Week Five

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Audio Post Production Course Curriculum

Our Advanced Diploma in Audio Post Production for Film and TV is a 6-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 workflows of real industry projects, from recording through to editing and mixing a variety of material.

The curriculum is made up of 21 weeks of study 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 Dolby Atmos post-production studio alongside classes in our 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 21 weeks of teaching.

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

Week 1 – Introduction & Overview / Pro Tools Review I / Location Recording Technology
Week 2 – Image, Video & Screen Technology / Synchronisation Of Sound & Image
Week 3 – Introduction To Pro Tools S6 / Approaches To Sound Design
Week 4 – Recording Sound Effects & Atmospheres / Workflow & File Interchange
Week 5 – Field Recorder Workflows / Dialogue Editing I
Week 6 – Dialogue Editing II / Assessment I
Week 7 – Pro Tools Review II / Assessment I Tutorials
Week 8 – Term I Review / Reconforming
Week 9 – Noise Reduction I & II
Week 10 – Introduction To Foley / Foley Recording
Week 11 – ADR & Voice Recording I & II
Week 12 – Sound Effects Editing / Music Editing
Week 13 – Introduction To Immersive Audio / Assessment II
Week 14 – Pro Tools Review III / Assessment II Tutorials
Week 15 – Term II Review / Mixing Formats & Calibration
Week 16 – Deliverables / Control Surfaces
Week 17 – Advanced Automation / Loudness & Metering
Week 18 – Dolby Atmos Mixing / Assessment III
Week 19 – Assessment III Tutorials / Final Project Tutorials
Week 20 – Mix Stage Visit / Final Project Tutorials
Week 21 – Final Project Tutorials / Final Project Submission
- Week One
  
  INTRODUCTION & OVERVIEW
  An overview of the key stages within a production, from the initial concept and writing through to the final stages of post-production and distribution. Covering the processes within the field of post-production, both audio and visual, starting to build a foundation of industry-focused knowledge, with an introduction to the primary sound crew roles and what these jobs entail.
  
  PRO TOOLS REVIEW I
  The first of three Pro Tools review classes, where students existing knowledge of Pro Tools is assessed and knowledge gaps identified and addressed. As Pro Tools is the de-facto industry standard Digital Audio Workstation, and pre-existing operational knowledge is required for this course, this first Pro Tools Review class aims to ensure students are stating from a common understanding and knowledge and any initial misconceptions are addressed.
  
  LOCATION RECORDING TECHNOLOGY
  An overview of location recording technology and the role of the Production Sound Mixer, combined with the impact this can have on post-production sound. Discusses the usage and advantages of boom microphones vs radio microphones and the practical challenges of recording on location. Looks at both single system and double system recording and the different types of productions and the typical methods used for each – including drama, documentary, live events and music.
- Week Two
  
  IMAGE, VIDEO & SCREEN TECHNOLOGY
  Discusses the differences between film and video and identifies the fundamentals of a moving image. Coverage of different presentation formats for video as well as wrappers and video compression, also covers transcoding, data rates for common consumer formats, physical interconnects, screens and sync delays.
  
  SYNCHRONISATION Of SOUND & IMAGE
  An introduction to the fundamentals of synchronisation, clock and positional reference. Covering SMPTE timecode formats, frame rates, on set timecode synchronisation, the use of word clock and video reference and audio pull-ups and audio pull-downs.
- Week Three
  
  INTRODUCTION TO PRO TOOLS S6
  An induction to the Pro Tools S6 and the Dolby Atmos suite, to enable students to start booking and effectively utilising the room for project work.
  
  APPROACHES TO SOUND DESIGN
  An introduction to the world of sound design, the concept and breadth of this work and how it can differ depending on the industry (music, theatre, games, film and TV). Discusses the role of a sound designer, the responsibilities that they have as well, as well as defining what is classed as a sound effect, different classifications of sound effects and the considerations you need to be mindful of before recording.
- Week Four
  
  RECORDING SOUND EFFECTS & ATMOSPHERES
  Discusses the types and uses of microphones most suitable for recoding sound effects and atmospheres and the pros and cons of a variety of mic techniques, including recording tips and techniques, noise considerations, multichannel vs stereo and sample rates, along with usage considerations and implementation.
  
  WORKFLOW & FILE INTERCHANGE
  Follows the common workflows for both image and audio throughout the post-production process and how they are combined. Discusses the various considerations of file interchange formats and how they have evolved, including the file formats, modes of delivery, AAF/OMF issues, along with basic networking and shared storage solutions.
- Week Five
  
  FIELD RECORDER WORKFLOWS
  Discusses the traditional workflow and need for conforming before introducing modern field recorder workflows and metadata usage in audio post-production, and the impact the production sound mixer can have, including setting match criteria, external references, reindexing and sync discrepancies, along with editorial usage of the workflows.
  
  DIALOGUE EDITING I
  The first of two classes dedicated to the process of dialogue editing. This class gives an overview of the role and responsibilities of a dialogue editor, including specifics of each element of a typical workflow for a scripted drama. Covers the first steps of dialogue editing, cleaning an AAF/OMF, conforming and organising clips before moving onto editing. Introduces the concepts of noise reduction, time and phase alignment and Automatic Dialogue Replacement (ADR).
- Week Six
  
  DIALOGUE EDITING II
  
  The second of two classes dedicated to dialogue editing, covering the practical approaches and editorial techniques commonly used in Pro Tools to complete a dialogue edit for different programming types and genres.
  
  ASSESSMENT I
  
  The first graded practical assessment of the course covering the majority of the topics covered in the first term, assessing students knowledge, practical application, and understanding of session setup, synchronisation, interchange formats, file management, field recorder workflows, and editorial skills.
- Week Seven
  
  PRO TOOLS REVIEW II
  
  The second of three Pro Tools review classes, intended to fill any knowledge gaps in operation identified during the first term, and incorporate technical demonstration of alternative functions and workflows.
  
  ASSESSMENT I TUTORIALS
  
  One to one tutorials to discuss the outcome of Assessment I, progression through the course and to identify any concerns.
- Week Eight
  
  TERM I REVIEW
  
  A discussion reviewing the concepts covered during term one, and recapping any topics identified as needing additional coverage through both class review and grading of Assessment I.
  
  RECONFORMING
  
  Discussed the need and process of reconforming when working with picture that isn’t ‘locked’ and has been updated, the methods used and how to address the issues that can be caused, with demonstrations of manual recutting and automated reconforming along with adapting the process for international cut down versions.
- Week Nine
  
  NOISE REDUCTION I
  
  The first of two classes dedicated to the concept and usage of noise reduction. This class defines the different types of noise that need to be addressed and the decision making related to noise reduction. Covers the general process of de-clicking, de-crackling, broadband noise reduction and equalisation.
  
  NOISE REDUCTION II
  
  The second of two classes dedicated to usage of noise reduction, covering iZotope RX10 spectral denoting usage examples with production sound and music removal.
- Week Ten
  
  INTRODUCTION TO FOLEY
  
  Discusses the history of Foley and what distinguishes it from other types of sound effects along with the different categories of foley – footsteps, props and movement. Covers its common usage and considerations of recording foley both on location and in the studio, along with setting up and spotting a Foley session.
  
  FOLEY RECORDING
  
  A practical Foley workshop typically held at a professional Foley recording facility with experienced Foley artists. Students run a Foley session both from the engineers perspective and that of the Foley artist using different props and recording techniques while acquiring Foley sound effects for their projects.
- Week Eleven
  
  ADR & VOICE RECORDING I
  
  An introduction to the concept and need of Automatic Dialogue Replacement (ADR), discussing the reasons for the use of ADR and the pros and cons. Coverage of different microphone choice and techniques commonly used for ADR as well a voice recording in general and the different rooms and acoustics that need to be considered, along with cueing techniques commonly used.
  
  ADR & VOICE RECORDING II
  
  A practical workshop where students with setup and run an ADR recording session from both the engineers perspective and that of the voice artist, including session setup, recording and editorial techniques.
- Week Twelve
  
  SOUND EFFECTS EDITING
  
  A return and in-depth practical workshop for sound effects editing, covering advanced editing and processing techniques, use of atmospheres and constructing an immersive sound field. Discussing the approach of layering sounds vs sequencing, along with sound effects management and mix preparation.
  
  MUSIC EDITING
  
  A discussion of the world of music editing to picture, the role of the Music Editor and responsibilities that sit within this role, and the interaction with Composers and Music Supervisors. Covers the use of temp scores, cue sheets, licensing considerations, and common editorial techniques used when cutting music to picture.
- Week Thirteen
  
  INTRODUCTION TO IMMERSIVE AUDIO
  
  An introduction to the world of 3D immersive audio, discussing the technology, its usage applications, and considerations, specifically covering object based audio and Dolby Atmos.
  
  ASSESSMENT II
  
  The second graded practical assessment of the course covering the majority of the topics covered in the second term, assessing students practical application and skillset for session management, dialogue editing, denoising, and recording Foley.
- Week Fourteen
  
  PRO TOOLS REVIEW III
  
  The third and final Pro Tools review class, intended to fill any knowledge gaps in operation identified during the second term.
  
  ASSESSMENT II TUTORIALS
  
  One to one tutorials to discuss the outcome of Assessment II, progression through the course and to identify any concerns.
- Week Fifteen
  
  TERM II REVIEW
  
  A discussion reviewing the concepts covered during term two, and recapping any topics identified as needing additional coverage through both class review and grading of Assessment II.
  
  MIXING FORMATS & CALIBRATION
  
  An in-depth discussion of typical distribution formats, the history of cinema sound and surround, typical room requirement for mixing to picture, and the importance of calibration and monitoring at prescribed reference levels.
- Week Sixteen
  
  DELIVERABLES
  
  A discussion of common audio deliverables, channel formats, downmixes, reference levels, theatrical and nearfield mixes, stems, and M&E versions.
  
  CONTROL SURFACES
  
  A detailed functional overview of the Pro Tools S6, aiming to assist students in getting up to speed in session navigation from the control surface during mixing.
- Week Seventeen
  
  ADVANCED AUTOMATION
  
  In-depth coverage of Pro Tools advanced automation functionality and common automation approaches and workflows used when mixing to picture integrated with Pro Tools S6.
  
  LOUDNESS AND METERING
  
  A discussion of loudness and metering standards used for different programming types and consumer formats in different territories, why these standards exist, how to measure them, and approaches for meeting these standards during a mix.
- Week Eighteen
  
  DOLBY ATMOS MIXING
  
  A practical workshop is setting up a mix session for Dolby Atmos, the routing and hardware setup, use of the external renderer, and approaches to mixing in a three dimensional surround field.
  
  ASSESSMENT III
  
  The third graded practical assessment of the course covering the majority of the topics covered in the third term, assessing students practical application and skillset when mixing to international standards in a client facing studio environment.
- Week Nineteen
  
  ASSESSMENT III TUTORIALS
  
  One to one tutorials to discuss the outcome of Assessment III, progression through the course and to identify any concerns.
  
  FINAL PROJECT TUTORIALS
  
  One to one tutorials to discuss the progression of the Final Project and to identify any concerns. The Final Project consists of recreating all sound track elements of a selected clip from a supplied film and mixing this to international standards and deliverable formats in stereo, surround, and in specific instances Dolby Atmos. The Final Project is introduced in the first term, with sound elements collected and recorded throughout term two, and mixing taking place over term three. The final three weeks of the course are dedicated to completing the Final Projects and these tutorials are intended to offer students guidance and support in completing their Final Project to a professional standard.
- Week Twenty
  
  MIX STAGE VISIT
  
  An onsite visit to a Dolby Premier Certified theatrical mix stage, giving students the opportunity to experience working in a high end theatrical mixing environment, and to experience playback of their Final Projects in a large scale theatrical environment.
  
  FINAL PROJECT TUTORIALS
  
  One to one tutorials to discuss the progression of the Final Project and to identify any concerns that may have arisen from the mix stage visit and address them.
- Week Twenty One
  
  FINAL PROJECT TUTORIALS
  
  One to one tutorials to discuss the completion and delivery of the Final Project.
  
  FINAL PROJECT SUBMISSION
  
  Submission of the Final Project deliverable for grading and preparation for DCP files for graduation screenings in a theatrical environment.

Week Five

FIELD RECORDER WORKFLOWS
Discusses the traditional workflow and need for conforming before introducing modern field recorder workflows and metadata usage in audio post-production, and the impact the production sound mixer can have, including setting match criteria, external references, reindexing and sync discrepancies, along with editorial usage of the workflows.

DIALOGUE EDITING I
The first of two classes dedicated to the process of dialogue editing. This class gives an overview of the role and responsibilities of a dialogue editor, including specifics of each element of a typical workflow for a scripted drama. Covers the first steps of dialogue editing, cleaning an AAF/OMF, conforming and organising clips before moving onto editing. Introduces the concepts of noise reduction, time and phase alignment and Automatic Dialogue Replacement (ADR).

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 Five

Audio Post Production Course Curriculum

Week Five

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