sound effects recording to the re-recording (mix) of the final track"

Films Notable for Sound Design


Apocalypse Now (Walter Murch, 1972) The Conversation (Walter Murch, 1974) Star Wars (Ben Burtt, 1977) Das Boot (Karen M. Baker, 1981) Jurassic Park (Gary Rydstrom, 1993) Saving Private Ryan (Gary Rydstrom, 1998) The Matrix (Dane A. Davis, 1999) WALL-E (Ben Burtt, 2008)

What does Sound Design do?


Helps tell and reinforce the story Immerses the audience within the piece Works on multiple levels:
See a dog, hear a dog Informs the audience of the world outside the visual frame Can heighten drama, suspense and tension all subliminally

Main categories of Film Sound


Dialogue ADR Music Foley Atmospheres (Atmos) Sound Effects

Dialogue and ADR


What is spoken by the characters onscreen In live action, Dialogue is generally recorded on set In animation, Dialogue is recorded within a controlled studio environment ADR is Additional Dialogue Recording a process of re-recording unusable lines to synced footage

Music
Used to emphasize or contradict the onscreen action Can be diegetic (within the film world eg. A radio) or non-diegetic (typical film score only audible to the audience) Covers a vast range of genres, from typical orchestral scores to modern electronic pop music

Foley
Reproduction of everyday sound effects added to enhance audio quality Generally limited to human movement and interaction sounds Often blurs into Sound Effects the role of a Foley artist needs to be clearly defined in the initial brief

Atmospheres (Atmos)
Used to inform the audience of the environment in which the piece takes place Often sound sources are offscreen E.g. wind in trees, distant traffic, birds chirping

Sound Effects
A sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music Can be recorded, synthesized or manipulated from other sources Generally used for notable events, e.g. explosion, car driving past, exploding car driving past Can be diegetic and non-diegetic Often blurs between Foley and Atmos categories

Implementation
For film sound, the only software used within a professional environment is Pro Tools It is possible to use other Digital Audio Workstations (DAWs), but Pro Tools is the industry standard

Creative Sound Design


What you see is very rarely what you hear real world sounds often sound boring when placed in a films soundtrack, e.g. punches, explosions, etc.

How to Overcome This


Think creatively Experiment with sounds from unexpected sources Think in terms of what you need the sound to accomplish think Attack, Decay, Sustain, Release Edit sounds together to convey particular qualities Layering, layering, layering!

A reminder!
Sound, musical and otherwise, has value when
it is part of a continuum, when it changes over time, has dynamics, and resonates with other sound and with other sensory experiences. (Thom, 1999)

Creative Sound Design Ideas

http://www.youtube.com/watch?v=NsfbXGDw_aA

Creative Sound Design Ideas

http://www.youtube.com/watch?v=6Cpoww6iKyA

Homework!
Watch a film from the list provided. Take notes on the sound design elements of the piece, and how they influenced the films narrative.

That list again!


Apocalypse Now (Walter Murch, 1972) The Conversation (Walter Murch, 1974) Star Wars (Ben Burtt, 1977) Das Boot (Karen M. Baker, 1981) Jurassic Park (Gary Rydstrom, 1993) Saving Private Ryan (Gary Rydstrom, 1998) The Matrix (Dane A. Davis, 1999) WALL-E (Ben Burtt, 2008)

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