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LIVE - music, image, emotions
Elšík, Adam ; ŠPELDA, Josef (advisor) ; MYSLÍK, Jiří (referee)
I personally love to watch LIVE concerts. The goal of LIVE watching is to be in place and at times outside space and time. To feel to be present.
As a spectator I try to experience the story of music. As a creator I look for possibilities I have and can use. The goal is to point out the possibility to change the view on the genre with which every one of us meets as a spectator or as creator.
I will always be influenced by my personal opinions, experience and preferences. The thesis points out the different possibilities how to understand term LIVE. Different rules and methods of processing formal as well as artistic. The audience will be recommended where and how LIVE should be meaningfully watched, thus determining the end viewer himself.
Specific ways and possibilities of production allow a wide variety of processing of the resulting work. However, the creators should follow the principles and rules of filming without compromise, otherwise the quality of the result can be negatively affected.
Thesis was written thank to consultations with specialists in the field, who very positively formed the result. From my musical taste and preferences in musical genres I've chosen the examples which could be pointed as average. Therefore this thesis should be understandable for the widest circle of readers.
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SPECIFICS OF CREATING SOUND DESIGN OF ANIMATED FILM
Karhánková, Kateřina ; KUBÍČEK, Jiří (advisor) ; GREINER, Ladislav (referee)
The thesis explores the production of sound for animated film – its specifics as well as aspects of realization and of preparation and audio dramaturgy. It examines how they impact storytelling and the extent to which it is possible and useful to work with them from the very beginning of development of an animated film. The thesis also presents the practical and creative possibilities of cooperation between director and sound designer, alongside factors that may have a positive or negative influence in this regard. It draws on literary sources, interviews with the makers of animated films and knowledge acquired by the author in the field of directing and screenwriting of animated films. The thesis confirms the importance of the role of sound in animated film and its positive influence on the resulting quality of AV work (unless it has been omitted from the start of the filmmaking process). It summarizes the basic approaches that allow animators to work with sound in animated film as a fully-fledged narrative component.
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Picture - Sound borders
Zavadil, Vojtěch ; ČENĚK, Jan (advisor) ; NEUBAUER, Petr (referee)
This thesis is about possibilities in sound production within audio-vision. Thanks to the experiment, in which five sound designers make five different soundtracks for the same film, there is a pursue to define restrictions for sound design, that comes from the picture itself, and ways, in which we can ifluence the resault just by sound. For this reason, each soundtrack is analyzed and compared.
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Contact microphones and their use in film practice
Bláha, Adam ; NEUBAUER, Petr (advisor) ; Titěra, David (referee)
The goal of this thesis is to introduce its reader to the problematics of various types of contact microphones in the field of film production. Rather than on technical specifications, it is focused on practical aspects of their use. It is dealing with specifics of handling such microphones, characteristics of the sounds recorded by them and with the possibilities of their use regarding the dramaturgy of films‘ soundtracks. Practical part of this work contains examples of these sounds as a demonstration of the claims, that I am introducing throughout this text.
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Defining characters with sound
Hilčanský, Peter ; KUDLÁČ, Jakub (advisor) ; REJHOLEC, Pavel (referee)
The purpose of this study is to show specific methods of feature film sound dramaturgy: defining characters with sound. Specifically, how can sound help to create stronger, more memorable characters, reveal their weaknesses, psychological states or create qualities that would not be possible to create some other way. It is specific technique not use in every film. However there is lot of different kinds of films that can strongly benefit from using it. Our aim will be to find interesting films and analyze principles of sound dramaturgy and film language used. Emphasis will be given on the fact, that it is important to incorporate these ideas into the script and think about them in preparation phase of movie making, because in post-production it is often too late.
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Rustic and acoustic. Editor's work on an audiovisual field
Pospíšil, Matěj ; ČIHÁK, Martin (advisor) ; BROTHÁNEK, Adam (referee)
This paper focuses on sound as an essential structural element in the creation
of an audiovisual work in the editing room. It describes the basic physical, physiological
and psychological effects of sound waves on the human being-editor (and subsequently
on the viewer). It further examines the relationship between sound and image based on a few key concepts developed by theoretician Michel Chion. Examples of a precise and meaningful work with sound are drawn from the analysis of various excerpts of Miroslav Janek's film Chačipe, edited by Tonička Janková.
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Creative contribution of sound engineering towards music recording
Balcar, Jan ; URBAN, Ondřej (advisor) ; ZOBAČ, Jiří (referee)
Diploma thesis describes engineering of a music recording and is focused on creative potencial of the discipline. Text covers possible attitudes towards sound design of a musical work and refer that the result is invariably influenced by individual conception and creative vision of the sound engineer. Thesis deals also with music perception in its different forms, recent transformations of music industry, sound aesthetics, dramaturgy, sound image and its qualities. These topics are applied to practical aspect of sound engineering. Thesis is based on author's personal experiences and availabe bibliographical resources.
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