AUDIO POST-PRODUCTION- Crafting a compelling audio track & understanding the components of how it is created, mixed, and delivered

  • This course is open for 12 weeks
  • 10 lesson series
  • Certificate of completion
  • 5 hours, 15 minutes of video
  • Industry-Leading Instructors
  • Illustrated Companion Guides

About this course

George Lucas famously said that sound is the other 50% of the moviegoing experience.  While bad sound can take your audience out of the moment, good audio will add to the emotion of the scene.  In the Arts & Business Center Audio Post-Production Kit, you will learn the entire process from editing dialogue and ADR to creating realistic Foley sounds.  Learn how to work with a composer and license music, and finally how to mix everything.  Learn the techniques and process of making perfect audio in post.

THE LESSONS

Intro to audio Postproduction

Once the visuals of a movie are edited and the picture locked, it’s time to focus on crafting a compelling audio track. Understanding the components of how they are created, mixed, and delivered is key in crafting the story you want to tell.

In this module, you will learn the five components of audio and go to the sound studio to experience the construction of the audio for a scene.  Learn the ADR process, the contributions of Foley to the mix, the role of sounds effects and ambience, and the music.

This module is an ideal introduction to the world of audio post-production.

  • 24:49 video that walks you through the process of creating and mixing the five components of an audio track
  • Complete companion resource guide

WHAT STUDENTS WILL LEARN

How to mix dialogue as it was recorded on set; How to address dialogue problems; What is ADR and how to record it; What is Foley and how to record it; How to create and work with an ambience track; How to create and mix sound effects; How to mix in music; How to balance the mix of the five audio tracks; How to add compression and a limiter

CLICK HERE TO DOWNLOAD REGISTRATION FORM

ADR

One of the most important elements of the audio track is the dialogue – not only from the creative sense but technically. The dialogue editors work hard to make sure the audience can hear everything the actors are saying and that it’s free and clean of any background noise or distracting sounds. While the dialogue editors may try hard to remove the background noise, or even smooth it out, sometimes there is no other option than to re-record the dialogue.  This process is called Automated Dialogue Replacement (ADR), and in this module, you’re going to learn the process of properly using ADR to improve the quality of your dialogue track.

  • 30:31 video that walks you through the ADR process
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

What is ADR; What lines of dialogue are considered bad enough to replace?; In what instances can ADR be used?; What is the anatomy of an ADR recording studio?; What is the process of recording ADR?; How is ADR delivered once recorded?

DIRECTING ACTORS IN ADR

One of the final performances an actor needs to give is in the ADR studio, re-recording problematic lines to reconstruct the dialogue track. This performance, however, is nothing like acting on set.  The actor is isolated in a sterile sound booth, wearing headphones, and is required to say each line, again and again in an attempt to match the sync and emotional intensity of the original.  This is not an easy task.

In this module, you will learn how to work with actors to get the best vocal performance possible during the ADR process, address acting problems and actor fatigue, and gain valuable tips on how to direct a natural and realistic performance so the ADR performance becomes better than the original delivery on set.

  • 28:19 video that reveals tips and techniques for directing actors in the ADR process
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

How actors respond to the ADR process; How to avoid delivery burn-out; How to get the performance you want; The danger of line readings; How group ADR sessions operate

CLICK HERE TO DOWNLOAD REGISTRATION FORMS

FOLEY

When the audio is recorded onset, the goal is to record two things – the actor’s dialogue, and the actor’s interactions with the environment.  If the scene was ADRd, then the newly recorded dialogue replaces the audio recorded on set, so the sounds of the actors interacting with the environment- footsteps, clothing movement, picking up and moving objects – all need to be re-created to reconstruct the soundtrack.

This process is called Foley, and in this module, learn how Foley is recorded and mixed to create and full, rich audio track. Learn the types of Foley, how much should be recorded, the process of recording Foley, and how to properly schedule and budget this creatively demanding aspect of audio post-production.

  • 33:33 video that walks you through the process of creating Foley
  • Illustrated Companion Guide

WHAT STUDENTS WILL LEARN

What is Foley?; How a Foley stage is organized; The reasons when Foley is used for a scene; How the footsteps track is recorded; How the specifics track is recorded; How the cloth pass is recorded; How to schedule and budget Foley

SOUND EFFECTS

A movie soundtrack consists of several different elements – the dialogue, which can either be the original production audio recorded on set or ADR, the music, Foley, and then the sound effects track.  Sound effects consist of both the ambience of the location as well as the sound design for the scene.

In this module, you will learn the process of creating a compelling sound effects track for your movie, where to find high-quality sound effects, how sounds effects and Foley work together, how to find a balance between the dialogue and music, and the role of the sound effects editor.

Create a sonically-engaging experience for your audience and gain the knowledge you need to maximize the impact of the sound design in your film.

  • 24:49 video that takes you through the sound effects design process
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

The difference between sound effects and Foley; How to use ambience to help create the world; Where to find high-quality sound effects; Techniques for layering and mixing sound effects; How to create compelling sound design; Scheduling and budgeting requirements for sound des

CLICK HERE TO DOWNLOAD REGISTRATION FORMS

MIXING THE AUDIO

Throughout the audio post-production process, each department – dialogue, Foley, sound effects, and music generate tens of thousands of individual sounds across hundreds of track. All of these sounds need to be mixed into a single soundtrack – whether it’s a stereo track for broadcast, a 5.1 mix, or a 10.1 theatrical mix. This process is called mixing the audio, and it happens on a dubbing stage.  In this module, we’re going to explore the dubbing process and how all these audio elements get mixed to create the sonic experience for the audience.

  • 31:18 video that takes you through the process of mixing the audio
  • Illustrated Companion Guide

WHAT STUDENTS WILL LEARN

How to create pre-dubs of each sound stem; How the individual sound elements must be prepared; The function of the dub stage; Who is present at the final dub; The scheduling and budgeting process for the sound mix process; Techniques for balancing dialogue, sound effects, and music; Output options for the final mix

EMOTION THROUGH MUSIC

Music is as much of a performer in a scene as the actor or the camera.  It’s movements, tone, and intensity help shape the emotion of the moment.  But, like any performance, the right performance can bring added life to the scene, but too much can overwhelm the moment, pulling the audience out of the story.  In this module, you will learn how to balance music’s role in a movie against the other dramatic elements, tips and techniques for creating a compelling score that supports the emotion of the movie, and how to avoid overscoring.

  • 28:25 video that takes you through the process of creating emotion through music
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

How to balance the emotional impact of music with the actors’ performance; How to avoid the pitfalls of overscoring the movie; How to factor the role of music into the movie when working on set

CLICK HERE TO DOWNLOAD REGISTRATION FORMS

THE WHO AND HOW OF MUSIC

Music is one of the last artistic additions to a movie, and the way music is acquired or written can be as varied as the music score itself.  In this module, you will learn about the key players in the music composition process:  the arranger, the composer, the orchestrator, and the music editor. Learn the types of scores available, how to work with a synth score or a live orchestra, and techniques for creating a score that both serves your story and your budget.

  • 31:29 video that walks you through the players and options available in scoring a movie
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

The role of the composer; The role of the arranger; The role of the orchestrator; The role of the music editor; The benefits and drawbacks of working with synth; The benefits and drawbacks of working with a live orchestra

WORKING WITH THE COMPOSER

One of the most important collaborations in a movie happens between the director and the composer.  The composer adds the final performance – the music – to the narrative tapestry and understanding how that tapestry should be woven is why the director/composer relationship is so important. In this module, you’re going to experience the entire process of scoring a movie, from the initial meeting with the composer to the very end when you’re making the final tweaks to the music.  Improve your communication with the composer, get the best score for your movie, and craft the best emotional ride for the audience.

  • 47:33 video that walks you through, step-by-step the process of scoring a movie with a composer
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

How to find a qualified composer; How to manage the first spotting session; Learn how to find the right palette; The director/composer dynamic- learn how to convey your vision even if you don’t know music; Go inside the composer’s process; Learn how to manage changes to the score once it’s finished

MUSIC LICENSING

Are you interested in using a popular song or existing soundtrack in your movie? Music – just like movies and books – is protected by copyright law, which restricts its usage to the owner of the copyright.  In recent years, many record labels and studios have begun cracking down on illegal downloading and usage of their work, making the legal use of this music somewhat confusing for users. In this module, we’re going to explore the legal way to license and use music for your movie.  Protect yourself, respect the rights of the music artist, and learn how to properly license music for use in your production.

  • 33:15 video that takes you behind the scenes of the licensing process
  • Illustrated companion guide

WHAT STUDENTS WILL LEARN

What is a music license; When you need a master license and/or a sync license; How music publishers make money; Costs in securing a license; How to work with stock music libraries; How to work with music in the public domain

CLICK HERE TO DOWNLOAD REGISTRATION FORM

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s