| Project - Practical | 100 | 1~2~3~4 | Week 13 | HOURS= 100 hours | Students must design the sound for a sequence lasting exactly three minutes from a live-action or animated film. The requirement for precise duration is intended to ensure students engage with scene transitions and structural cohesion, rather than relying on pre-existing sequences of convenient length. The chosen material must allow for creative sound design and meet all technical requirements outlined in the brief. Students may use any professional digital audio workstation (DAW) that supports the necessary editing, mixing, and digital signal processing (DSP) techniques. While collaboration with a Director is welcomed, it is not required. The project must demonstrate creative integration of sound and meet all specified technical standards, including session management, loudness compliance, and delivery formats. A comprehensive set of production notes must be submitted to evidence authorship, workflow, and decision-making.Tutorial ParticipationWhile tutorials primarily serve a formative function, providing students with ongoing feedback and opportunities to develop their work, this component also includes a summative element. Students are assessed on the consistency, quality, and professionalism of their engagement across the trimester. This includes preparedness, responsiveness to feedback, and the ability to support and critique peers constructively. The assessment focuses not on the outcomes presented, but on students’ sustained contribution to discussion, critical reflection, and collaborative problem-solving. These behaviours reflect professional expectations in sound design and are assessed as part of students’ overall development as reflective practitioners.Full Production Workflow NotesStudents must document every stage of the sound design process, from initial planning through to final delivery. This includes establishing key sonic elements and technical requirements to ensure the sound design effectively supports the narrative, mood, and emotional intent of the sequence. A comprehensive production log must detail spotting, sound recording, Foley, editing, processing, and re-recording. Separate notes must be maintained for sound effects creation and re-recording decisions, explaining how each element enhances the narrative, spatial composition, and audience perception of the final mix. Sound Creation and EditingStudents must design and integrate sound elements that support and enrich the narrative, combining field recording, Foley, and library sound effects to create an immersive and cohesive soundtrack. Dialogue should be edited for clarity using noise reduction, equalisation, compression, and de-essing, with automated dialogue replacement (ADR) synchronised where necessary. Synthesis, digital signal processing (DSP), and layering techniques should be applied to shape textures, create movement, and deepen the narrative impact. Transitions should be reinforced with whooshes, risers, and stingers, ensuring smooth progression between scenes. All elements must be precisely synchronised, spatially positioned, and dynamically balanced within the final mix.Re-RecordingAll stems must be professionally re-recorded into a stereo master, integrating mixing and mastering into a cohesive final process. Students should make full use of stereo imaging, spatial positioning, depth, and perspective to enhance the clarity and impact of the soundtrack. Processing techniques such as equalisation, dynamic control, and reverberation must be applied effectively to achieve a polished and engaging result. Production notes must detail session management, routing, and key mix and mastering decisions to demonstrate a clear and professional workflow. Tracks should be grouped logically, with automation and dynamic processing used to support the narrative and emotional arc of the piece.Listeners’ EvaluationStudents must conduct a one thousand-word evaluation based on feedback from at least three non-trained listeners, analysing how effectively the sound design enhances the film. This evaluation should assess intelligibility, tonal balance, spatial balance, dynamic range, clarity, and emotional impact, with attention given to how well the sound supports narrative comprehension and audience engagement. Rather than presenting listener feedback as standalone comments, students should synthesise responses into a structured analysis, identifying key strengths and areas for refinement. Comparisons to industry standards within the film’s genre may help contextualise the findings.Personal EvaluationStudents must complete the provided self-assessment form in extended prose, offering a detailed, structured reflection on the final project. This evaluation should demonstrate insight into technical execution, creative decision-making, and narrative effectiveness. It must not repeat the production notes, but should reflect critically on both strengths and areas for improvement. Where appropriate, students may reference earlier production notes to contextualise their decisions, but the evaluation must offer distinct reflective analysis. Particular attention should be paid to how successfully the work aligns with the initial concept and responds to feedback. Reflection should also include an appraisal of time management, workflow efficiency, and adaptability throughout the process. The personal evaluation, completed using the provided form, should include approximately one thousand words of extended prose.Assessment BreakdownThe project will be assessed across ten equally weighted categories (10% each): 1. Dialogue & ADR 2. Foley 3. Library Sound Editing 4. Field Recording 5. Sound Design 6. Re-Recording & Mixing 7. Production Notes 8. Listeners’ Evaluation 9. Personal Evaluation 10. Tutorial ContributionsThis assessment ensures students engage with the full creative and technical scope of sound design for linear media, developing practical skills and critical insight relevant to professional audio post-production. |