We meet tonight for Week 9. We will have a crit for the Game Audio Sound Design, and then go around the room for your proposed clips you plan to use for the Final Sound Design. Chris will present his example of interesting sound design, and I would like to finally have a belated crit for the Podcasts. If we have time, I'll lecture on Sound and Narrative Part 2.
See you tonight.
We meet again tonight (September 1) for our Week 8 activities. We will have a status check on your Game Audio projects, I will lecture on Sound and Narrative, and Julie will screen and discuss her example of interesting Sound Design. See you all tonight.
We meet again for Week 7 tomorrow. I'll lecture on Part 3 of Sound and Perception, Heladio will present his example of interesting sound design, and we'll have a status check of where everyone is on the Game Audio project.
Speaking of late projects, I now have two responses to the Short Story Adaptation. Please get these to me right away, either as a comment to this post on the Course Blog, or send me a document (preferably PDF) to Dropbox:
http://mm3314.blogspot.com/2010/08/short-story-adaptation.html
Okay. See everyone tomorrow.
We meet again tomorrow evening for Week 6. We will go over the Midterm and answer any questions about where are midstream. We will have a make-up crit for the Podcasts, so make sure those are uploaded to your server or sent to me via Dropbox (and these are a week late now, so there should be no problems in getting these Podcasts up and running, right?).
Also, make sure you post your Sound Maps for your adaptation of the Hemingway short story. Use the comment section of this post to submit this assignment (or link to your own site):
http://mm3314.blogspot.com/2010/08/short-story-adaptation.html
I'll lecture on Part 2 of Sound and Perception, Ray will present and discuss his example of interesting sound design, and we will go over the requirements for the next assignment, Game Sound. We will also have a demo/lab of interesting freeware applications specifically designed to synthesize, generate, alter, rip, mangle, mutilate sounds entirely from scratch (no sound libraries!).
See everyone tomorrow.
SOUND MAP
Copy and paste the following Sound Map into a text editor, and, when finished, submit as a comment to this post. If necessary, break your Sound Map into multiple chunks (or simply link to your own site).
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BRAINSTORMING
Answer each of the following questions:1. Read the entire story. Note where the story is broken into distinct scenes. List some of the sounds linked to people, objects and actions in the narrative that are explicitly described.
2. List several environments in the story that can be fleshed out with sonic ambiance. Describe them briefly.
3. List the key words in the story’s scene description and dialogue that give clues to the emotions of the scene (both of spectator and the viewer).
4. What are the moments of physical or dramatic transition in the story?
5. Read each scene again carefully. Visualize the scene and see what sounds you imagine, and jot them down.
6. Replay the scene in your mind with these sounds added, and see what other ideas emerge. Jot down everything that comes to mind – no matter how strange or silly. These ideas can always be tossed later, but can lead to valuable ideas later on as well.INVENTORY
From your brainstorming session, list all of the sounds in the appropriate categories (questions 2-5) for each scene of the story, as well as any comments about the sounds and your process:1. Name (or number) of the Scene
2. Diegetic SFX/Foley
3. Diegetic Background
4. Voice
5. Non-Diegetic
6. Comments
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Diegetic SFX/Foley: those that appear to be connected with the image, belong to the reality of the film, and can be heard by the characters in the film. Can also include diegetic music (a radio is turned on, a band plays live onscreen, etc.)
Diegetic Background: ambient, background and room tone sounds that the characters can hear in the reality of the narrative space.
Voice: not just dialogue, but all sounds that are emitted through the mouth including yawns, sneezes, coughs, laughs, etc. Dialogue that needs special treatment by the actor or postproduction manipulation (echo, telephone voice, etc.) can also be noted.
Even though we only had two folks show up last night (and at different times, for legit reasons), there is not enough flexibility in the calendar to reschedule the Week 4 lecture, so the PDF version on the Course Schedule and Projects page will have to suffice. For the midterm, you should spend time with that lecture, along with those from previous weeks, to get a sense of what types of questions are likely to appear on the Midterm. Some questions may be word-for-word copies of Quiz questions. I would say that 70-80% of the Midterm will be lifted from the regular lectures. I will include a few questions pulled from the readings (you should focus your attention on Ferrington, Wrightson, Peterson, England, Pinkowish, and Moore), and there will be a few open-ended essay-type questions on your experiences with sound.
We will take care of the Midterm first, so please arrive on time so we can get started promptly.
After break we will crit the podcasts, so make sure your files have been exported as MP3s and uploaded to your server or delivered via Dropbox by the beginning of class so that I can fully download them by the time we are done with the Midterm.
After that we will have Jaye present and discuss her example of interesting sound design. If we have time, Steven and Chris can make up for their missed slots.
I will also briefly lecture on Script Analysis so that we can get started on adapting the Hemingway short story.
I hope by this weekend to send you a progress report on your standing in this class to date, including your grade on the Soundwalk (Parts 1 and 2). That way there will be no surprises when you see your posted Midterm grade.
More soon.
