COURSE SYLLABUS for CTVA 358 Advanced Film Sound

COURSE: CTVA 358 Advanced Film Sound (Production Sound Recording for Film and Video)
SEMESTER: Fall 2009 INSTRUCTOR: Dr. Fred Ginsburg, C.A.S. Ph.D. MBKS
(818) 892-4566 eve • (818) 231-1038 cel
eqe@earthlink.net (818) 892-9236 fax www.equipmentemporium.com
MEETS:
(Section 1) Rm 170, Manzanita Hall, Fridays 9am-2:45 pm
TEXTS: 1) On-line multimedia website: Beyond the Catalog, (www.equipmentemporium.com) published
by Equipment Emporium Educational Division. Includes PDF of: Ginsburg, GUIDE TO NAGRA 4.2 AND
PRODUCTION SOUND RECORDING 2nd edition, published by Equipment Emporium. ISBN 0-
9713941-0-5. Also includes numerous articles, tips, tricks, equipment reviews, tutorials, news, forum,
calendar of events, and way more. 2) Baxter, TELEVISION SOUND ENGINEERING, published by
Focal Press. ISBN 978-0-240-80723-2. Available from Matador bookstore.
3) Ginsburg, NEWS & WHATEVER catalog and articles about sound. Available from instructor (free).
Additional bibliography available to interested students.
PURPOSE: To provide students with a basic understanding of the techniques and aesthetics of Production
Sound Recording; along with its relationship to the sound design and overall production of the completed
soundtrack for motion pictures and TV.
Emphasis will be given to the practical techniques and equipment operation as currently utilized on
professional theatrical productions, and how those approaches can be utilized on productions of any scope
— be they theatrical or non-theatrical, film or video.
Student Learning Outcomes: (CTVA Department SLO 1, 2, 3) Intermediate/Practiced Students in
this course will:
• understand and articulate the history, theories and critical models of electronic media.
• understand the fundamental concepts of pre-production, production and post-production in television
production sound.
• have an understanding of basic television Sound production principles, terminology, and procedures and
use them in the assigned television projects.
• understand the basic oral and written communication tools to function professionally in television Sound.
• Record and edit video production sound exercises.
METHODS: Lecture, PowerPoint, guest speakers, demonstrations, and hands-on exercises. Realistic
production situations will be simulated, explored, and discussed.
TOPICS: Pre-production; Sound Design; Budgeting & Crewing; digital & analog recorders; mixing to
video; Microphone Basics; Booming; Plant Mics; Lavaliers; Wireless; Set Etiquette; Communications;
Sync Playback; Transfers; Intro to Mixdown; Unions; Getting started in the Industry.
REQUIREMENTS: Classroom attendance & participation; 3 quizzes & 1 major exam; completion of
recording projects and budget project.
ATTENDANCE: All students are expected to attend all classes and lab sessions. There will be NO MAKE-
UP of lab assignments without prior consent of the instructor. If you miss a lab assignment you will receive
a zero for that assignment. Unexcused absences as well as tardiness will be considered in your final grade.
THREE unexcused absences may result in a grade reduction (i.e. up to one full letter on the final grade).
Attendance is taken daily and it is the student’s responsibility to SIGN THE ATTENDANCE SHEET!
These penalties are designed to encourage professionalism, participation and fair treatment for all.
Disruptive, unprofessional behavior will be counted as an unexcused absence. Class or project switching is
prohibited without prior consent of the instructor.
IN THE EVENT OF ABSENCE, it is the student's responsibility to catch up on missed content and to
arrange to take make-up exams.
GRADING CRITERIA: Evaluation is based upon student performance in the following areas:
30%-Major Exam (approx 65 questions, covering entire semester)
30%-Quizzes (short answer, multiple choice).
40%-Projects (spaced throughout semester, including: 1)ENG style interview; 2) dramatic production mix;
3) EFP event, including sound FX & sportscaster.; 4) budget plan. Written summaries to be submitted with
recorded exercises.
Classroom performance, professionalism, and optional projects will be considered to improve grades.

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Letter grades are derived from the following table, based on 100 total points possible:
A = 93-100 A- = 90-92 B+ = 88-89 B = 83-87 B- = 80-82
C+ = 77-79 C = 70-76 C- = 67-72 D = 60-67
Except for extreme circumstances, students are expected to complete the requirements of this course by the
last day of classes (official date of Final Exam). Students who have not taken all exams and turned in their
projects may be subject to a failing grade. Students with valid reasons for not being able to complete the
course may petition the Instructor, in writing, for an Incomplete. Requests for Incompletes must be
submitted prior to the last day of classes. Students granted Incomplete grades are responsible for
contacting the Instructor during the semester break but not later than one month after the start of
the following semester in order to set up an arrangement and timetable. Although the University allows
up to one year to convert an Incomplete, it is the prerogative of the Instructor to determine how and when
Incompletes may be completed. Failure to set up and adhere to this timetable is an automatic F.
PROFESSIONALISM: Much of what the class does will involve group activity, use of sophisticated
equipment, and interaction with industry professionals. Students are expected to display professional and
courteous behavior towards people and equipment. Disruptive, unprofessional behavior in this class will not
be tolerated. Irresponsible professional behavior that reflects negatively on the department may result in
academic penalties; inappropriate behavior will be dealt according to the university regulations and be
referred to the Dean of Students.
Academic Dishonesty: In conjunction with examinations, projects and written assignments, it should be
noted that severe penalties—including failure in the course and even expulsion from the University—might
be applied for any infraction of accepted academic rules of honesty. Among other things, it is understood
there shall be no sharing of information on any examination: there shall be no reference to any notes during
any test (unless otherwise announced); and despite the collaborative nature of the class, individuals assigned
to a position should be the one completing the task.
FEEDBACK: You are all strongly encouraged to provide the instructor with your views about me, the
course, or the department. Feel free to meet with me, phone, or even leave anonymous notes! Feedback
helps all of us grow, students and faculty alike.
PROBLEMS, QUESTIONS, ETC.: Please, and I cannot stress this point enough, CALL ME!
Confusion and logistical problems are natural, but curable. There is bound to be something in the readings
or lectures that you are unsure about. During class, if I rattle off some industry jargon that you do not
understand — interrupt me and ask. If you have any questions about the readings or lectures,
problems with the assignments, need production advice, or whatever...
THAT IS WHY I GIVE OUT MY PHONE NUMBER!
OFFICE HOURS: Being part-time faculty, on-campus meetings are in classroom (MZ170 or MZ160A)
30 minutes prior to class or by appointment. Meetings can also be arranged on campus on other days if I am
available.
FEES:. Subscription to the informational website is only $25 per year for students, but that will give you
access to texts and other materials that would cost considerably more if offered as pre-printed items. In
addition, students may have to share the cost of recording stock and/or some equipment rental for their
projects.

Students with disabilities must register with the Center on Disabilities and complete a services agreement
each semester. Staff within the Center will verify the existence of a disability based on the documentation
provided and approve accommodations. Students who are approved for test taking accommodations must
provide a proctor form to their faculty member signed by a counselor in the Center on Disabilities prior to
making testing arrangements. The Center on Disabilities is located in Bayramian Hall, room 110. Staff can
be reached at (818) 677-2684.

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 CTVA 358 Instructor: Fred Ginsburg
PROJECTS: As described in the syllabus, each student is required to complete 4 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.
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:
In addition to the recording itself, students are 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, papers must be written on an individual basis.
Papers allow 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.
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.
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.

PROJECT ONE: RECORDING BASICS: simple interview.

Interviews: Each team of (not more than two) students will record two brief (under one minute)
documentary/ENG style audio interviews. Audio should be recorded onto a portable audio recorder
(Marantz, Fostex, etc.). Audio should be turned in as digital files on a CD.
If you can, try to demonstrate different microphones and techniques. For example: Man-on-the-street
using a handheld dynamic mic. Or, a two person sit-down with both parties wearing lavaliers, or two person
sit-down using an overhead boom. 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. Include a LOG SHEET of the contents.
Grading criteria:
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

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complete, including a verbal headslate/i.d. at the head of the tape, with reference tone (headtone), and voice
slates prior to each take (scene/take number or identifier).
Papers must be prepared individually. 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.
Pay attention to packaging… keep it neat and organized.

First thing recorded onto any recording is the voice slate or i.d. Include your names, course,
semester, and project title. Also include audio format (mono track, two-track, etc.), recording specs such as
bit rate & sampling rate, (timecode rate if applicable (29.97 drop, 29.97 non-drop, 30 non-drop, etc.), and
upcoming reference tone level.
In ALL INSTANCES, remember to slate verbally and write on the log what the reference level is.
When recording in digital: Always verbally slate or i.d. each project (in the field, always i.d. each
media card that you use). Your verbal headslate should include project name, recording format, sampling &
bit rate, timecode rate, and reference tone level (usually something between –15 to –24 dB). After the field
recording, you will transfer your audio files to a computer hard-drive and then copy your audio “dailies” to
data CD or data DVD, which go to Post-Production.
Digital recordings will be presented as audio CD or data CD -- formatted as WAV or BWF -- and
neatly labeled (handwritten with a Sharpie is OK).
Include one detailed sound log in the box. Don’t forget for each person to write a short summary paper
describing your approach, conclusions, etc.
Turn in your disk and all paperwork together in one manila envelope.

PROJECT TWO: Production Mix (dramatic)

Production Mix: Every team of (two) students will assume the role of Production Sound Mixer or
BoomPerson 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 multi-camera drama/sit-com) 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 important, as you might
guess!
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 XLR-DV or similar audio interface cable to plug into a common
camcorder (stereo mini connector) if your camcorder lacks professional XLR inputs. Ask the instructor; he
invented them. If you prefer, you may also record double system onto a separate audio recorder.
Video (with audio) may be turned in on VHS, conventional DVD, or be posted onto a streaming site
such as Vimeo, or Exposure Room. Do not turn in raw video files such as QT on a data DVD, as those files
require transfer to a hard drive in order to play smoothly.
For example, a VHS copy of the camera footage with production audio can be tuned in as your
project. If you recorded double system, then the audio can transferred onto the VHS at the same time that
you transfer the video onto VHS. Perfect lip sync is not a requirement; this is an audio course not a video
editing class.
If you turn in a DVD, it is your responsibility to make sure that the DVD plays okay in a standard
player (not just the editing machine burner). It is always a good idea to provide a VHS copy as backup in
case your client cannot play your DVD copy.
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 takes in question for instructor evaluation.

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 Grading will be based on complexity of the challenge as well as quality of the raw (unedited) mix. Do
not forget to include a summary paper from each team member describing your approach, the problems
encountered, how you dealt with them, etc. Make sure to label your project neatly and professionally.
Include one log sheet that specifies who is mixing/booming on each take. Package the tape and paperwork
together in a manila envelope.
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
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: EFP EVENT Mix (sports, competition, or

demonstration)
“Remote” Mix: Every team of (two) students will assume the role of Production Sound Mixer or A2
(read the Baxter book to learn what an A2 is) and record the audio (and video) for a television “remote” or
studio event involving some sort of demonstration or competition, featuring audio from a
commentator/sportscaster, and crisp sound effects of the action. This could be a small sporting event, a
practice, a cook-off, whatever. Miniature golf, stickball, tennis, fixing your car… be imaginative. We want
good audio on the contestant, commentator, and sound effects. Not to exceed two minutes in length,
completed.
I am not looking for a completed episode, nor grading the acting, script, lighting, etc. I am interested
in viewing the unedited “live footage”. The quality of the PRODUCTION SOUND is important, as you
might guess!
Grading will be based on complexity of the challenge as well as quality of the raw (unedited) mix. Do
not forget to include a summary paper from each team member describing your approach, the problems
encountered, how you dealt with them, etc. Make sure to label your project neatly and professionally.
Include one log sheet that specifies who is mixing/booming on each take. Package the disk and paperwork
together in a manila envelope. Same format requirements as described previously in Project Two (VHS,
playable DVD, or posted to a streaming site).

PROJECT FOUR: Pre-production Budget for SOUND

Budget Project: Prepare a detailed budget and equipment checklist for Production Sound for a
hypothetical four day video shoot. This budget is to be an extension of either the dramatic or event shoot
(Proj 2 or 3) that you have recently completed….
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).
Assume that Audio will be recorded directly to video. Make sure you have the right hookups for the
mixing panel, and out to camera. However, you may wish to consider using a backup audio recorder, as
well.

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 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.)
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.
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.
Your budget should break down daily rates, weekly sub-totals, and final totals for sound crew and
audio equipment. (Since this shoot is only four days, your weekly and totals will probably be the same.)
Don’t forget to present any weekly discounts on equipment packages, when applicable. Equipment
packages MUST include an itemized list of all audio equipment.
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. Be extremely specific in your descriptions.
List every item by 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)
Add a brief description of what each item will be used for. 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.
Include the sources (rental companies, 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.
Do not just list items that you do not understand! 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!
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 any size in order to conserve paper and
photocopier toner! But larger “groups” will be evaluated to a higher standard, since there are more people
to share the burden of research & presentation.

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Course Calendar (tentative schedule) CTVA 358 Fall 2009, Instructor:
Dr. Fred Ginsburg
Week:

8/28 First day of class. Course description. What is Production Sound? Why learn production
sound?

9/04 Professional Approach to Prod Sound. Pre-production. Rental houses. Crew.

9/11 Priorities of the mixer. Hierarchy of mic techniques.

9/18 QUIZ #1 (Priorities, Hierarchy, Pre-production)

Mixing panels

9/25 Intro to portable recorders

10/02 Hands on video exercises Multi-mic mixing Boom and Plant Mic. (Airport)

10/09 Mic basics. (sensitivity, powering)

10/16 Mics continued. Shotguns. Record scenes using Boom Mic.

10/23 QUIZ #2 (recorders & mixers).

Lavaliers. Rig talent and shoot simple “talk show”. Please wear or bring button down
shirt or blouse; and appropriate undergarment if you are shy about another student (same
sex) unbuttoning your top.

10/30 Hands on exercises: TV Event. Multi-mic LIVE event or demo. Happy Halloween;
costumes welcome.

11/06 Hands on exercises: complex scene (Brown interview)

11/13 Quiz #3 (mics, TV sound) Hands on exercises Multi-mic mixing (exterior, Cannes)

11/20 Complete review. Time code. Sync playback.

11/27 THANKSGIVING BREAK

12/4 Final exam (early) option & post-test review. Budget & Prod Mix projects due!

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12/11 FINALS WEEK Absolutely the LAST MORNING to turn stuff in or take make-up
tests. Final exam officially administered. Regular class time/location unless otherwise
notified by the Instructor.
Resumes; Getting started in the industry.