{"id":3226,"date":"2014-02-11T13:42:01","date_gmt":"2014-02-11T18:42:01","guid":{"rendered":"\/h\/?p=3226"},"modified":"2014-03-02T08:44:24","modified_gmt":"2014-03-02T13:44:24","slug":"workshop-the-other-half-of-the-film-by-eric-somers","status":"publish","type":"post","link":"http:\/\/www.gallerymc.org\/h\/workshop-the-other-half-of-the-film-by-eric-somers\/","title":{"rendered":"WORKSHOP: THE OTHER HALF OF THE FILM, by Eric Somers"},"content":{"rendered":"
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ParAcademy and Gallery MC<\/p>\n

Present<\/p>\n

THE OTHER HALF OF THE FILM<\/p>\n

An introduction to sound for film, television, other media<\/p>\n

\u00a0http:\/\/www.eventbrite.com\/e\/workshop-the-other-half-of-the-film-by-eric-somers-tickets-10582654003<\/a><\/p>\n

Presenter:<\/p>\n

Eric Somers<\/p>\n

State University of New York<\/p>\n

The Sandbook Studio<\/p>\n

 <\/p>\n

OVERVIEW<\/p>\n

When one watches most films or television programs, half or more of the communication is the sound, not the picture.\u00a0 For most films, a blind person hearing only the sound will understand more than a deaf person watching the same film (without subtitles).\u00a0 Yet many beginning digital cinema makers tend to focus on the \u201cshots\u201d and other visual aspects and not worry about the sound.\u00a0 Thus many of these low-budget or no-budget digital films suffer from poor sound quality that weakens the film.<\/p>\n

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In traditional Hollywood film making the sonic parts of a film tend to be divided among very separate job divisions that are not that much in contact with each other:<\/p>\n

 <\/p>\n

\u2022 A composer is hired to score music for the film<\/p>\n

\u2022 The score is recorded in a special studio dedicated to that<\/p>\n

\u2022 Some of the dialogue is recorded as the film is shot on location or in studio<\/p>\n

\u2022 Other dialogue is added in later in a special \u201clooping\u201d (ADR) studio<\/p>\n

\u2022 Ambient sounds are captured separately and added in during the final sound mix<\/p>\n

\u2022 Non-synchronized sound effects are recorded separately on location or in a studio<\/p>\n

\u2022 Synchronized sound effects (Foley) are created in special studios by dedicate Foley artists<\/p>\n

\u2022 In the end all of the sound is mixed by a special sound mixer in post production.<\/p>\n

 <\/p>\n

Using all of those separate studios and separate personnel are very expensive.\u00a0 That is one reason why Hollywood film budgets are high.<\/p>\n

 <\/p>\n

 <\/p>\n

BUT . . .<\/p>\n

Just as many young directors of low-budget and \u201cno-budget\u201d film have learned that images can be captured with low cost cameras and edited on a computer with low cost software, all of the sound processes outlined above can also be done on a computer using software and some, relatively modestly priced, hardware.\u00a0\u00a0That is what this workshop is about.<\/p>\n

In a combination of lecture\/demonstrations, film examples, and hands-on experiments with sound this workshop will cover:<\/p>\n

 <\/p>\n

1.\u00a0 The kinds of sound used in film and the role of the sound designer<\/p>\n

2.\u00a0 Recording dialogue effectively on location (types of mics, placement, etc.)<\/p>\n

3.\u00a0 Recording dialogue in post production called ADR or \u201clooping\u201d<\/p>\n

4.\u00a0 Recording ambient sound on location with portable recorders<\/p>\n

5.\u00a0 Recording non-synchronized sound effects in a studio or on location<\/p>\n

6.\u00a0 Recording synchronized sound effects (\u201cFoley\u201d) in a studio matching video<\/p>\n

7.\u00a0 Creating film music \u201cscores\u201d with looping music programs<\/p>\n

8..\u00a0 Mixing the sound to blend everything together<\/p>\n

 <\/p>\n

The lecture demonstrations for each aspect will also cover:<\/p>\n