508 Master Sound Syllabus- Orange

Laura Perlman- Instructor

Email- ljperl@me.com
Phone- (310) 994-1420, 323 654-8105

Chris Whetstone- SA
Email- cwwhetst@usc.edu
Phone- (832) 527 7862

Class times and rooms vary, mostly Wednesday 1-5 (see attached schedule)
Office hours (the hour following class, and/or by appointment)

Goals, Expectations and Responsibilities:

This class will provide hands on experience in the creation of all aspects of the
motion picture soundtrack. Each of you will have a chance to be Sound
Designer/Sound Editor, Sound Recordist and Foley Recordist/Artist. Each of you is
expected to be an integral part in the creative and technical aspects of the film
soundtrack. Your goal is to conceive and create a Soundtrack that will enhance,
clarify and help move your story forward. Ideally it will give your film a sound
signature of its own.

You will learn how to record production audio using the Sony EX-1 camera with a
Sound Devices Mix Pre and a boom mic. You will learn microphone placement and
recording techniques. You will learn how to program and record Foley. You will
learn how to create a session, layout your tracks and edit in Pro Tools. You will learn
how to use NetMix as a sound effects library. You will learn how to edit sound
effects, backgrounds and dialogue in Pro Tools. You will learn how to use OMFs.
You will learn how to effectively communicate with a composer in order to get the
best score for your film. You will learn how to make organized cue sheets. You will
learn how to best prepare for a mix so you can get a good mix in a timely manner.

You will have to learn how to be as prepared as possible. This semester will go by
very quickly and you will be doing everything at an accelerated pace. The more you
think things out, plan and prepare in advance, the better off you and your film will
be. More often than not in the real world you have to work very quickly so this is a
good time to learn how. This is also the time to learn and experiment. Overall the
more thought and time you put into developing your soundtrack the better it will be.

You will learn the power of sound as a storytelling tool. You will learn how to design
a soundtrack from the creative and technical sides. You will learn how to listen and
how to manipulate sound.

If sound is not a career you choose to undertake, you will understand the processes,
problems, and ultimately, the power of how sound enhances a film. You will be able
to intelligently discuss with your sound and music crew what it is you wish to
achieve in the soundtrack and music of your film.

The soundtrack of your film is as important as the acting, the cinematography, the
locations, etc. A good soundtrack can truly enhance your film and bring it to a much
higher level of artistry and professionalism, while a bad soundtrack can make a
great film difficult if not laughable, to watch. Why not make your film be the
absolute best it can possibly be.

Attendance:

Overall in the film business there is no tolerance for lateness, or I couldnt get it
done. That would result in a firing as well as a never again hiring. All these rules are
used to get you in the habit of what is expected and what is not tolerated in the
business. Now is the time for you to hone your work habits.

Attendance and Being on Time are crucial to your final grade.

Being Late 3 Times will count as an Absence. If you arrive after the designated class
time you will be considered late. This also applies to returning to class from a designated
break.

As a common courtesy to your instructor, SA, and fellow classmates:

If you are going to be absent or late, please notify Laura or Chris so we can adjust the
schedule and activity of the class. You can leave a message on Laura (the 310 #) or
Chriss about your lateness or absence. Leaving a message does not mean you have an
excused tardy or absence. This will depend on the activity that is causing the excuse.
Returning equipment, props, oversleeping, and working on films are not considered valid
excuses.

The following is our class policy on attendance and grading:

Two unexcused absences will result in a drop of your Sound Grade by one-third of a
letter grade (such as A- to B+).
Three unexcused absences will result in a drop of your Sound Grade by one FULL
letter grade (such as B to C).
Four unexcused absences will be considered a FAILURE for your sound grade.
If you are late or absent, a valid excuse such as illness, family emergency, unforeseen
heavy traffic or natural disaster is expected. You must make up any work missed as a
result of an absence. It is your responsibility to obtain class notes you may have missed
from your partner.
It is your responsibility to arrange make-up quizzes with your instructor. The material in
the make-up quizzes will differ from the quizzes given in class. In all cases, the make-up
quiz will be more difficult.

It is considered a FAILURE to miss your Mix. This will result in a Failing Final
Grade for the 508 class. ALL three members of a partnership must be present at the
Mixes
Grading:
Your 508 Sound Grade will be averaged into your final 508 Grade and included with your
other 508 grades. Your Sound Grade counts as a significant portion of your final grade. If
you, however, fail the Sound Class, you will fail your 508course. Your grade for the
sound section is divided into two parts:

Assignments - Class Participation - Collaboration = 33.33%

Assignments will be due on the date(s) stated on the assignment sheet.
You are expected to take an active part in class discussions. It is an important part of your
learning process. You learn by exchanging knowledge, experiences, and techniques with
your classmates.

The Degree of Preparation, the Content, and Quality of your Final Mix = 66.66%
A postponed mix will be marked down one full grade. Extenuating circumstances
will be considered in case of an emergency.
You are expected to be fully prepared for your mix; i.e. Your sound tracks properly laid-
out, identified, hard disk backed-up and available on time. Your Cue Sheets made out
correctly and containing all pertinent information for the mixer. You are expected to act in
a professional manner while conducting the mix

You are expected to provide elements to create a full sound track for your film. This
means you must either record or cut Quality Sound Effects, prepare appropriate
Background tracks and Foley for the entire length of your film.
You are expected to spot your Music in an intelligent and tasteful manner and have at
least one scene with fully realistic sound only and no music. If this is a problem with
the structure of your film, lets talk about it. You may not use music to cover an entire
scene where Sound Effects and Foley were sparsely prepared or doesnt exist, at all. If a
Music Only scene is an integral part of your Sound Design, lets discuss it.

USC - Disability Policy

Students with Disabilities:
Any student requesting academic accommodations based on a disability is required to
register with Disability Services and Programs (DSP) each semester. A letter of
verification for approved accommodations can be obtained from DSP. Please be sure
the letter is delivered to me (or the TA) as early in the semester as possible. DSP is
located in STU 301, and is open 8:30am 5:00pm, Mon through Friday. The phone
number for DSP is (213) 740-0776

Following are the subjects to be covered with their projected dates.

The schedule may be revised to accommodate availability of personnel, equipment, facilities, etc.
You will be notified of any changes.
Weekly Class description:

Week 1:
Review class schedule, sound positions & responsibilities defined
Production Recording w/ Sony EX-1, sound kit
Introduce Sound Devices mini-mixer
Review microphone placement & booming techniques
Locations: scouting and impact on prod. recording & final mix
Give recording assignment
Sound Design principles - elements of track: Dia, Fx, BGs, Foley, Music;
Using elements of trk for purpose of story, plot points, character, tone
Assign sound design for project 1 - use script to highlight elements of trk

Week 2:
Review Sound Design assignmts
Review production recording assignments
NetMix, Sound Library; pulling key Fx for your project;
Intro to ProTools - creating a session, editing modes, adding tracks, editing tools
ProTools - review BG editing - 1 frame overlaps, clean out, freq
Fx editing - Hard Fx, O.S. Fx, swtrs, decay, freq., Stereo vs Mono
ProTools Editing assignment - in class

Week 3 & 4:
Review Dailies - critique production sound recording
Director / Sound Editor assignment - pull key Fx or BGs for cut scenes

Week 5:
ProTools lab: Dialog Editing - in class assignment
Track layout and mix guidelines
Cuts / OMFs - review Temp Fx, spotting sessions w/instructor, Mx spotting
Digital PMDs - field recording exercise w/S.A.
Foley & ADR programming, recording demo w/S.A.

Week 6:
Class #1:
Review ProTools session / sound edit w/ instructor

Class # 2:
Review Final ProTools session with Instructor
Track layout and cue sheets - prep for mix
Assign Proj 2 Sound Design - script version
Week 7:
Mix Project 1
Class: Review Sound Design for Proj 2
Review Production Recording w/ Sony EX-1, sound kit, Sound Devices mini-mixer
Review microphone placement & booming techniques

Week 8:
Review Dailies - critique production sound recording
Director / Sound Editor assignment - pull key Fx or BGs for cut scenes

Week 9:
Screen Project 1 with sound; directors discuss lessons learned -pitfalls to avoid
Review key Fx for Proj 2 cuts
Review ProTools - in-class editing assignment

Week 10:
Review Dialogue Editing
Spotting session & Music spotting

Week 11:
Class 1 - Foley & ADR Review; Proj 3 Review sound designs
Class 2: Review final Proj 2 ProTools session w/ instructor; cue sheets

Week 12:
Mixes for Proj 2
Review Dailies - critique production sound recording
Director / Sound Editor assignment - pull key Fx or BGs for cut scenes

Week 13:
Review Dailies - critique production sound recording
Director / Sound Editor assignment - pull key Fx or BGs for cut scenes

Week 14:
Review Temp Fx; Music spotting
ProTools review; review PMD field recorder

Week 15:
Class 1:Review Foley, ADR programming and recording
Class 2: Review Proj 3 ProTools session; Music; cue sheets

Week 16:
Mix Proj 3 / Public Screening for all Projects