Courses in Audio currently being taught by Dr. Fred Ginsburg

3) Ginsburg, NEWS & WHATEVER catalog and articles about sound. Available from instructor (free).

Additional bibliography available to interested students.

Emphasis will be given to the practical techniques and equipment operation as currently utilized on professional theatrical productions, and how those approaches can be utilized on productions of any scope — be they theatrical or non-theatrical, film or video.

30%-Major Exam (approx 65 questions, covering entire semester)

30%-Quizzes (short answer, multiple choice).

40%-Projects (spaced throughout semester, including: 1)ENG style interview; 2) dramatic production mix; 3) EFP event, including sound FX & sportscaster.; 4) budget plan. Written summaries to be submitted with recorded exercises.

Classroom performance, professionalism, and optional projects will be considered to improve grades.

Letter grades are derived from the following table, based on 100 total points possible:

A = 93-100 A- = 90-92 B+ = 88-89 B = 83-87 B- = 80-82

C+ = 77-79 C = 70-76 C- = 67-72 D = 60-67

Except for extreme circumstances, students are expected to complete the requirements of this course by the last day of classes (official date of Final Exam). Students who have not taken all exams and turned in their projects may be subject to a failing grade. Students with valid reasons for not being able to complete the course may petition the Instructor, in writing, for an Incomplete. Requests for Incompletes must be submitted prior to the last day of classes. Students granted Incomplete grades are responsible for contacting the Instructor during the semester break but not later than one month after the start of the following semester in order to set up an arrangement and timetable. Although the University allows up to one year to convert an Incomplete, it is the prerogative of the Instructor to determine how and when Incompletes may be completed.

problems with the assignments, need production advice, or whatever...

Students with disabilities must register with the Center on Disabilities and complete a services agreement each semester. Staff within the Center will verify the existence of a disability based on the documentation provided and approve accommodations. Students who are approved for test taking accommodations must provide a proctor form to their faculty member signed by a counselor in the Center on Disabilities prior to making testing arrangements. The Center on Disabilities is located in Bayramian Hall, room 110. Staff can be reached at (818) 677-2684.

Deadlines to turn in all projects will be announced during the semester, based on the progress of the course. These dates will be announced so as to provide you with at least two weeks between assignments. Unless prior arrangements have been made with the instructor, late projects will be penalized; and projects not turned in by the Final Deadline will be graded as failure.

Equipment availability is a problem that you are expected to learn to deal with. Do not wait until the last minute to make your equipment reservations! Do not seriously expect most equipment to be available over holiday weekends, when most student films are being shot.

When you do check out equipment, take some time and make sure that everything is present and that everything works! Do not leave the checkout room until you have gone through everything very carefully. Remember, not only will faulty or missing equipment jeopardize your project, but it is your signature on the rental contract and you can be held financially liable! Note that the Equipment Room personnel have been instructed to purposely include defective equipment in your package, in order to insure that you take the time to properly prep your gear!

There are solutions to the equipment shortage. Plan ahead, order early. Work in groups! Rent or borrow equipment from outside sources. (Remember, the money that you are not spending on textbooks can be pooled and used to rent gear.)

Finally, don’t be afraid to call your instructor. My primary function is to help you learn, not to rule by terror.

In addition to the recording itself, students are required to write a brief summary discussing the equipment/techniques, problems encountered, and general findings or conclusions for each project. Although some projects may be completed as groups, papers must be written on an individual basis. Papers allow you to discuss not only what happened when you did the projects, but what you might have done differently if presented with the opportunity. Since groups rarely contribute equally, your paper is a chance to rise above the lowest common denominator, so to speak.

Package all paperwork from ALL group members in a neatly labeled manila envelope along with your project, so everything is together. In the real/reel world, neat packaging & professional presentation are important, so get used to it.

Always include your first and LAST names. I deal with a lot of students; not just from this class. Any names handwritten and added to a paper after it has been formatted & printed will not count.

If you can, try to demonstrate different microphones and techniques. For example: Man-on-the-street using a handheld dynamic mic. Or, a two person sit-down with both parties wearing lavaliers, or two person sit-down using an overhead boom. The purpose of this exercise is to encourage you to become familiar with at least one portable recorder, and to explore the capabilities of different mics. Have fun with it. Experiment with different selections, placements, angles, distances, etc. Include written comments on what you did and what you concluded.

Each individual on the team must take a turn as Mixer, and they must identify themselves on the tape before each take (in other words, do at least one interview per student on your team). Each team’s project must be complete, including a verbal headslate/i.d. at the head of the tape, color bars (if possible) & headtone (mandatory), and voice slates prior to each take (scene/take number or identifier).

This is not a VIDEOGRAPHY class, so I am not concerned with camera technique, lighting, acting, nor video editing. However, the AUDIO is expected to be of professional quality.

Papers must be prepared individually. Neatness and professional presentation count… take the time to make sure what you turn in reflects your high level of academic achievement. Explain what equipment (make sure you get the makes and models correct!) & techniques were used, any problems encountered (and how you dealt with them), and any general comments. The papers do not have to be lengthy; a page or two should suffice.

Pay attention to packaging… keep it neat and organized.

If recording with Nagra: On the spine of the tape box include your name, course, semester, and project title. On the back of the box, repeat all of that, and include the recording data (speed, format, sync, headtone level).

At the head of the tape, voice slate your tapes (as discussed in the Nagra guide), record headtone, etc. Also record voice slates identifying each take.

First thing recorded onto any recording is the voice slate or i.d. Include your names, course, semester, and project title. Also include tape format (mono full track, two-track, etc.), recording speed (7 ½ ips), sync frequency (60 Hz) or timecode rate if applicable (29.97 drop, 29.97 non-drop, 30 non-drop, etc.), and upcoming reference tone level. (See the Nagra Guide).

Include 15 to 30 seconds of continuous tone (1000 Hz), recorded at either 0 V.U. or -8 dB (peak meter reading on a Nagra).

In ALL INSTANCES, remember to slate verbally and write on the log what the reference level is.

If recording in digital: most of the same protocol applies. Always verbally slate or i.d. each project (in the field, always i.d. each media card that you use). Your verbal headslate should include project name, recording format, sampling & bit rate, timecode rate, and reference tone level (usually something between –15 to –24 dB). After the field recording, you will transfer your audio files to a computer hard-drive and then copy your audio "dailies" to data CD or data DVD, which go to Post-Production.

Each reel or CD must be professional in appearance and recording quality. Nagra tape format must be ¼-inch, 7 ½ ips, full track mono, 5"or 7" plastic reel. Although in the real world, your tapes would be submitted TAILS OUT, I would prefer for my own convenience that you turn them in to me HEADS OUT.

Digital recordings will be presented as audio CD or data CD -- formatted as WAV or BWF -- and neatly labeled (handwritten with a Sharpie is OK).

Include one detailed sound log in the box. Don’t forget for each person to write a short summary paper describing your approach, conclusions, etc.

Turn in your tape and all paperwork together in one manila envelope.

I am not looking for a completed film, nor grading the acting, script, lighting, etc. I am interested in viewing the unedited DAILIES. The quality of the PRODUCTION SOUND is important, as you might guess!

Shoot picture with a video camcorder. Mix audio with a mixing panel and record audio directly onto videotape (or double system onto a Nagra or digital recorder)..

You may need to borrow an XLR-DV or similar audio interface cable to plug into a common camcorder (stereo mini connector) if your camcorder lacks professional XLR inputs. Ask the instructor; he invented them. If you prefer, you may also record double system onto a separate audio recorder.

Video (with audio) may be turned in on VHS, DVD, or DVD/data (standard video file, such as AVI, WMV).

A VHS copy of the camera footage with production audio will be tuned in as your project. If you record double system, then the audio can transferred onto the VHS at the same time that you transfer the video onto VHS. Perfect lip sync is not a requirement; this is an audio course not a video editing class.

If you turn in a DVD, it is your responsibility to make sure that the DVD plays okay in a standard player (not just the editing machine burner). It is always a good idea to provide a VHS copy as backup in case your client cannot play your DVD copy.

As an alternative, your Production Mix could constitute dailies from a project done in conjunction with a film or video project for another course. This alternate project must be discussed with the instructor ahead of time, but real film experience is encouraged and welcomed. Make arrangements to "copy" the takes in question for instructor evaluation.

Grading will be based on complexity of the challenge as well as quality of the raw (unedited) mix. Do not forget to include a summary paper from each team member describing your approach, the problems encountered, how you dealt with them, etc. Make sure to label your project neatly and professionally. Include one log sheet that specifies who is mixing/booming on each take. Package the tape and paperwork together in a manila envelope.

Students are responsible for arranging use of department equipment (if available) or getting it on their own.

Although you are encouraged to work in larger groups in order to share resources, each team of 2 students (mixer & boom) must mix a complete set of takes and submit their own tape in its own envelope. It is okay for groups to share common setups, scripts, actors, etc – so long as each team mixes their own project.

Make sure that you check and PLAY BACK your project prior to turning it in. You would be amazed at how many projects get turned in that are defective transfers lacking presentable audio tracks!

I am not looking for a completed film, nor grading the acting, script, lighting, etc. I am interested in viewing the unedited DAILIES. The quality of the PRODUCTION SOUND is important, as you might guess!

First, write a brief synopsis of the shoot or project to be undertaken. It must involve multiple actors or contestants, judges, commentators. It should be full-scale (unlike your own projects completed above).

Audio will be recorded directly to video. Make sure you have the right hookups. However, you may wish to consider using a backup audio recorder, as well.

Figure rates for personnel, equipment, and expendables that you would submit to the Producer. Be as realistic as possible. Ask around town; ask pro mixers; learn something! DO NOT merely re-copy the class handouts. TREAT this project as if it were the real thing!

Someday you may be on the receiving end of these budgets; learn how to recognize gross incompetence before it comes out of YOUR production bank account.

Be professional in your presentation; you must impress the producer if you are going to be considered for the job. Neatness and logical presentation count! Pretend this is for an actual client.

Your budget should break down daily rates, weekly sub-totals, and final totals for crew and equipment. (Since this shoot is only four days, your weekly and totals will probably be the same.)

Don’t forget to present weekly or longterm discounts on equipment packages, when applicable. Equipment packages MUST include an itemized list of all equipment.

Your presentation MUST Include a detailed item by item inventory list of everything that you will be bringing or shipping to location, whether rented or owned. Be extremely specific in your descriptions. List every item by make and model that you will be packing. Pay particular detail to the small adapters and accessories that you will need. Describe all adapter cables by the type of connection on either end (e.g. XLR-female to RCA-male)

Include the sources(rental companies, etc.) that you used to research this project, along with info about the person (name, company, position, date of quote) who provided you with the tech advice/pricing for your package. Make sure that a real person helps you put together your package.

Do not just list items that you do not understand! Although you may call me or my employees at Equipment Emporium with specific technical questions, do not expect us to complete your budget assignment for you. Be resourceful – the United States is a big place!

Hint: Do NOT imply that you are a student working on a student budget assignment. Although some rental houses will spend time with you, many will brush you off as a waste of their time if they think there is no $$$ potential.

For example, convince them that you are a new hire at a company and have been appointed (due to your film school background) as the in-house producer for a company project.

This project may be submitted by a group in order to conserve paper and photocopier toner!

Course Outline CTVA 358 Fall 2007 Instructor: Dr. Fred Ginsburg