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MUSIC PRODUCTION & MUSIC PRODUCTION FOR FILM

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MUSIC PRODUCTION & MUSIC PRODUCTION FOR FILM
2016-2017

Teacher: Stefano Centioni

The course aims to illustrate and guide the participants on the choices and ways, use some software, and the necessary techniques for the composition and for the realization of their musical and professional audio product and its synchronization on a video.
Without any foreclosure genre or style.
from "mickey mousing" of Walt Disney to the latest avant-garde and to advertising, from the music school Hollywood and Pop music from the '900 to contemporary.
The course includes 42 hours of total lessons distributed with times to be determined.
Course fee: 1000,00 euros - divided into 3 trance (400 + 300 + 300)


DETAILED COURSE

TECHNICAL ASPECTS AND TECHNOLOGICAL

  • introductory overview of sound production and its characteristics, the development over time of the techniques and tools used, and the Moog synthesizer, up to today's most popular software, such as Cubase Pro and / or Logic for MIDI and the sound, and Final Cut Pro for video. The main audio formats. analog and digital systems. sample rate and bit.
  • overview of the MIDI protocol, differences between the midi and audio, possible coexistence of the two systems in the same production and the same software. Description of the procedures and basic criteria for MIDI or audio recording, MIDI editing, audio editing.
  • Comments on midi instruments, the VST, and how they work. Reflections on the use of common controllers such as expression, and possible targeted reprogramming. Export midi to audio for further processing. Various stages of processing, the relationship between the working of midi and audio processing, flexibility, opportunities and limits of the two systems.

In Depth appropriate follow during the course.

HISTORICAL ASPECTS AND BEAUTY

  • Quick historical overview of music applied to images, loosely defined "utility music." Observations of historical examples from Lumiere brothers John Williams.
  • The theories of Sergei Eisenstein, the foundations of the modern cinema. The synchronous and asynchronous concepts, the relationship between director and composer of the music, from Sergei Eisenstein and Prokofiev, Steven Spielberg and John Williams. Observations of several examples to address the issue of language, the more or less explicit sync, and meaning that sound and music can give the image.
  • The choice of musical genre as a signifier for the film. technical / aesthetic issues to be reckoned with. Some historical examples to be followed. The archive in the Cinema music. Some examples: Kubrick, Woody Allen, Bertolucci, Visconti, Spielberg.
  • Remarks about possible musical genres, links between the rhythm of modern and contemporary music and music applied to images.

ACHIEVEMENTS OF STUDENTS

  • Choose a video for a free and creative work of each student. Film, advertising, animation, free experimentation, the avant-garde. Identification of criteria, choices and paths that lead to the finished product. Preparation of the material for further processing.
  • Choices aesthetic, stylistic, and various criteria that led to the composition of the music. The outlet of the times. Realization of an example in the score. Entering Notes, or data, in the chosen software. Various processing systems to transform the score into music. Sync, the tempo track, the click.
  • Study for the overlap of one or more real instruments, or voices. The audio recording. Microphones and positioning. The recording environment, the recording level.
  • Final Mixing and export in various formats. The programming of mixing, basic principles: sound levels, saturation, panoramic stereo, inserts and sends, effects, equalization, spectrum analyzers, parametric equalizers. The treatment of the orchestral sounds in the VST, the factors must not be forgotten for a realistic sound, the choice of reverb, equalization most appropriate. Consequences of these choices on the CPU, and the relationship work / quality of the result. Using External effects software. The arrangement in the stereo sound of the classical orchestra instruments and tools in the pop. Parallels and motivations.

And 'it provided a finishing day and final post in a professional recording studio, during which the students will improve their products, and will observe closely experienced professionals, and adequate equipment.

  • Prepare a relative live event, which will be shown the videos made with music.

Students will be guided in the creation, production, and realization of their projects.


References:

  • Manual of the History of Music in Cinema , Ennio Simeon, and Rugginenti -
  • Encyclopedia of Music, Vol. I , Einaudi: the Twentieth Century:
    • Luca Marconi, "Muzak, jingles and video clips", E.D.M. Einaudi I, p. 675-683 viewing, listening and thinking: Eno and Ambient Music
    • Luca Marconi, "Muzak, jingles and video clips", E.D.M. Einaudi I, p. 683-689 analysis of some examples
  • Rock music Dictionary , Joseph Rausa, ed. BUR, Vol II., P. 26: Apocalypse now (Coppola, 1979), use of sound, the quote, Wagner, The Doors, the music scene -
  • Audio recording Manual , David M. Huber, ed. HOEPLI.


stefano centioni

Here are some links with examples of jingles with music
realized by Stefano Centioni, the teacher of the course:

  • Findus Spring Peas (first version) link
  • Zuppa del Casale Findus link
  • TVL King Kong (Stream / Sky) link
  • Sofficini Findus link

Other links with live concerts:

  • Pink Floyd, arranged and conducted Concerto S. Centioni link
  • Peter Gabriel, Concerto arranged and directed by S. Centioni link
  • Auguste and Louis Lumière, Baignade en mer, music by Debussy reworked and directed by S. Centioni, live link
  • The English Patient: Music by Gabriel Yared, Conducted and Orchestrated by Stefano Centioni -Trapani "Tito Marrone" Theater - 2011 link




For more detailed information please contact our office.