Sound Engineering
Laboratory
of Sound Engineering
Heads of the laboratory: Dmitry Vasiliev, Ivan Gusakov

A sound engineer should not only be qualified to successfully record sound on set. They should be able to suggest a sound design concept based on a film script and know which tools to use to complete the film’s audio track. 

Courses and classes

Course duration and tuition fee

1 year (2 semesters)
90,000 rubles per semester
Classes start on October 1, 2020
Application deadline: information will be available in March 2020

About
1.

Sound in a movie
is not just about noises and dialogues.

Sound can emphasize certain points of the film and create an atmosphere, which conveys an emotional state of the characters and the mood of the film as a whole. Sound in movies of the '80s is undeniably different from contemporary soundtracks.

Continuous improvement of technologies allows us to use sound as a powerful tool of drama. Сontemporary cinema is turning towards greater authenticity and realism. It doesn’t affect the viewer’s rational mind as much as it does affect them emotionally and subconsciously. Even the subtlest sounds can change the volume of the frame and add new meanings to the scene.

A sound designer must have a good artistic taste and understand the psychology of human perception. But in addition to solving creative tasks, he must be familiar with a full range of up-to-date technical tools.

Learning Process
2.

In addition to the theoretical disciplines, sound design students will be able to exercise their skills in a studio partnering with SNCS.

Students will also get an opportunity to participate in film prep and production and to dive into working on set.

Training in the sound design laboratory implies close contact and collaborative work with directing and cinematography laboratories. In addition to their professional disciplines, students will gain general knowledge in film history and related disciplines.

Heads of the course are sound engineers Dmitry Vasiliev

and Ivan Gusakov, well-recognized professionals of the Russian film industry.

 

Course program
  • Step 1
  • Step 2
  • Step 3
  • Step 4
  • Step 5
  • Step 6
  • Step 7
  • Stage 8
3.

Sound Engineering: Introduction to Profession

  • Sound Engineering In Contemporary Culture
  • Types of Sound Engineering
  • Sound Engineering As An Area of Creativity
  • Responsibilities of Sound Engineer
  • Similarities and Differences of Sound Engineering for Theater, Music, and Film 
  • Sound Engineer's Work In Feature and Documentary Films
  • Sound Image. "Sound Concept" and "Sound Design”.

 

History of Recording.

  • Первые звукозаписывающие аппараты
  • Возникновение фонографа
  • Возникновение магнитной записи
  • Появление многодорожечных аппаратов магнитной записи
  • Дальнейшие достижения записи звука
  • Методы звукозаписи (аналоговые, цифровые)
  • Способы и системы звукозаписи: фотографическая, механическая, оптическая и магнитная
  • Цифровая звукозапись и обработка сигнала
  • Теория сэмплирования (дискретизации)
  • Появление первых профессиональных звукорежиссерских кадров

Introduction to Acoustics in Sound Design.

  • Физическая природа звука
  • Восприятие звука человеком
  • Основы психоакустики
  • Распространение звуковых волн
  • Высота звука
  • Динамический диапазон человеческого слуха
  • Громкость. Звук в закрытом пространстве
  • Акустическая обработка студий
  • Громкость. Маскировка. Спектры звуковых колебаний и тембр

Equipment for Studio
and on-Set Sound Recording

  • Audio Channels 
  • Line Level
  • Frequency response
  • Harmonic distortions
  • Methods of Dynamic Range Adjustment
  • Recording Studio Set-Up
  • Recording Tools Overview
  • Digital Recorders
  • Audio Workstations
  • Recording on Set (Choice of a recording method: picking up rough or clean sound)
  • Recording Noises, Speech, and Music for Films and TV

Microphones and Their Use
In Sound Recording.

  • Types of Microphones
  • Purpose of Microphones
  • Key Characteristics of Microphones
  • Microphone Sensitivity
  • Microphone Frequency Response
  • Polar Patterns
  • Microphone Types
  • Choice of Microphones for Sound Designer
  • Microphone Working Distance
  • Equipment: Microphone Fishing Poles, Stands, Holders, Cables and Connectors, Mounts and Suspensions, Shock Mounts, Windscreens and Their Use
  • Use of Stereo Mics
  • Stereo Recording Methods
  • Use of Lavalier Microphones

Practice at Re-Recording Studio

  • Visit a re-recording studio (DOLBY DIGITAL / DOLBY ATMOS)
  • Writing director’s brief for a sound designer to follow during filming, editing and fine-tuning of the movie
  • During the internship, students observe a full cycle of sound production

Spatial Perception of Sound

  • Binaural Effect
  • Reverberation Time
  • Diffusiveness of Sound Field
  • Sound Plans and Sound Perspective
  • Use of Natural and Artificial Reverberation
  • Analyzing Movies and Sound Scenes

Sound Editing and Sound Design.

  • Techniques and Principles of Sound Editing
  • Creative Sound Editing Tasks
  • Speech Editing
  • Editing a Music Track
  • Basic Principles of Non-linear Editing on Audio Workstation
  • Software for Matching Sound and Image
  • An Overview of Current Platforms for Editing and Audio Dubbing
  • Sound Editing In a Digital Workstation Using The Example of a Movie
  • Dynamic Audio Processing
  • Compressors, Limiters, Equalizers
  • Adjustment and Application
  • Working With Sound Libraries, Sound Selection
  • Sound Design
Schedule
4.

Classes are held during evening hours.

Theory classes on sound design and general subjects of all laboratories are held at SNCS; practice (one day a week) takes place at a partnering recording studio.