Week Eleven

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Audio Post Production Course Curriculum

Our Advanced Diploma in Audio Post Production for Film and TV is a 5-month long part-time course, taught across a 2-day per week timetable with further study and practical time expected on top. The course follows the workflow of a real industry project, from recording through to editing and mixing a variety of material.

The curriculum is made up of 14 weeks of teaching and is structured so that each week you’ll focus on a specific topic within audio post-production with each topic building on the knowledge and skills from the previous week. Much of your time will be spent in our dedicated post-production studio alongside classes in our new teaching spaces at Angel.

Each subject addresses the practical and technical skills you need to develop a rounded knowledge and skill set within each area. The course curriculum is structured as follows:

Weekly Timetable

The course curriculum is scheduled across fourteen weeks of teaching.

Please click on the individual week’s listed on the left-hand side of this page to see what will be taught in each week.

Week One – Introduction and Overview & Location Recording Technology
Week Two – Location Recording Practice
Week Three – Image, Video and Screen Technology and Synchronisation
Week Four – Recording Sound Effects and Atmosphere
Week Five – Workflow and Field Recorder
Week Six – Dialogue Editing
Week Seven – Reconforming
Week Eight – Noise Reduction
Week Nine – Introduction to Foley and Foley Recording
Week Ten – ADR and Voice
Week Eleven – Sound Effects Editing and Music Editing
Week Twelve – Mixing and Collaboration
Week Thirteen – Automation, Loudness and Metering
Week Fourteen – Immersive
- Week Fourteen
  
  Immersive audio
  
  In the final week of the programme, we focus on immersive audio, also known as 3D audio. We’ll cover all relevant topics related to Dolby Atmos, including mixing, Dolby Atmos Home Theatre and Dolby Atmos Production Suite.
- Week Thirteen
  
  Pro Tools Automation, Loudness and Metering
  
  Pro Tools Automation
  
  In Week 13 we’ll be introducing you to useful Pro Tools automation functions that will enable you to integrate into your workflow and be efficient in your approach to mixing.
  
  Loudness and Metering
  
  We then move onto loudness and metering, during which you’ll learn about measuring volume and loudness and the specifications required for different channels, including tv in different territories, Netflix and the nuances to be aware of when mixing for film.
- Week Twelve
  
  Mixing and Calibration
  
  In week twelve we move onto mixing formats and calibration. You’ll learn about the typical distribution formats in use for film and tv as well as the history of surround sound and the general mixing room requirements for 5.1. We discuss calibration for end users in audio post production so that you understand the requirements for each format.
- Week Eleven
  
  Sound Effects and Music Editing
  
  Sound Effects Editing
  
  In week eleven we move onto sound effects editing, during which you’ll learn about editing atmospheres and constructing 5.1. You’ll discover useful ProTools shortcuts and how to approach layering sounds vs sequencing, as well as sound effects management and mix preparation.
  
  Music Editing
  
  In the second half of the week we move onto music editing, looking at the range of responsibilities that sit within this role as well as the key attributes needed to deliver this work to a high standard.
- Week Ten
  
  Automated Dialogue Replacement (ADR) and Voice
  
  In week 10 we cover ADR and voice, discussing the reasons for the use of ADR and what the pros and cons can be. We look at the different microphone choices commonly used for VoiceOver and ADR and the different rooms and acoustics that need to be considered to create the right sound. You’ll learn about ADR cueing and techniques for creating successful ADR
- Week Nine
  
  Introduction to Foley and Foley Recording
  
  In week nine you’ll learn the ins and outs of Foley, what distinguishes foley from other sounds and the different categories of foley – footsteps, props and movement.
  
  We discuss why it’s used and where to create foley – the considerations that need to be made in regards to recording foley on location and in a studio. You’ll learn different techniques as well as important session set-up skills.
- Week Eight
  
  Noise Reduction
  
  In week eight we explore noise reduction, starting with defining the different types of noise that need to be addressed and the decision making related to noise reduction.
  
  You’ll learn about equalisation for noise reduction, broadband noise reduction, how to use of iZotope RX7, live reduction during recording and music removal.
- Week Seven
  
  Reconforming
  
  In week seven we cover reconforming, which method to use and how to address the issues that can cause. You’ll learn about manual recutting, automated reconforming and reconforming with conformalizer video.
- Week Six
  
  Dialogue Editing
  
  Week six is completely dedicated to dialogue editing, starting with an overview of what a dialogue editors role is. We then add the specifics of each element of a typical workflow for a scripted drama. We cover the first steps of dialogue editing, cleaning the AAF/OMF, conforming and then organising the clips before moving onto editing. We address noise reduction, time and phase alignment and ADR.
- Week Five
  
  Workflow, Field Recorders and Conforming
  
  Workflow
  
  We start week five by mapping out the workflows for both image and audio and understanding where and how they work together. You’ll learn about the various aspects that need to be considered including the file formats, modes of delivery, AAF/OMF issues, networking, switches and routers and storage.
  
  Field Recorders and Conforming
  
  You’ll be introduced to conforming and the basic workflow then get to grips with match criteria and the use of metadata, reindexing and understanding sync discrepancies.
- Week Four
  
  Sound design, Sound Effects and Atmosphere
  
  Sound Design
  
  In the fourth week, we start to investigate sound design, the concept and breadth of this work and how it can differ depending on the industry (music, theatre, games, film and tv). We discuss the role of a sound designer, the responsibilities that they have as well as the skills needed to succeed in this area.
  
  Recording Sound Effects and Atmospheres
  
  We then move onto sound effects, starting with defining what is classed as a sound effect and the considerations you need to be mindful of before recording. We’ll look at which microphones are most suitable for sound effects and the pros and cons of a variety of mic techniques. We discuss noise in context and the decisions that need to be made in regards to wanted or unwanted noise. And we finish this week by covering recording tips and techniques, multichannel vs stereo and sample rates.
- Week Three
  
  Image, Video, Screen Technology and Synchronisation
  
  Image, Video and Screen Technology
  
  During week three we’ll look at the differences between film and video and identify the fundamentals of a moving image. You’ll learn about different presentation formats for video as well as wrappers and video compression. We also cover transcoding, data rates for common consumer formats, physical interconnects, screens, delay and the use of ProTools.
  
  Synchronisation
  
  In the second half of the week, you’ll learn about synchronisation including an introduction to the fundamentals of synchronisation, SMPTE timecode, frame rates, on set timecode synchronisation, the use of word clock, video referencing and audio pull-ups and audio pull-downs.
- Week Two
  
  Location Recording Practice
  
  In week two you’ll undertake a practical workshop, going off-site and on location for a location recording lesson. Working in small groups you’ll be set a brief which will enable you to put into practice your learnings from the week before.
- Week One
  
  Introduction, Overview and Location Recording Technology
  
  Introduction and Overview
  
  In your first week, we take you through to the key stages within a production, from the initial concept and writing through to the final stage and distribution. You’ll learn what happens within the field of post-production, both audio and visual and start to build a foundation of industry-focused knowledge. You’ll be introduced to some of the primary sound crew roles and what those jobs entail.
  
  Location Recording Technology
  
  We then move onto location recording technology, looking at boom microphones, radio microphones and discussing the practical challenges of recording on location. We look at both single system and double system recording and then the different types of productions and the typical methods used for each – including drama, documentary, live events and music.

Week Eleven

Sound Effects and Music Editing

Sound Effects Editing

In week eleven we move onto sound effects editing, during which you’ll learn about editing atmospheres and constructing 5.1. You’ll discover useful ProTools shortcuts and how to approach layering sounds vs sequencing, as well as sound effects management and mix preparation.

Music Editing

In the second half of the week we move onto music editing, looking at the range of responsibilities that sit within this role as well as the key attributes needed to deliver this work to a high standard.

An inspiring and incredibly well designed course that gave me the best musical education I could have dreamt of. Life-altering.

David Dargahi, Alumni

The curriculum is fantastic, extremely comprehensive, contemporary and relevant to today’s industry.

Andrea Mastroiacovo, Alumni

This course has helped to develop me into a well rounded producer, engineer, and musician. It has helped open doors to career opportunities that I would otherwise not have had access to. I would not be where I am today if it wasn’t for the fantastic team, course, and resources available at Abbey Road Institute London!

Yvan Chambers, Alumni

The course taught me what it means to be a producer and engineer in the industry, I learned things I couldn’t have learned anywhere else.

Marta Di Nozzi, Alumni

Abbey Road Institute trains you to deliver high quality work that matches industry standards.

Martí Canales, Alumni

I had an incredible experience. The staff have so much to offer and cover so many different areas of music.

Luke Glazewski, Alumni

The Abbey Road Institute helped me to unlock my musical potential.

Cory Lawrence, Alumni

Applying for the diploma was the best thing I could have done for my career. I'm really amazed at how much I learnt in one year.

Lizzie Arnold, Alumni

There is some real visionary foresight in Abbey Road Institute being established to preserve the cultural legacy of Abbey Road.

Youth (Paul McCartney, The Verve, Killing Joke)

It’s a unique experience in so many ways, the location, the calibre of guest lecturers and access to Abbey Road Studios for classes is pretty amazing. There aren't many places you get to record a full orchestra!

Jason O’Bryan, Lecturer

Come with an open mind and a voracious appetite to soak up the magic! Be prepared to work hard - you’ll get out what you put in.

Week Eleven

Audio Post Production Course Curriculum

Week Eleven

Sound Effects and Music Editing

David Dargahi, Alumni

Andrea Mastroiacovo, Alumni

Yvan Chambers, Alumni

Marta Di Nozzi, Alumni

Martí Canales, Alumni

Luke Glazewski, Alumni

Cory Lawrence, Alumni

Lizzie Arnold, Alumni

Youth (Paul McCartney, The Verve, Killing Joke)

Jason O’Bryan, Lecturer

Ian Ramage, Lecturer