Module Descriptors
SOUND DESIGN FOR FILM AND GAMES
MUSI50610
Key Facts
Digital, Technology, Innovation and Business
Level 5
30 credits
Contact
Leader: Marc Estibeiro
Email: Marc.Estibeiro@staffs.ac.uk
Hours of Study
Scheduled Learning and Teaching Activities: 72
Independent Study Hours: 228
Total Learning Hours: 300
Pattern of Delivery
- Occurrence B, Stoke Campus, UG Semester 1 to UG Semester 2
Sites
- Stoke Campus
Assessment
- PORTFOLIO weighted at 50%
- REPORT weighted at 50%
Module Details
ADDITIONAL ASSESSMENT DETAILS
100% In course assessment comprising:
50% Portfolio of sound design creations assessing Learning Outcomes 1, 2 and 3.
50% Individual stereo and surround soundtracks with accompanying 1800 words report assessing Learning Outcomes 2, 3 and 4 (final assessment).
50% Portfolio of sound design creations assessing Learning Outcomes 1, 2 and 3.
50% Individual stereo and surround soundtracks with accompanying 1800 words report assessing Learning Outcomes 2, 3 and 4 (final assessment).
INDICATIVE CONTENT
Components of a soundtrack
Specific approaches to sound design for film and games
Location sound recording
Post-production techniques
Multidisciplinary collaboration
Project management
Mixing and mastering in stereo and surround sound
Specific approaches to sound design for film and games
Location sound recording
Post-production techniques
Multidisciplinary collaboration
Project management
Mixing and mastering in stereo and surround sound
LEARNING STRATEGIES
1 x 3-hour laboratory session per week.
1 x 2-hour technical instruction (in small groups) on recording and elements of software use per semester.
1 x 2-hour technical instruction (in small groups) on recording and elements of software use per semester.
RESOURCES
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
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
TEXTS
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.
Wyatt, H. & Amyes, T. (2004). Audio Post Production for Television and Film: An introduction to technology and techniques. 3rd Ed. 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.
Wyatt, H. & Amyes, T. (2004). Audio Post Production for Television and Film: An introduction to technology and techniques. 3rd Ed. Focal Press.
LEARNING OUTCOMES
1. DEMONSTRATE AN UNDERSTANDING OF THE PRACTICAL AND THEORETICAL 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 (BOTH QUALITATIVELY AND QUANTITATIVELY) THE CREATION AND COMBINING OF DIALOGUE, FOLEY, EFFECTS, AMBIENCE AND MUSIC IN REALISING FILM AND GAMES SOUNDTRACKS
[Enquiry]
4. DEVELOP A CRITICAL KNOWLEDGE OF PROJECT AND FILE MANAGEMENT WITH SPECIFIC APPLICATION TO AUDIO FOR VISUAL MEDIA.
[Analysis; Reflection]
[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 (BOTH QUALITATIVELY AND QUANTITATIVELY) THE CREATION AND COMBINING OF DIALOGUE, FOLEY, EFFECTS, AMBIENCE AND MUSIC IN REALISING FILM AND GAMES SOUNDTRACKS
[Enquiry]
4. DEVELOP A CRITICAL KNOWLEDGE OF PROJECT AND FILE MANAGEMENT WITH SPECIFIC APPLICATION TO AUDIO FOR VISUAL MEDIA.
[Analysis; Reflection]
Web Descriptor
Have you ever noticed how important the sound design elements are in film and games? The different components which make up a sound track all need to work together to make a cohesive experience for the user. On this module you will create a portfolio of sound design elements and learn a variety of post production techniques which will help you towards an exciting career in sound.