- Category: CTVA 230
- Last Updated on Saturday, August 27, 2016
- Fred Ginsburg
CTVA 230 students: IMPORTANT NOTE
In addition to the Readings list on this site, there is a special link for the class for downloading additional course materials including handouts and Pro Tools session files. That private link is NOT posted on this website, but will be emailed to everyone enrolled in the course. When you receive the link, you should SAVE a copy of the link or the email itself to your hard drive, as well as download the zipped files to your personal computer. If you do not receive, or have lost, the email containing this course link -- just email the Instructor (Professor Ginsburg) and I will resend it to you.
- Elements of the Soundtrack series
- Priorities of the Mixer
- The Hierarchy of Mic Techniques
- Log sheets, sound reports, headers
- Preparing for Your Shoot series
- Basic Equipment Package
- Set Design for Dialogue Recording
- Controlling Background Noise
- What Your Crew Expects of You
- Deal Memo's
Understanding Mixing Panels
- Mix Panel Basics
- ENG Mixers for Production Sound
- Audio Metering: An Introduction
- Mic Level vs Line Level
- Consistency in Sound Recording
- Beginners Guide to the ENG44
- Using the Digital FX Processor
- Monitoring the Soundtrack
- Two-track vs Stereo
- Introduction to Equalization
- Mackie 1402 Operations Manual
- ISO outputs from Mackie mixers
Note: PDF copies of the operations manuals for many popular mixers are in our Operations Manuals section.
- Shotgun Mic Selection and Use
- Review of Shotgun Mics for Film & Video
- Microphone Application Guide
- Microphone Powering
- Using a Mic Boompole
- Selecting Boompoles & Shotgun Mics
- Introduction to Shockmounts
- Introduction to Windscreens
- Lavalier Mic Selection and Use
- Introduction to Wireless Mics
- Rigging Wireless Mics
- Rigging Lavs & Wireless Presentation
- M-S Stereo Simplified
- Introduction to Timecode
- Audio Adapters for DSLR, camcorders, etc.
- Multi-track Recording for Film/Video
- TASCAM HS-P82 End User Guide for Film/Video v1.2
- Establishing Sync Playback
- Sync Playback Revisited
- Foley on a Budget
- Interview with a Foley Artist
- Audio Stage Boxes and Snakes
- Adding Phone Conversations
- Digital Cinema Package
Read the Pro Tools book in numerical order. I have also grouped the appropriate exercises with the corresponding chapters, since the text is inconsistent in that regard. Although technically we are on version 12 of Pro Tools, the differences between the book version and the latest version are not significant. Although you do not have to turn in these lab exercises, I do suggest that you attempt to do them because it will help you learn the program.
Chapter 1: Hardware Overview. Exercise 1: written Q+A (try it for fun and see how you do)
Chapter 2: Inside PT. Exercise 2: written Q+A (try it for fun and see how you do)
Chapter 3: Creating Session. Exercise 3: Creating a session.
Chapter 4: First Recording. No corresponding exercise file, but in Lab you will open a session and try to make a recording.
Chapter 5: Importing Media. Exercise 4: Importing audio.
SKIP Chapter 6: MIDI and SKIP Exercise 5: MIDI
Chapter 7: Navigation. Exercise 6: Memory points
Chapter 8: Editing. Exercise 7: Editing.
Chapter 9: Mixing. Exercise 8: Adding reverb, using Aux tracks
Chapter 10: Finishing, Saving, Export. Exercise 9: Automation.
Here are your reading assignments for our other textbook, Producing Great Sound for Film & Video by Jay Rose.
Chapters 1, 2, 4, 7, 12, 13, 14, 15, 16, 17.
The other chapters are also full of information, and I would recommend that you read them as well -- when you get the chance. But because I do understand that you have a lot of material to digest -- what with the Pro Tools materials, the website articles, and the Great Sound book -- at least read these chapters.
Before you start complaining that there is so much to learn, understand and realize that there is so much to learn! Some of your courses you have to take for GE (aka advanced high school) credit, and some courses you opt to take just to get rid of electives (they may be fun and easy, but they probably will do nothing to help your career). However, your CTVA production courses are your futures -- and the more that you learn about the industry, the better equipped you will be to actually find find gainful employment in the field.
Poetry and Philosophy are nice to know if you want to work in a cafe, but I have yet to see a want ad looking for a Corporate Philosopher. At least our course content is relevant!
Don't just learn the minimum required. Master as much as you possibly can; the competition is very tough out there, and the skill requirements are challenging.