Difference between revisions of "Advanced Sound"
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The space is supervised by Larry Kapson. | The space is supervised by Larry Kapson. | ||
| − | + | == Hours of Operation == | |
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| − | + | == General Equipment Access== | |
All advanced projects must be registered in the [[http://filmscheduler.colum.edu/|on-line scheduler]]<BR> | All advanced projects must be registered in the [[http://filmscheduler.colum.edu/|on-line scheduler]]<BR> | ||
| Line 34: | Line 34: | ||
| − | + | ==Policies & Equipment access== | |
* Only a qualified sound operator may check out the advanced equipment. | * Only a qualified sound operator may check out the advanced equipment. | ||
* Qualified sound operators include only students who have completed one of our Location Sound Recording courses. | * Qualified sound operators include only students who have completed one of our Location Sound Recording courses. | ||
| − | + | ===Course levels and access=== | |
Access to equipment is determined by student qualification, separated into 2 groups: | Access to equipment is determined by student qualification, separated into 2 groups: | ||
Advanced equipment may only be used for currently registered advanced projects with Production manager approval. | Advanced equipment may only be used for currently registered advanced projects with Production manager approval. | ||
| − | + | ====Group one:==== | |
Location Sound Recording I (Course#CINE-213) | Location Sound Recording I (Course#CINE-213) | ||
These students are not permitted to work on advanced projects or have access to the equipment below until they have successfully completed this course.<BR> | These students are not permitted to work on advanced projects or have access to the equipment below until they have successfully completed this course.<BR> | ||
| Line 52: | Line 52: | ||
Once completing the Location Sound Recording course, the students are then certified to check out the above package and also receive Time Code slates.<BR> | Once completing the Location Sound Recording course, the students are then certified to check out the above package and also receive Time Code slates.<BR> | ||
| − | + | ====Group two*:==== | |
Location Sound Recording II (Course#CINE-313) | Location Sound Recording II (Course#CINE-313) | ||
These students (currently enrolled) have access to: | These students (currently enrolled) have access to: | ||
| Line 73: | Line 73: | ||
Requests for specific equipment are subject to qualification & availability | Requests for specific equipment are subject to qualification & availability | ||
Wireless microphones are not guaranteed. | Wireless microphones are not guaranteed. | ||
| + | |||
| + | |||
| + | ===Equipment checkouts & returns=== | ||
| + | |||
| + | Once your production has secured a reservation, only the sound operator may pick up & return the | ||
| + | equipment for the shoot.<BR> | ||
| + | |||
| + | The following policies are non-negotiable | ||
| + | *The sound operator must allow a minimum of one hour for check-out. | ||
| + | *The sound operator must demonstrate an acceptable level of proficiency in regards to the operation and maintenance of the equipment. | ||
| + | *Before leaving the equipment center, the sound operator will sign a contract stating that the entire kit is in good working order. That means testing everything: Recorder, microphones, cables, and headphones. All components must be tested and fully functional before leaving the facility. Once these procedures have been completed, operator will schedule a return date and time with facility staff. | ||
| + | *All check-outs and returns are by appointment only. | ||
| + | *On the bottom of the check-out contract is information regarding loss or damage to the equipment. | ||
| + | *When the sound operator receives equipment, they must watch closely what they have been given, and how it is presented. They must return it in the same configuration and condition. | ||
| + | *During production the equipment must be checked out, remain in the possession of and be returned by the qualified sound operator only. They must not to leave it on a set overnight or in a grip truck or vehicle due to the sensitive nature of the electronics. | ||
| + | *Arrangements should be made between production and the sound operator for transportation of the equipment to the set and keeping it safe once it is there. | ||
Revision as of 18:35, 3 October 2018
It is located in the 1104 S Wabash Building, Room 523A - Inside the Intermediate Film
312.344.6790
The space is supervised by Larry Kapson.
Contents
Hours of Operation
| Day | Hours | Notes |
|---|---|---|
| Monday | ||
| Tuesday | ||
| Wednesday | ||
| Thursday | ||
| Friday | ||
| Saturday | Closed | |
| Sunday | Closed |
General Equipment Access
All advanced projects must be registered in the [scheduler]
Advanced projects include:
- Practicum
- Graduate Thesis
- Directing III (Graduate)
- Independent Projects (Narrative & Documentary)
Policies & Equipment access
- Only a qualified sound operator may check out the advanced equipment.
- Qualified sound operators include only students who have completed one of our Location Sound Recording courses.
Course levels and access
Access to equipment is determined by student qualification, separated into 2 groups: Advanced equipment may only be used for currently registered advanced projects with Production manager approval.
Group one:
Location Sound Recording I (Course#CINE-213)
These students are not permitted to work on advanced projects or have access to the equipment below until they have successfully completed this course.
These students, under instructor supervision, have access to:
- Stereo hard disk recorders
- shotgun microphones
- boom pole
- accessories.
Once completing the Location Sound Recording course, the students are then certified to check out the above package and also receive Time Code slates.
Group two*:
Location Sound Recording II (Course#CINE-313) These students (currently enrolled) have access to:
- 2 & 4 track T.C.
- Hard disk recorders
- Time code slates
- Sync box package
- (2) wireless microphones
- shotgun microphones
- boom pole
- accessories
- 1 portable Comtek system with two receivers (for Script Supervisor and Directors).
These students must be under the supervision of the Location II instructor and have received certification of proficiency by the advanced facility.
Once you have found a student to work on your advanced project:
The project producer or director (project lead) must register the project and request an Level 2 sound package online.
Once approved you may then add your sound person as a “team member”. The sound students do not need to go online.
Requests for specific equipment are subject to qualification & availability Wireless microphones are not guaranteed.
Equipment checkouts & returns
Once your production has secured a reservation, only the sound operator may pick up & return the
equipment for the shoot.
The following policies are non-negotiable
- The sound operator must allow a minimum of one hour for check-out.
- The sound operator must demonstrate an acceptable level of proficiency in regards to the operation and maintenance of the equipment.
- Before leaving the equipment center, the sound operator will sign a contract stating that the entire kit is in good working order. That means testing everything: Recorder, microphones, cables, and headphones. All components must be tested and fully functional before leaving the facility. Once these procedures have been completed, operator will schedule a return date and time with facility staff.
- All check-outs and returns are by appointment only.
- On the bottom of the check-out contract is information regarding loss or damage to the equipment.
- When the sound operator receives equipment, they must watch closely what they have been given, and how it is presented. They must return it in the same configuration and condition.
- During production the equipment must be checked out, remain in the possession of and be returned by the qualified sound operator only. They must not to leave it on a set overnight or in a grip truck or vehicle due to the sensitive nature of the electronics.
- Arrangements should be made between production and the sound operator for transportation of the equipment to the set and keeping it safe once it is there.
