The document is a pedagogical report on sound design lessons. It discusses how most sounds in films are added in post-production and outlines the objectives and content of an introductory course on sound design. The course aims to introduce students to sound and music as an art form for media, analyze the sound production process, and establish sound's role in influencing scenes. It covers topics like the history of sound in cinema, the taxonomy of sound layers in production, procedural audio generation, and how sound conveys messages.

1. 2.
RELATÓRIO
PEDAGÓGICO
PROVAS
DE
AGREGAÇÃO
5
de
Janeiro
2015
Álvaro
Barbosa
abarbosa@porto.ucp.pt
www.abarbosa.org
Escola
das
Artes
Universidade
Católica
Portuguesa
www.porto.ucp.pt
Faculdade
de
Indústrias
Cria>vas
Universidade
de
São
José
www.usj.edu.mo

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
In
cinema
the
majority
of
the
sounds
that
we
hear
appear
to
be
generated
naturally
from
the
scene
we
are
watching.
However:
– OPen
up
to
80%
of
sounds
in
a
film
are
added
in
post-­‐produc>on
(100%
in
animated
films).
This
implies
the
reproducNon
of
the
psycho-­‐acousNc
phenomenon
in
a
sound
studio.
– The
process
of
producing
sound
components
for
movies
is
extremely
Nme
consuming
and
technically
complex,
demanding
extensive
organizaNon
and
collaboraNon
with
other
Stakeholders
(Producers,
Scriptwriters,
Directors,
Visual
Ar>sts,
Video
Editors,
Etc.)
– Sound
and
Music
Design
Dras>cally
changes
the
message
conveyed
by
the
Visuals.

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
The Sound and
Image program
includes:
Undergraduate
degrees covering
video, audio and
multimedia production;
MASTER degrees in
computer animation,
digital arts, sound
design, audiovisual
production,
scriptwriting;
PHD program in
computer music and
interactive art.

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
The
produc8on
techniques
of
sound
are
possibly
much
harder
to
study,
because:
– We
are
accustomed
to
ignore
(or
process
subconsciously)
the
majority
of
sounds
in
our
environment.
– Our
main
source
of
informa>on
from
the
environment
is
visual.
– We
are
accustomed
to
think
of
sound
and
cinema
accompanied
by
visual
informa>on.
– When
analysing,
it’s
not
possible
to
freeze
a
frame
of
sound
and
examine
its
concept
and
cinematographic
expression,
which
one
can
do
with
image,
framing
and
analyse
its
ligh>ng,
framing,
mise-­‐en-­‐
scene,
etc.

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Introduction to Sound Design Objectives:
1. Introduce
students
to
music
and
audio,
the
spoken
word
and
other
sounds
as
an
art
form
applied
to
diverse
audio-­‐visual
media
2. Develop
the
culture
of
analyzing
sound
produc>on
and
discuss
it
with
a
common
language
used
by
other
stakeholders
from
an
Audiovisual
produc>on
environment.
3. Explain
how
to
Formulate
and
convey
ideas
or
feelings
trough
the
use
of
Sound
and
Music
4. Establish
the
role
of
sound
as
a
vehicle
to
influence
and
support
the
interpreta>on
of
a
Scene.

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Introduction to Sound Design Outline:
1. Motivation and the study of sound in cinema
Characterization and history.
2. Analysis of the production process
Voices, Sound Effects, Music and Background Sound.
3. Analysis of the transmitted message
Diegetic / Non-diegetic / Meta-Diegetic sound and Oníric.
4. Transformation and editing of sound
Amplitude, Pitch, Timbre and Spatialization.
5. Traditional techniques
Silence, Sound Masking, Interior Sounds, Overlapping, Anticipation, “Split
Second”, “Mickey Mousing”, “Leit Motif”.

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
1. Motivation and History

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
2. Production Process

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
1. VOICE
1.1
Dialogue
1.2
Performance
1.3
Narrator
1.4
Interior
Monologue
2. BACKGROUND
SOUNDS
2.1
Soundscapes
2.2
Background
Voices
2.3
Objec>ve
Music
(Diage>c)
3. SOUND
EFFECTS
3.1
Foleys
3.2
Hard
Foleys
3.3
Special
Effects
3.4
Procedural
Audio
4. MUSIC
4.1
Musical
Effects
4.2
Pre-­‐Exis>ng
4.3
Scored
TAXONOMY
OF
SOUND
LAYERS

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
FOCUS – Procedural Audio (Andy Farnell)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
FOCUS – Procedural Audio (Andy Farnell)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
FOCUS – Music Composer (Alexandre Desplat)
It’s
not
my
Music,
It’s
the
Music
for
His
Film”

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
3. Convey the Message

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Pierre
Schaeffer
Traité
Des
Objets
Musicaux
(1967)
Pauline
Oliveros
Deep
Listening
(1988)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Michel
Chion’s
Listening
Modes
(1990
Audio
Vision)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Michel
Chion’s
Listening
Modes
1. Casual
Listening
Iden>fica>on
of
the
source/origin
(Dependent
on
context
and
prior
knowledge)
2. SemanNc
Listening
Iden>fica>on
of
the
content
of
the
transmimed
message
(Understand
the
Meaning
of
the
message)
3. Reduced
Listening
(P.
Schaeffer)
Analy>cal
and
descrip>ve
listening
of
sound
(independent
of
context
and
meaning)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
The
space
in
the
screen
(Michel
Chion
“Audio
Vision”
–
1990)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Claudia
Gorbman
in
1976
in
the
taxonomy
of
sound
for
film
“Teaching
the
SoundTrack”
published
in
the
magazine
“Quarterly
Review
of
Film
Studies”.
DIAGETIC AND NON DIAGETIC
Sounds of Reality VS Unreal sounds that
enhance Reality
META-DIAGETIC
Sound of and Altered State of Mind
ONEIRIC
Entering a Dreamlike State

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
4&5. Editing Techniques

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Many
PracNcal
Examples
such
as
Sound
Overlapping
in:
O
Trovão
-­‐
2008,
Álvaro
Barbosa

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Introduction to Sound Design Learning Outcomes:
1. Understand
the
principles
of
acous>cs
and
psycho-­‐acous>cs
underlying
Sound
Design
2. Analyze
and
explain
correctly
the
effect
of
sound
in
any
Video
3. Know
and
apply
the
Taxonomy
of
sound
layers
in
a
prac>cal
structure
of
a
Sound
Design
project
4. Dis>nguish
high
quality
from
mediocre
Sound
Design
5. Apply
Classical
Audio
Edi>ng
Technique
in
a
video
project
6. Fill
out
a
Log-­‐Sheet
comprehensively,
using
the
key
concepts
from
Sound
Design
Theory
learned
in
the
Module

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico
Introduction to Sound Design Assessment:
1. Individual
Presenta>on
and
paper
describing
the
sound
and
Music
Design
for
a
Movie
2. Individual
Exercise
with
Log-­‐Sheets
3. Group
Project
for
recording
and
colle>ng
and
inventory
of
sound
sources
for
and
Audiovisual
Project.
4. Discussion
and
par>cipa>on
in
Class
5. Amendance
6. Results
from
Peer-­‐Evalua>on
(Presenta>on)
7. Results
from
Hetero-­‐Evalua>on
(Group
Work)

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Álvaro
Barbosa
–
Relatório
Pedagógico

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Author:
Álvaro
Barbosa
(www.abarbosa.org)
Thank
You!!!!
abarbosa@usj.edu.mo
www.abarbosa.org
University
of
Saint
Joseph|
Faculty
of
CreaNve
Industries
hmp://www.usj.edu.mo