BECA 535

Advanced Audio for Video

Spring, 2015
Professor Jeff Jacoby
Office: CA-32. T 5-6, W 1-3, & by appointment
415-338-2772 / jjacoby@sfsu.edu

Bulletin Course Description

Sound theory and practice as applied to post-production audio for video. Time code
synchronization of sound effects, music, and dialogue. Field recording and mixing for
picture.

Prerequisites
BECA 335; BECA major; departmental permission.

Learning Objectives
This class will build on previous studies and your practice of audio for video. Students
collaborate with video students creating documentaries, videos, television, and radio
commercials. Expect to be held to a professional standard.

By successfully completing this capstone course, you will:

practice professional level production and collaboration
be versed in production values and creative approaches
be prepared to enter the professional world of audio for video and sound design

Suggested Texts
Pro Tools 10 Power!, by Frank D. Cook, 2012
Designing Sound, by Andy Farnell, MIT Press, 2011
Producing Great Sound for Film and Video, Third Edition, by Jay Rose, Focal Press, 2008
The Sound Effects Bible, by Ric Viers, Michael Weise Productsions, 2008
Modern Recording Techniques, by Huber & Runstein, Focal Press, 2005
Audio Culture, Readings in Modern Music, by Christoph Cox, Continuum, 2004
The Microphone Book, by John Eargle, Focal Press, 2004
Sound Design, by David Sonnenschein. Michael Wiese Productions, 2002
Gaffers, Grips, & Best Boys, by Eric Taub, St. Martins Griffin, 1995
Audio-Vision, by Michel Chion. Columbia University Press, 1994
www.filmsound.org/articles/designing_for_sound.htm, sweetwater.com,
http://socialsounddesign.com, jeffjacoby.net.

Grading Criteria
Grades reflect the quality of work, engagement with material, and participation in class.
Late projects are deducted 10 points per week. Absent projects receive 0 points.
 Each unexcused absence results in a 2% reduction from your overall grade.
Each unexcused lateness results in a 1% reduction from your overall grade.
More than three unexcused absences will result in course failure.

Assignment Descriptions
Project descriptions are posted on I-Learn. Projects will be shown in class.

Project 1: Choose One

You choose from among three offerings: A sound signature of place audio piece, sound design
a still picture, or sound art as you hear it.

Project 2: Final
The final project is your team's collaboration with advanced video students.

Assignment Grading Criteria

Creative Concept
Was the idea clear? What was the process and how did it evolve? Was it a successful exercise?
What techniques and efforts were applied to accomplish the project?

Execution
Is the work working? Does it have the intended impact? Was the presentation consistent
with a serious, professional approach? Did the project meet all the stated requirements? Were
the sonics (recordings, transfers, etc.) carefully handled? Does the mix allow the audience to
hear all elements? Were the effects in sync?

Effort
Did the amount of work reflect a genuine effort toward excellence and professionalism? Was
enough time spent to bring creative focus and a nuanced execution?

Participation in Critique Sessions

Did the producers engage with the audience in a meaningful way? Did they answer questions
thoughtfully? Were they able to explain the creative and technical process? Did the audience
members provide a respectful and focused environment?

Assignment Scoring Scale

90-100: Project clearly exceeds expectations. All sonic elements are handled carefully and
sound very good. The mix is superior and clear. The creative approach is thoughtful, and the
producers demonstrated a high level of engagement. Issues are discussed in critique that help
guide future projects.

80-89: Project meets or exceeds expectations. Sonics are generally good and an effort was
made to create a high level of work to class, but there are some overarching an/or specific
issues in approach and/or execution that are discussed in critique to improve future projects.
70-79: Project meets some, but not all expectations, but the work shows a lack of truly
serious effort and/or poorly managed time. The sonics are generally good, but not handled as
carefully as they should be. Serious, overarching, and perhaps overwhelming issues are raised
and discussed in critique to improve future projects.

60-69: An attempt was made to fulfill expectations, however, the project demonstrates a clear
lack of commitment and/or time commitment and/or there are overwhelming issues in
approach and/or sonics that must be addressed in order to meet expectations. Critique is
used to help guide future projects.

Other Important Information

Check I-Learn regularly. I will post important information on I-Learn.
Be certain your SFSU email is correct. This is how I will contact you.
This syllabus and its content are subject to change.
Materials provided in class may have copyright restrictions regarding usage. BECA
encourages the use of a Creative Commons License for all student works shown outside of
the classroom. Please check with the instructor to be sure you are within copyright
regulations.

Cheating, plagiarism, and copyright infringement will not be tolerated and may lead to
course failure and other disciplinary action by the University. Plagiarism is a form of
cheating or fraud; it occurs when a student misrepresents the work of another as his or her
own. Plagiarism may consist of using the ideas, sentences, paragraphs, or the whole text of
another without appropriate acknowledgment, but it also includes employing or allowing
another person to write or substantially alter work that a student then submits as his or her
own.

Students with disabilities who need reasonable accommodations are encouraged to contact
the instructor. The Disability Resource Center is available to facilitate the reasonable
accommodations process. The DPRC is located in the Student Service Building and can be
reached by telephone (voice/TTY 415-338-2472) or by email (dprc@sfsu.edu).

Weekly Schedule

Week One / Jan 28

Review syllabus. CA 35 & CA 44 orientation. Normaling, Gear/Cage checkout procedures,
studio signup sheets, issues & protocol. Final project review dates, producer weekly email
updates, backups delivered at end of semester. Reserve camera & kits.
Lecture: Expectations, Anticipating problems, Portfolio development.
Reading: filmsound.org/articles/designing_for_sound.htm
Week Two / Feb 4
Reading discussion. Honda spot & others. Signups for final project.
Lecture: Interclass visit, Gear closeup: 4 at a time for 15 & first team teaches the next.
Producer, crew & professional etiquette (whos show is this?). MOS, POV, noise floor, room
tone, wild sound. SFX creation, music scoring (what makes music?), sound perspectives and
listener perception. Creating and using a gear checklist. Advanced location sound: mic
selection, booming, mixing live, listening in & other location issues. Project #1: You choose
from amongst three offerings: A sound signature of place audio piece, sound design a still
picture, or sound art as you hear it. Due in two weeks.

Week Three / Feb 11

Go on location with gear. Meet with video teams. More gear closeups.

Week Four / Feb 18

Project 1 critique. Finals discussion, saving & sharing project sessions, captains. Checkpoints
arranged in calendar. Lecture: Working with the unenlightened. Camera, Director, Lighting.

Week Five / Feb 25

Guest speaker Kevin Crawford

Week Six / Mar 4

Checkpoints arranged in calendar. Lecture: Working with the unenlightened. Camera,
Director, Lighting.
Lecture: Interview technique. Directing, shooting, storyboarding. Blending with crossfades,
transitions, roomtones, and how to create bad sound.

Week Seven / Mar 11

Lecture: Interview technique. Directing, shooting, storyboarding. Blending with crossfades,
transitions, roomtones, and how to create bad sound.

Week Eight / Mar 18

Lecture: Postrproduction workflow / deconstruct a project.

Week Nine / Apr 1

Lecture: Postrproduction workflow / deconstruct a project.
Written exam on iLearn, due April 4 before midnight.

Week Ten / Apr 8

Project Progress Reviews.

Week Eleven / Apr 15

Independent Study & Project Reviews.
Week Twelve / Apr 22
Project Progress Reviews.
Lecture: Recording & Directing, working with VO talent. Dialog levels, pops, roomtones,
crossfades, building soundtrack layers, B roll audio. Review appointments for rough mixes.

Week Thirteen / Apr 29

Lecture: Downloads, & other forms of content. Where are we going from here? Project
Progress Reviews.

Week Fourteen / May 7

Production meeting. Finals critique. Q&A.

Week Fifteen / May 14

Production meeting. Finals critique. Portfolio review.