DMA 346 Audio/Music Report Format

Each member of the DMA 346 sound design team is required to submit a separate report typed in this specific format.         DO NOT submit reports in plastic binders, covers, or sleeves!!!  Naked paper and a staple will suffice.  To save paper, use no more than an 11pt Font, single spaced with half inch margins top, bottom, left and right.  Use this document as a template to type your actual report.  

For each project you worked on this semester, supply the following information:

1.  List the name of the project and the producer(s).

	eg.   	“Gun Safety PSA”  Joe Blow

2. List the functions/services you performed on the project  (See Course Syllabus for List).

	eg. 	  Music Composer/Arranger    or    Foley/Sound Effects Production/Editing

3.  List the dates, times, and hours you worked on this project with a final total.

	eg.  	6/23/10		12:00pm – 7pm		(7 hrs)
		6/28/10		10:00am – 3pm		(5 hrs)
		7/12/10		11:00pm – 5am		(6 hrs)
					           Total = (18 Total Hours)

4.  Explain in detail the process, software, and equipment you used to perform the work on project.

	eg.	I started out with a Quicktime window burn of Joe’s PSA which I used at home on my G5 with ProTools to play alongside my musical composition that was arranged using a Roland keyboard looped through a Sound Canvas sequencer with MIDI interface, etc.  For changes he wanted, we went to the Middle Room and made changes in the instrumentation using the MOTU Symphonic Collection………(get the idea?......continue on in detail).

5.  Assess the interpersonal dynamics of your working relationship with each of the producers.

	eg.	The producer originally wanted a sentimental theme for this segment, but since the client is not a musician, he had difficulty communicating what he wanted.  He would say he wanted less of this or that, rather than “lose the brass in the bridge” or “more sustain in the chorus”.  When he finally played me samples of similar music from his movie CD’s, I finally understood what he wanted.  I merely lifted the instrumentation and arrangement, but changed the melody just enough to be legal. I always remained calm in spite of how frustrating it was to figure out what he wanted…….(get it?.....continue for each).

6.  Evaluate the quality/contribution of your work to the client’s needs on this project.

	eg.	Originally, this segment of her project was really boring and slow because the guy talking is not very dynamic or emotional.  With the addition of my sentimental music, the viewer really starts to sense how the guy actually feels.  You pay more attention to him because the music underscores his feelings to the point that you start to get tears in your eyes.  Now the segment really has an emotional power that makes the viewer want to keep watching.  I successfully applied the theory of cognitive rationalization in this production and injected emotional impact where there was none previously…….

7.  Assess your professionalism on this project (organization, punctuality, dependability, efficiency, congeniality) and then state the letter grade you believe that you deserve for this course based on what you achieved in improving the project rather than on the amount of effort you put forth on the project.

	eg.	I know it doesn’t matter how many hours you put into a project, or how hard you worked to make things turn out right.  All that matters is what’s actually on the screen, so taking that into consideration, I think my main strengths on the project were…………..because……………My weaknesses or areas for improvement include……….because…………………………….
………….so taking all of this into consideration……… I believe that I deserve the grade of B- for this project	

8.  Now assess the professionalism of each co-producer as well as each member of the sound design team.  Write a separate paragraph for each individual and assign a letter grade for each individual.

	CO-PRODUCER(s)
	
	Joe Blow’s Grade – if you want someone who really knows how to edit in FCP, Joe is the guy.  His technical skill in FCP and     Pro Tools is very professional; unfortunately his behavior is not.  He showed up late for most of our sessions and was extremely unresponsive when it came to the numerous e-mails, texts, and phone calls we made to him throughout the project.  He was also AWOL throughout most of the final mixing phase.  He did direct a little of the ADR sessions, but didn’t seem very involved in the project as a whole.  Although I admire his skill with the software, I would not want to work with him on future projects. He is unreliable, unorganized, and unprofessional.  I believe that he deserves the grade of C- for this project. 

	Suzie Q’s Grade – without Suzie we never would have been able to complete this project on time.  She handled everything from talent scheduling, casting, and craft services to equipment rental, insurance bonds, and transportation.  In addition, she is a good director who seemed to get great performances out of each of our actors in ADR.  I learned so much from her just watching how she motivated the talent.  Although she’s not that familiar with most of the audio software programs we use, she was present at every editing session giving her opinion on the best takes and how to mix the final soundtrack.  She seemed to keep our whole team motivated and on task.  She is organized, dependable, and an absolute pleasure to work with. I definitely would be willing to work with her again anywhere and anytime on any future projects.  I believe that she deserves the grade of A for this project.

	SOUND DESIGN TEAM

	Tom Jones (ADR) – our ADR turned out great; however, Tom was not ready with the gear set up when the actors arrived.  As such, the actors had to sit around while he set up the mic, mixer, headphones, etc.  This made us look real unprofessional in front of the talent and added an extra hour to each session.  These unnecessary delays could have easily been avoided by his arriving an hour or two ahead of time to set up and troubleshoot all the problems that usually occur when trying to get all the equipment to work properly.  The ADR, though, sounds very natural and it has perfect lip-sync.  He was always easy to get a hold of and responded to all inquiries in a timely manner.  He’s a nice guy that I would work with again, but he only deserves a grade of B+ for this project because of the unnecessary delays in session setup.

	Jane Doe  (foley, ambience, sfx) – the worst part of our project was definitely the sound effects.  Instead of going to the trouble to record the foley, ambience, and sfx live with her own mic in the studio or on location, Jane just downloaded stock sound effects from the internet which the producers could have easily done themselves.  That is why the American police car has a European-sounding siren, and the drunk driver’s Volkswagen car sounds like a diesel truck.  The footsteps taking place on the lawn sound like they’re walking on asphalt.  No matter how many times they told her that these effects would not work for the project, she just kept replacing them with different effects that were just as artificial and bad.  For these reasons, I would never work with her again.  She deserves a grade of “D” for her work on this project.

	Bob Han (Music) - with the addition of the sentimental music, the viewer really starts to sense how the guy actually feels.  You pay more attention to him because the music underscores his feelings to the point that you start to get tears in your eyes.  Now the segment really has an emotional power that makes the viewer want to keep watching.  Through music he was able to inject emotional impact into a scene where there was none previously.  Bob is a very talented composer who knows how to arrange instruments to the point where it sounds like a John Williams symphonic score.  His only drawback is that he gets impatient working with producers who can’t describe musically what they want.  He is also difficult to contact, i.e., not returning phone calls or e-mails in a timely manner.  This caused unnecessary delays in the project.  In spite of his musical talent, I would not work with him in the future.  I believe he deserves a grade of B for the project.	
				
Checklist for required documentation of the project:

  8.  Have you signed a Music Composition Release for your original compositions on this project?

  9.  Have you signed a Musical Performance Release for your musical performance on this project?