Sound Design and Recording Arts

The 40 Week Sound Design and Recording Arts Program is a four quarter cohort program.

Required Courses

CSFA—301: Language of Film (5)
Language of Film provides an overview of film analysis through a study of basic elements of film structure including cinematography, editing, composition set design, color, and sound and the ways in which each contributes to a film’s meaning.

PROD—341: Fundamentals of Editing (5)
Fundamentals of Editing provides an introduction to the art, theory, and craft of editing with detailed attention to the entire conceptual process from storyboarding to the final version. Students also gain practical experience and hands-on instruction in editing programs and edit all projects produced in Production I. Concurrent Enrollment: PROD—321.

PROD—463: Senior Project (5)
Senior Project provides the context for students to engage in a capstone project. Students develop either individual or collaborative work that demonstrates their cumulative skill-set and interests. Students also focus on developing a quality reel consisting of their best work and additional new work. Prerequisites: Completion of at least 75 upper division credits for the BA in Film.

PROD—495: Special Topics (5)
Special Topics focuses on detailed investigations of new or emerging aspects of new media, film/digital production, television, and/or distribution and exhibition with active participation of visiting faculty and specialists.

SDRA—311: Studio Recording 1 (5)
In Studio Recording 1 students learn basic Recording set-ups and concepts with a single microphone, microphone selection and placement, file formats and file management. Recording simple Foley sound effects and narration / voice-over using Pro Tools Recording Software.

SDRA—312: Studio Recording 2 (5)
Studio Recording 2 covers advanced Recording techniques and multi-channel recording in a studio environment. Students learn to plan and record ADR. The class also serves as an introduction to basic music recording techniques and advanced Foley sound effects recording techniques. Prerequisite: SDRA—311.

SDRA—413: Studio Recording 3 (5)
In Studio Recording 3 students will set up and record Foley effects, voice-over and ADR for the Sound Design III class projects. Students will furthermore assist their fellow SFI students in recording the sounds needed for their film and animation projects. Concurrent Enrollment: SDRA—433; Prerequisite: SDRA—312.

SDRA—321: Field Recording 1 (5)
In Field Recording 1 students learn basic Recording set-ups with a portable recorder, field mixer, and several microphones. Channel / Track separation and grouping, setting levels, panning, labeling, recording format. Field trips to record sounds all over town. Proper boom pole handling and operation exercises.

SDRA—322: Field Recording 2 (5)
Field Recording 2 covers multi-channel recording and on-the-fly mixing in the field. Work includes the increased use of wireless microphones, scanning for available frequencies, advanced microphone placement techniques, and advanced boom pole operation techniques. Prerequisite: SDRA—321.

SDRA—423: Field Recording 3 (5)
In Field Recording 3 students will go on field trips to record the sounds they need for the Sound Design III class projects. Additionally, students will record on-location sound for their fellow SFI students’ film projects. Concurrent Enrollment: SDRA—423; Prerequisite: SDRA—322.

SDRA—331: Sound Design 1 (5)
Sound Design 1 is an introduction and overview of the many approaches and concepts in sound design, including sound design in film, TV, video games, theater, etc. Students learn the concept of layering effects, synthesis, creating basic effects and atmospheres / ambience / background tracks, using organic, i.e. non-synthesized sounds.

SDRA—332: Sound Design 2 (5)
Sound Design 2 blends organic and synthetic elements, as well as increased use of effects ranging from phasing to pitch-bending will propel the students’ sound design skills to the next level. Students learn multi-layer concepts to produce more complex backgrounds and atmospheres as well as special, “otherworldly” sound effects. Prerequisite: SDRA—331.

SDRA—433: Sound Design 3 (5)
In Sound Design 3 students will work in a collaborative team effort and put their skills to the test by designing audio for either (a) a short narrative or experimental film, (b) excerpt from a video game, (c) excerpt from a stage play. Work involves scripting, creating a list of all needed sounds, prioritizing, planning and scheduling studio and field recording sessions to obtain required sounds and dialogue; workflow management; editing and mixing; and presenting the final product. Prerequisite: SDRA—432.

SDRA—341: Editing & Mixing 1 (5)
Editing & Mixing 1 is an introduction to editing basics and concepts using Pro Tools. The class will cover timeline set-up, file / track import and export, first editing steps, organizing effects, editing effects and background / ambience. Students will learn basic mixing techniques, as well as effects such as reverb, compressors, and equalizers.

SDRA—342: Editing & Mixing 2 (5)
Editing & Mixing 2 covers advanced Pro Tools studies as well as introduction to other audio editing and mixing software. Students will learn syncing, editing and mixing ADR, as well as Multi-channel mixing, combining location sound, ADR, Foley effects and sound design. Prerequisite: SDRA—341.

SDRA—443: Editing & Mixing 3 (5)
Editing & Mixing 3 is an introduction to Max/MSP, and will cover surround-sound. Students learn the differences between mixing music and mixing dialogue and sound effects. Students work with a composer as a sound mixer (re-recording mixer) to do a sound mix, leaving certain frequencies open for dialogue. Prerequisite: SDRA—443.

SDRA—351: Music Foundations (5)
Music Foundations is an introduction to basic music theory and notation, reading and writing music, the circle of fifths; and creating a track sheet. The class will cover advanced music theory, pertaining to the specific needs of an audio engineer or sound designer, as well as specific knowledge for setting up and handling a recording session from initial conception to full-on execution.

SDRA—371: Sound Foundations (5)
In Sound Foundations students will engage in the critical analyses of sound as a storytelling tool in film, TV, and radio, as well as learn ear-training and sound theory. The class will also cover the history and analysis of sound in video games, and look to upcoming advancements in computer development.

Elective

PROD—481: The Professional Internship Program (1-6) is open, as an elective, to all students who have completed at least 80 upper division credits for the BA in Film. Students are encouraged to use the program as a way of focusing and developing their career in the areas of producing that they are specifically interested in pursuing. The Professional Internship Program is managed through Career Services at Seattle Film Institute. Students, with program permission, may register for PROD—481.