As described in the syllabus, each student is required to complete 3 basic exercises/projects during the coming semester. These projects may be worked on as individuals or in small teams to consolidate equipment rental. Projects are a large portion of your grade, so take them seriously.
Deadlines to turn in all projects will be announced during the semester, based on the progress of the course. These dates will be announced so as to provide you with at least two weeks between assignments. Unless prior arrangements have been made with the instructor, late projects will be penalized; and projects not turned in by the Final Deadline will be graded as failure.
Strive to turn in your projects early enough in the semester that you are not rushed against the deadlines. Projects submitted in a timely manner allow the Instructor a chance to evaluate what you have done and to give you constructive feedback. Then, the project can be improved and re-submitted for a higher grade. But if you wait until the end of the semester, you will lose the opportunity to fix things, and will have to settle for the grade you receive.
In all cases, the last Deadline for all projects is the week before Final Exams (the last official teaching day). Projects turned in after that date, are considered as having missed the Client's deadline and may receive a grade of zero. Missing an important deadline can be catastrophic in the real world.
Note that projects that were turned in before the Deadline and reviewed/returned by the Instructor may be re-submitted as late as Finals Day.
Equipment availability is a problem that you are expected to learn to deal with. Do not wait until the last minute to make your equipment reservations! Do not seriously expect most equipment to be available over holiday weekends, when most student films are being shot.
When you do check out equipment, take some time and make sure that everything is present and that everything works! Do not leave the checkout room until you have gone through everything very carefully. Remember, not only will faulty or missing equipment jeopardize your project, but it is your signature on the rental contract and you can be held financially liable! Note that the Equipment Room personnel have been instructed to purposely include defective equipment in your package, in order to insure that you take the time to properly prep your gear!
There are solutions to the equipment shortage. Plan ahead, order early. Work in groups! Rent or borrow equipment from outside sources. (Remember, the money that you are not spending on textbooks can be pooled and used to rent gear.)
Finally, don’t be afraid to call your instructor. My primary function is to help you learn, not to rule by terror.
Description of Projects
Projects are held to professional standards!
Understand that you are not here to continue your “high school” education. You are here to earn an advanced college degree in a very demanding and technologically advanced aspect of mass communication. The professional film, video, & multi-media industries are very competitive and extremely unforgiving of poor work ethics. “Hollywood” is a business; not a training ground.
It is important that you treat all of your projects as if they are being submitted to real clients. Pay attention to DETAILS. Make sure that your workflow is correct. Even small errors can result in very expensive fixes later on in post.
Your submitted work must be NEAT. It must be ACCURATE. It must reflect your best work and impress both the editors and your clients. Above all, it must sound good and be usable for its intended purpose.
You do not have to use my sample templates for your paperwork; but whatever you do submit must be laid out logically, neatly, and contain all of the information that the editor or client would require.
I understand that this may be your first attempts at completing these type of projects, and that is why I urge you to turn in your work early enough so that I can review it and provide you with constructive feedback. You are free to re-submit your projects up until the end of the semester in order to improve your grades. And, to improve your PROFESSIONALISM.
Hopefully, after you graduate, one day you will be submitting this kind of work to your own clients. Or, you may be working with or supervising other people who may be submitting their work to you! In either case, learn how to distinguish the “pro’s” from the “wanna-be’s”.
Package all paperwork from ALL group members in a neatly labeled manila envelope along with your project, so everything is together. In the real/reel world, neat packaging & professional presentation are important, so get used to it. Each project packet should include: the CD or DVD, neatly labeled and in a protective sleeve or case; one log sheet detailing the format & contents of the recording; and summary papers from each and every group member.
Always include your first and LAST names. I deal with a lot of students; not just from this class. Any names handwritten and added to a paper or project after it has been formatted & printed will not count.
Each project package should include:
1) Your Project Media
The audio interview project must be turned in as digital audio files, formatted in the preferred industry formats of WAV or BWF. Always submit your work in either 16bit/48k or 24bit/48k.
Also include as a separate file from your project itself, a Header ID file that includes verbal information about your (WAV) files, such name of the project, your name, date, location, file format, track format, recording sampling rates, timecode (if applicable), and reference tone level, followed by 30 seconds of reference tone. This insures that your project files would be played back correctly.
Digital audio files can be contained on a flash drive (with your name affixed or hang tagged) or a data CD/DVD (neatly labeled on the disk itself with a Sharpie and in a protective sleeve or case).
You should post your completed video projects to an online streaming video source, such as YouTube or Vimeo and provide me via email with the links. Include the password if access protected. (Note that this is the preferred and best method for submitting video projects.)
All recorded projects MUST include a header ID and reference tone. Video projects should include color bars along with audio tone. Each take should be accompanied by either a clapstick slate (video) or a verbal slate, indicating scene/take.
Or, video projects may be turned in on flash drives, or as standard DVD, playable in consumer DVD players. DO NOT turn in your video projects as edit session file, nor individual video files such as quicktime or AVI files that require transfer to hard drive along with special software to play. There is no excuse for a CTVA major to not know how to burn a standard playable DVD or to properly export to a playable format for flash drives. Make sure that your media plays correctly in a machine other than where you burned it.
2) Index Sheet (aka Table of Contents)
All recorded projects MUST include a detailed index/log sheet identifying each file being submitted on the disk/flashdrive. At the top of the sheet should be general Header information (if applicable), including your name, project title/name, and recording specs (type of file such as WAV or MP3; format such as mono, dual mono, stereo; bit/sampling rate; timecode frame rate or statement that there is no timecode; what the reference tone level is).
Then, logically show the contents of the disk. Each index or log entry should show: folder, computer filename, corresponding scene/take number or project working name, verbal slate if different than scene/take, description, and general comments.
The index sheet should accurately reflect and describe what is on the submitted media only. It is neither a sound report nor a history of your shooting day (see below); but rather a table of contents for what is on the disk you are submitting to the client. Do NOT include on your disk any additional files that are not intended for client review. If you are containing files within folders, then include that path in your Index. (Project 3 Folder>Dragon AudioBook take 2)
Make sure that the file names, as read on the media, match what is on the log. Each index or log entry should show: folder, computer filename, corresponding scene/take number or project working name, verbal slate if different than scene/take, description, and general comments.
For more information about index / log sheets, read this article
3) Sound Report
Include a copy of your Sound Report, as well. This will include information about all the raw takes recorded during the entire live recording sessions, not just the finished or selected version that you want the client to see. The Sound Report would have been for the Editor, to help sort out all of the takes (every recording start/stop) that was shot or recorded. Do NOT submit the raw take files with your project; only a copy of your paper sound report for the professor to see.
For more information about sound reports, read this article
4) Summary papers
In addition to the recording or project itself, each student is required to write a brief summary discussing the equipment/techniques, problems encountered, and general findings or conclusions for each project. Although some projects may be completed as groups, summary reports must be written on an individual basis. This report allows you to discuss not only what happened when you did the projects, but what you might have done differently if presented with the opportunity. Since groups rarely contribute equally, your paper is a chance to rise above the lowest common denominator, so to speak.
The summary paper is not an essay nor a reiteration of lectures; instead, it is an informal opportunity to fill me in on how things went.
Make it as short or long as you need to, but include telling me about your equipment package.
The Header I.D.
Header ID’s provide verbal information about the files being submitted. They may vary depending on the intent of the submitted files: are these dailies, or works in progress for client review? In any case, they need to provide the file recipient with all of the necessary specs about the accompanying files.
Whenever you are recording raw audio (or video) during a recording session, you always want to include a Header ID file along with each batch of takes. All recorded projects MUST include a header ID and reference tone file, separate from the project file itself. Video projects should include color bars along with audio tone.
First thing recorded during all recording sessions is the verbal Header I.D. Include your name, course, semester, and project title. Also include date, location, type of recorder, audio track format (mono track, two-track, etc.), the digital recording specs such as bit rate & sampling rate, the timecode frame rate (23.97, 24, 29.97 drop, 29.97 non-drop, 30 non-drop, or just “no timecode”), and the reference tone level (usually minus 20dB). Then go ahead and record 30 seconds of tone.
Tone generator apps are readily available on the internet for download.
Header ID’s do not include room tone, nor scene/take numbers. That information is at the beginning of individual TAKES.
Special Note: you will be asked about header i.d.’s on a few written tests, so study the preceding paragraph and study the articles on the website.
Always do a header ID for each project (in the field, always include a header i.d. on each media card that you use).
After the field recording, you will transfer your audio files to a computer hard-drive and then copy your audio “dailies” to data CD, data DVD, or flash drive, which go to Post-Production.
Project One - Recording Basics: Interviews
Interviews: Each team of (not more than three) students will record two brief (under one minute) documentary/ENG style audio interviews. Audio should be recorded onto a portable audio recorder such as a Sound Devices, TASCAM, Zoom, Marantz, Fostex, etc., but NOT a laptop nor a camcorder. Audio should be turned in as digital WAV or BWF files on a data CD or flash drive.
Do not turn in .CDA music format (automatic F). Do not edit, transcode, nor combine files.
Just drag & drop the originals, along with your header file, onto a disk, and finalize.
The purpose of this exercise is to encourage you to become familiar with at least one portable recorder, and to explore the capabilities of different mics. Have fun with it. Experiment with different selections, placements, angles, distances, etc.
Include written comments on what you did and what you concluded. Papers must be prepared individually by each member of the team. Neatness and professional presentation count… take the time to make sure what you turn in reflects your high level of academic achievement.
Explain what equipment (make sure you get the makes and models correct!) & techniques were used, any problems encountered (and how you dealt with them), and any general comments. The papers do not have to be lengthy; a page or two should suffice.
Include your SOUND REPORT as well as an INDEX SHEET (index) of the contents. Remember, the sound report documents every take recorded; the index sheet only reflects what is being submitted. Only submit your BEST FILES (those intended for the client).
Each individual on the team must take a turn as Mixer, and they must identify themselves before each take (in other words, do at least one interview per student on your team). Each team’s project must be complete, including a verbal Header ID file (described previously). At the beginning of each take, voice slate the scene/take number or identifier. Think like an editor; every audio “clip” should be its own file and verbally slated.
Pay attention to packaging… keep it neat and organized. Note that making a clean recording is rather simple; the challenge of this exercise is to pay attention to workflow details: formats, header ID, tone, voice slates, paperwork.
Contents of each group’s manila envelope: individual comment sheets, one index sheet, sound reports, and properly labeled and packaged media (disk or flash drive). Turn in your projects BEFORE the end of the semester so that you can re-submit them if corrections are suggested.
Project Two - Production Mix (Dramatic)
Production Mix: Every team of (two or three) students will assume the role of either Production Sound Mixer or Boom Person and mix at least two minutes of cinematic dialogue between two or more different actors. There should be actor movement (walking) and conversation between talent — two uninterrupted “monologue” sets of lines don’t constitute much of a challenge. The mix should simulate actual dailies and filmmaking (or television) environment. There should be a master scene, followed by “coverage” or closer angles, including a medium shot and singles.
I am not looking for a completed film, nor grading the acting, script, lighting, etc. I am interested in viewing the unedited DAILIES. The quality of the PRODUCTION SOUND is most important, as you might guess!
Hint: If you are shooting strictly for this assignment, then there is no excuse for choosing bad locations, bad blocking, and fighting with poor framing. Pay attention to echo and hollowness. If you have chosen a poor location – it is your fault!
Shoot picture with a video camcorder. Mix audio with a mixing panel and record audio directly onto video (or double system onto an audio recorder and combine the audio with video in “post”).
You may need to borrow an audio interface cable or adapter box to plug into a common camcorder (stereo mini connector) if your camcorder or DSLR lacks professional XLR inputs. If you prefer, you may also record double system onto a separate audio recorder.
Video (with audio) will be turned in on conventional playable DVD, or be posted onto a streaming site such as Vimeo, or YouTube. Make sure that you email me the link and password. Do not turn in video files formatted as QT, MOV, or AVI, as those files require transfer to a hard drive in order to play smoothly. Your video DVD (or flashdrive) must be able to play in a standard computer or consumer DVD player, as that is what you would find in most clients' offices. It is your responsibility to make sure that the media plays okay. Unplayable media will be graded as F.
You MUST include color bars and an audio reference tone at the beginning of the project (and verbally slate what level the tone is).
As an alternative, your Production Mix could constitute dailies from a project done in conjunction with a film or video project for another course. This alternate project must be discussed with the instructor ahead of time, but real film experience is encouraged and welcomed. Make arrangements to “copy” the unedited takes in question for instructor evaluation. Failure to obtain the required files on time from (another class) will result in an F.
Grading will be based on complexity of the challenge as well as quality of the raw (unedited) mix. Make these projects reflect your professionalism and high standards. They should be representative of students who are about to earn a university degree in filmmaking. Only turn in your best work; leave the bad takes out. If the shoot was a disaster, then do it again; but DO NOT turn in unsatisfactory projects unless you want an unsatisfactory grade.
“What with all of the budget cuts, students who cannot complete satisfactory work could one day find themselves being dropped from the major!”
Do not forget to include a summary paper from each team member describing your approach, the problems encountered, how you dealt with them, etc. Include a discussion of the equipment package. Make sure to label your project neatly and professionally. Include your Sound Report as well as one index/log sheet that specifies who is mixing/booming on each take, and what the audio reference tone is.
Each group’s project packet should include: individual comment sheets, an index sheet, sound reports, and media. If streamed video, make sure to email me the link.
Students are responsible for arranging use of department equipment (if available) or getting it on their own.
Although you are encouraged to work in larger groups in order to share resources, each team of 2 or 3 students (mixer & boom) must mix a complete set of takes and submit their own work in its own envelope. It is okay for larger groups to share common setups, scripts, actors, etc – so long as each team mixes their own takes.
Make sure that you check and PLAY BACK your project prior to turning it in. You would be amazed at how many projects get turned in that are defective transfers lacking presentable audio tracks!
Custom Projects
Students with prior or concurrent recording, transferring, or mixing experience may arrange to do custom or optional projects in lieu of the standard assignments. Consult with the instructor to work something out. Work done or being done for other production classes or projects may be applicable; ask. The instructor does not believe in busy work; your time is valuable, so let’s do something meaningful with it!
Project Three - Pre-production Sound Budget
Budget Project: Prepare a detailed budget and equipment checklist for Production Sound for a hypothetical seven day, local video shoot. (M,T,W,TH, F, hiatus, T,W) This budget could be an extension of the dramatic shoot (Proj 2) that you have recently completed…. but treated as if it were a professional production.
Figure rates for personnel, equipment, and expendables that you would submit to the Producer. Be as realistic as possible. Ask around town; ask pro mixers; learn something! DO NOT merely re-copy the class handouts. TREAT this project as if it were the real thing! Attach realistic dollar figures to everything (no freebies, donations, etc.)
Be professional in your presentation; you must impress the producer if you are going to be considered for the job. Neatness and logical presentation count! Pretend this is for an actual client. Someday you may be on the receiving end of these budgets; learn how to recognize gross incompetence before it comes out of YOUR production bank account.
Hint: Do NOT imply that you are a student working on a student budget assignment. Although some rental houses will spend time with you, many will brush you off as a waste of their time if they think there is no $$$ potential.
For example, convince them that you are a new hire at a company and have been appointed (due to your film school background) as the in-house producer for a company project.
This project may be submitted as a team effort by a group of not more than four students in order to conserve paper and photocopier toner! But these larger “groups” will be evaluated to a higher standard, since there are more people to share the burden of research & presentation.
This budget is a serious and time-consuming project! Make it as complete as possible; and make your presentation look professional. Do not wait until the last minute; this is a very difficult exercise to properly complete.
Many students receive poor grades on this project because they waited until the last minute. You will need to visit a rental house and familiarize yourself with professional equipment that is not available at school. I strongly recommend that you submit your projects early enough to allow you to correct and re-submit them.
Your written presentation shall be multiple pages, composed of the following sections. Each section should start on a fresh page.
Section One: Introduction
First, write a brief synopsis of the shoot or project to be undertaken. It must involve multiple actors or contestants, judges, commentators. It should be full-scale (unlike your own projects completed above).
Tell us the number of shooting days (see requirements above), and the types of locations.
Assume that Audio will be recorded double system on a professional multi-track recorder as well as direct to video for on-set playback. Make sure you have the right hookups for the mixing panel, and out to camera. Without audio feeds to camera, you have nothing to play back on the set!
Section Two: Costs for Personnel
Present the rates for your Sound crew. Show realistic (non-union) daily rates for Mixer, Boom, Utility, and any other personnel that you require. Base the rate on a standard working day (and you must define your standard day for the Producer). From the basic day rates, calculate a rate for weekly (and define what is considered as Weekly). Lastly, calculate a total for entire duration of the shoot for each person; as well as a grand total for all audio personnel.
This should be presented in a simple table.
In footnotes, also define when Overtime rates would kick in, and indicate the overtime rate for each person.
For the purposes of this exercise, you may assume that personnel work at their standard daily rates up to 6 days per week; and that the 6th day of the week is not automatically considered a full overtime day (unless the day itself goes into overtime duration).
You do not need to cover travel days, per diem, meal penalties, etc. for this exercise, but in real life, make sure that you cover those details before accepting employment!
Section Three: Equipment Costs
Present the rates for all of the Sound Dept's equipment and expendables. List each item or package, along with its Daily rental rate, Weekly rate, and Total for the duration of the shoot. When listing a package, specify what that package includes.
I do NOT want to see quotes from your sources, yet. Attach your actual rental house quotes and sources to the END of the equipment costs section.
Present the rates in your own spreadsheet, in a format easy for the client to understand and logically laid out.
Organize and sub-group your list of equipment logically. Keep recorder stuff together; mixing panel stuff together; mics with their windscreens/accessories; and so on.
Do NOT just present copies of the physical quotations that you received from the rental houses. Instead, use them to produce your own list of equipment costs. You will append those actual quotations to the end of the section.
Don’t forget to present any weekly discounts on equipment packages, when applicable.
List your expendables, along with an approximate flat rate for Weekly and Total. (Always indicate that the costs of Expendables are an Approximation, as one cannot predict with certainty an exact quantity that will be consumed.)
Make sure that your footnotes define Weekly Rate and any other pertinent discounts or surcharges.
Make sure that you specify Insurance requirements, deposits, surcharges, shipping charges (if applicable). If the Producer is to provide or pay for Insurance coverage, be sure to specify it.
Include the sources (rental companies, soundmixers, etc.) that you used to research this project, along with info about the person (name, company, position, date of quote) who provided you with the tech advice/pricing for your package. Make sure that a real person helps you put together your package. Append copies of quotations, rental catalog pages, etc. that you have used to research your prices.
Do not just list items that you do not understand or copied blindly from the net or a brochure! Although you may call me or my teaching assistants with specific technical questions, do not expect us to complete your budget assignment for you, nor provide rates for this assignment. Be resourceful – the United States is a big place!
Section Four: Packing List
Your presentation MUST include a detailed item by item inventory list of everything that you will be bringing or shipping to location, whether rented or owned. Note that this is a separate section and NOT part of your equipment cost lists or quotes.
Be extremely specific in your descriptions. List every item by (correct) make and model that you will be packing. Pay particular detail to the small adapters and accessories that you will need. Describe all adapter cables by the type of connection on either end (e.g. XLR-female to RCA-male). Remember to include EVERY ITEM that your sound package will require, such as shockmounts, windscreens, zeppelins, and so on. If some accessories are included with a particular rental item, you must specify this. (Example, a rented microphone may include a foam windscreen; but not a full zeppelin, which might be a separate rental line item.)
Organize your packing list logically, to help you “pack” and also to make sure that you have covered everything that you will need. So under each microphone, list its accessories. Under recorder and mixer, list all of the adapter cables pertinent.
Make sure that you are bringing everything needed to make your equipment package usable. Failing to provide the right connector cables, power supplies, shockmounts, or other interfaces means that you will NOT be able to function on the day of the shoot. Getting a list of the big equipment is easy; but it requires meticulous attention to detail to insure that you will have all of the little bits needed to interconnect the big stuff. Ask lots of questions, and then ask more. Follow the "signal path" from microphone all the way to recorder, and make sure that everything that you will need is accounted for.
It is imperative that you include and describe every adapter cable that may be required to interconnect your recorder, mixing board, audio feeds to the Boom Operator, and timecode interfaces. Be warned: Failure to research and list all of the necessary cables will result in major grading deductions!
To do this may entail making an appointment at a rental house and actually spending a session looking at and playing with the equipment.
Add a brief description of what each item will be used for and why you feel that you need it. Too many students tend to just randomly list a lot of gear without having any understanding of why or how they would ever utilize it on a set. Get used to defending your equipment list; there are some cheapskate producers who will always question you about your required needs.
Do NOT just copy catalog descriptions about the gear; I want to read your own brief explanation of what each piece of gear is used for and why you chose a particular item. For example, “Acme Shortie-1222 condenser cardioid mic. Wide angle, short range, boom mic. For eliminating echo indoors.”
Here is a sample “checklist” of what I expect to see covered in your packing list (and rental costs):
- Professional multi-track recorder (minimum 8 tracks)
- Mixing panel or companion fader controller for said recorder
- Interface cables to connect mixer to recorder
- Additional audio in/out cables (such as TA3-XLR for some Sound Devices recorders)
- AC and battery power supplies
- Timecode out cable from recorder and possible input adapters to Denecke slate
- A second recorder, as emergency backup. (can be 2 or 4 tracks)
- Include a backup mixing device, along with connecting cables and power supplies.
- Headphones for mixer & boom.
- Shotgun microphones: long shotgun, short shotgun, wide shotgun.
- Dynamic handheld mic for ????
- Shockmounts, foam windscreens.
- Zeppelin for the long shotgun (exteriors)
- Boompole
- Duplex cable for boom operator. Note where and how duplex cable will plug in to recorder/mixer.
- 25 ft and 50 ft XLR cables.
- Short 2 ft or 5 ft XLR cables.
- XLR cables & adapters or wireless system to feed audio to camera
- Hardwired lavaliers. Transparent/Proximity.
- Radio mics (at least two). What lavs on them?
- Cables for connecting radio mics to mixing panel?
- Soundcart
- Denecke timecode slate
- Comtek system for transmitting audio from soundcart to Director/Script/etc. Headphones.
- Adapter cable for attaching Comtek to your recording system?
- Expendables: batteries, tapes, pins, moleskin, etc
- Belt/pouch kits, ACE bandages, etc. for mounting radio mics
- Clipboard and sound reports
[downloadable pdf]