Audiovisual Workshop II

Teaching staff

Amanda Villavieja

Amanda Villavieja

Graduate in Audiovisual Communication from the UAB. Master’s Degree in Creative Documentary from IDEC – UPF. 

Graduate in Audiovisual Communication from the UAB. Master’s Degree in Creative Documentary from IDEC – UPF. A sound technician on documentary and fictional projects for film and TV, she has worked with directors like José Luis Guerin, Isaki Lacuesta, Mercedes Álvarez and Ricardo Íscar. She combines her professional activity with lecturing (BAU, UPF, IDEC). Alongside Carlos Vázquez, she is one half of the Obrador La Faz collective (obradorlafaz.com), which focuses on film, sound, photography and text publication.

Fact sheet

Formal qualifications: Bachelor's Degree in Design

Credits: 6

Semester: 1

Course: Third

Typology: Elective Audiovisual Design

Code subject: GDVA93

> Introduction
The main objective of the course is the acquisition of tools and skills for design and sound creativity.

Students will undertake a historical overview of some highly interesting audiovisual projects to provide themselves with a good knowledge of new sound design processes. We will try to provide the tools that will facilitate a clearer perception of the sound environment around us, and acknowledge the necessary critical elements that allow us to describe the use of sound in audiovisual productions.

This course also wants students to create their own audiovisual productions. To do so, we will use the sound pickup material from our school, and practice and learn the use of the Protools sound editing program.
> Contents
Theory

- Introduction to sound viewing. Active listening exercises. Sound visualisation exercises.
- The physical characteristics of sound.
- Introduction to sound design. The elements of the soundtrack.
- The sound as a material for creativity. The narrative and/or expressive functions of the elements of sound.
- The audio script. Research and construction of sound components present in a script.
- The offices of sound. Preparing to shoot.
- The technical equipment necessary to capture sound. The staff. The sound devices based on each project. Models to capture sound. Examples. Analogue and digital systems. The microphone. Using the microphone hanger. Understanding the sound menus in the more common cameras.
- Editing and sound mixing. The sound spatialisation. Digital sound reproduction systems.

Throughout the semester, within the body of the subject of theoretical study, we will be analysing different models for working with sound examples.

Model I: The Voice. Textures and materiality. Voiceover
Model II: Scope of the field. The sound scene
Model III: The soundscape. Acousmatic sound
Model IV: The soundscape. Working with wild tracks
Model V: Music and silence. The effects and dubbing room

Students will develop some of these models together with some practices.

Practice

- Live sound recording techniques: working with different types of microphones, analogue mixers and digital recorders.
- Sound editing techniques. Introduction to the Protools digital audio editing system.
- Completion of several group practices associated with a working model studied in class.
- Completion of a final group practice that we will develop throughout the semester.

> Learning outcomes
Students acknowledge the specific and theoretical aspects of sound design.

Development of an audiovisual project of average complexity through the application of theoretical audio knowledge.

Development of proficiency in complex situations that may require the creation of new solutions, both academic and professional, within the audiovisual design field.

 

SPECIFIC SKILLS

  • SS1. Critical analysis and evaluation of the consequences and implications of proposals raised in design projects, both the student’s own and those of others, and their adjustment to suit the social, economic, political and cultural context.
  • SS2. Integration of knowledge and approaches related to cultural, artistic and historical references in design, to practical design projects in creative and innovative ways.
  • SS3. The ability to conceptualise and experiment with suggestions for design projects, and approach them with a proactive and problem solving attitude that will facilitate decisive solutions to real or potential problems, all the while taking into account the integration of cultural, artistic and instrumental approaches.
  • SS4. Apply appropriate methodologies and varied research according to the subject matter, both for knowledge management and for formal experimentation and production that meets academic and professional standards.
  • SS5. Excellent command of languages of expression, graphic representation techniques, digital imaging tools, and formal and manual production techniques specific to different fields of design, thereby enabling their consistent application in the experimentation, development, execution and presentation processes inherent to professional projects.
  • SS7. Consider the properties and behaviour of the materials used in the different fields of design, in order to use them at the professional level in their own productions with aesthetic sensitivity and social and environmental responsibility.
  • SS8. Mastering the use of aesthetic and symbolic codes of communication, as well as specific design languages, to adapt the communicative intention of any given project to the vision of the user.
  • SS9. Implementation of design projects which provide alternative solutions and propose improvements based on functionality and viability. These solutions and improvements must also be able to respond to problems or changing situations in advance, through the development of a formal production at a professional level.
  • SS10. Effective contribution to cooperation and collaboration structures for the development of action plans with the capacity to adapt to the varied working methods of different creative teams.

 

EVALUATION

  • Observation of participation
  • Monitoring of the work produced
  • Realisation of works or projects