100% Portfolio assessing all learning outcomes

Components of a soundtrack
Specific approaches to sound design for film and games
Location sound recording
Post-production techniques
Multidisciplinary collaboration

Music recording / post-production studios
Media stores / resource centre
Music laboratories

Avid Pro Tools software
Apple Logic software
Ableton Live software
Adobe Audition software
Cycling 74 Max software
Pure Data software
Various additional third-party audio plug-ins by McDSP, Avid, Eventide, Michael Norris.

Microsoft Office software

Books, eBooks and audio recordings via the Library
Lynda.com Training library

Online hosting (e.g. Soundcloud, Vimeo) and transfer (e.g. WeTransfer) services

Ament, V.T. (2014). The Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Oxford: Focal Press.
Cross, M. (2013). Audio Post Production: For Film and Television. Milwaukee, WI: Berklee Press Publications.
Marks, A. (2008). The Complete Guide to Game Audio: For Composers, Musicians, Sound Designers, Game Developers. Oxford: Focal Press.
Rumsey, F. (2001). Spatial audio. Music technology series. Oxford: Focal Press.
Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Studio City, CA: Michael Wiese Productions.
Viers, R. (2014). The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects. Studio City, CA: Michael Wiese Productions.

1. DEMONSTRATE AN UNDERSTANDING OF THE FUNDAMENTALS OF PLANNING, RECORDING, SYNCHRONISATION AND AUDIO PROCESSING WITH REGARD TO SOUND DESIGN FOR VISUAL MEDIA. [Communication]

2. APPLY SOUND DESIGN PRINCIPLES AND TECHNIQUES IN THE EFFECTIVE USE OF HARDWARE AND SOFTWARE ON LOCATION AND IN POST-PRODUCTION.
[Application; Problem Solving]

3. RESEARCH, IMPLEMENT AND EVALUATE THE CREATION AND COMBINING OF DIALOGUE, FOLEY, EFFECTS, AMBIENCE AND MUSIC IN REALISING FILM AND GAMES SOUNDTRACKS.
[Enquiry]

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