General information

Subject type: Mandatory

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 6

Teaching staff: 

Francisco José Pinel Cabello
Adrià Olea Fernández 

Teaching languages

  • Catalan
  • Spanish

Some of the readings and viewings that will take place during the course are in English.

Theory teacher: Fran Pinel

Internship teacher: Adrià Olea



Specific skills
  • E5_Design and make an audiovisual product (consisting of still or moving images), taking into account both its technical and artistic aspects, in all its components

  • E7_Postproduce video using the basic tools of audiovisual editing programs (titling, color and exposure retouching, speeds, masks ...) and how to insert them into the editing process by adding digital effects


The subject focuses on video post-production processes.

The classes combine three areas: theoretical explanation of concepts related to post-production, with special attention to technology, analysis of audiovisual works from the point of view of post-production, and applied post-production practice.

It is intended that the student understands all the necessary post-production stages and the most important technical aspects related to each of them. On the other hand, it is intended that the student knows and performs practically all the processes in each of the facets to complete an audiovisual work with the highest quality and in any format.

The subject mainly addresses concepts of digital composition, related to the post-production of audiovisual fiction content. In its theoretical part, it covers different composition techniques, such as keying, tracking and rotoscoping, as well as an introduction to the world of VFX. In the laboratory, the work focuses on color treatment processes. The supporting software for the course contents are After Effects and DaVinci Resolve.

Through the various theoretical and practical knowledge acquired in the subject, the student will be able to understand and use the necessary elements of the different processes that make up the video post-production.




SUBJECT 1. Digital composition and VFX

  • The art of composition
  • Digital composition techniques
  • Pipeline in post-production and effects

SUBJECT 2. Rotoscopy.

  • Simple rotoscoping.
  • Rotobrush.
  • roto-articulated
  • Color matching.
  • Content Aware Child

TOPIC 3. Keying

  • Keying basic with keylight
  • Tools of Keying advanced: mocha.
  • Scene composition with chroma keying.

SUBJECT 4. Tracking.

  • Tools of tracking.
  • Trackung of transformation
  • Tracking four points
  • Tracking with Mocka
  • Integration of elements in the scene.

SUBJECT 5. Image Stabilization.

  • Stabilization tools.
  • Tracking of camera
  • Match moving.

TOPIC 6. Visual Effects.

  • Creation of visual effects.
  • Environmental effects.
  • Particle systems.
  • Integration of effects in the scene.




PRACTICE 1. Introduction to calibration

  • Tasks of the colorist
  • Color correction VS Color Grading
  • Introduction of basic concepts
  • Initial configuration, interface and compliance with Davinci Resolve software

PRACTICE 2. Basic and essential tools for calibration

  • Assembly tools applied to the conformation
  • Work with nodes
  • Primary corrections
  • Reading Scopes: Waveform, Parade, Vectorscope
  • Introduction to Activity 1

PRACTICE 3. Basic and essential tools to calibrate II

  • curves
  • Balance of shots of a cinematographic sequence
  • Development of Activity 1
  • Monitor calibration tools

PRACTICE 4. Advanced tools and element focusing

  • Secondary corrections
  • Advanced curves
  • Masks and tracking of various elements
  • Work sequences with the creation of groups

PRACTICE 5. Structures of nodes and LUTs

  • Serial and parallel nodes
  • Calibration with LUTs
  • Introduction to Activity 2

PRACTICE 6. Calibration of a cinematographic sequence

  • Review Activity 1
  • Development of Activity 2
  • Calibration of monitors

PRACTICE 7. Advanced tools and focusing elements II

  • Color correction animations
  • Cleaning and polishing of trackings
  • Stabilization tools

PRACTICE 8. Work with RAW and logarithmic material

  • Project configuration
  • CST Workflow
  • Logarithmic color wheels

PRACTICE 9. Advanced tools and focusing elements III

  • Application of AI in Davinci Resolve
  • Complex nodal structures: Macronodes, Layered nodes, Composite modes
  • Review Activity 2
  • Introduction to Activity 3

Evaluation system

The evaluation of the subject is divided between the evaluation activities of Theory (55%) and Practices (45%).


In particular:


The Internship part has 45%, distributed as follows:

Activity 1 (Balancing shots of a film sequence): 10%

Activity 2 (Advanced color correction and viewer focus in a film sequence): 10%

Activity 3 (Recreating the visual style of a film): 15%

Activity 4 (Exam / practice): 10%


The part of Theory counts 55%, distributed of the following way:

Activity 5 (Keying): 10%

Activity 6 (Integration with tracking): 10%

Activity 7 (Composition of a sequence): 15%

Activity 8 (Theory exam): 20%


Rules for evaluation:

The subject evaluates theoretical and practical knowledge. In this sense, to make an average, both the theoretical part (exam and work) and the practical part (exam, and practices) will be taken into account.

It is necessary to obtain a minimum of 5 in the theoretical part and a minimum of 5 in the practical part to be able to realize the final average. It is necessary to deliver all the practical activities to be able to average the practical part.

It is necessary to attend a minimum of 80% of the practical sessions so that the deliveries related to the practical part of the subject average.



There is no recovery of the practical activities and exercises of the subject, except for Activity 5 (Practice exam), which will consist of a similar test.

As for the theoretical part, only Activity 8 (Final theory exam) can be retaken, and the retake test will consist, again, of an exam on all the theoretical content of the subject.


Information regarding plagiarism:

Identification of plagiarism is considered a serious circumstance that may lead to a failing grade in the subject. In case of detection of plagiarism, the coordination of the degree will be informed so that the corresponding disciplinary measures can be taken.




VAN HURKMAN, Alexis. (2014). Color Correction Handbook: Professional Techniques for Video and Cinema. Peachpit Press Publications.

FREIRE, Alfonso and VIDAL, Montserrat. (2015). Audiovisual editing and composition manual: Techniques, solutions, effects and tricks. would rise

ARUNDALE, Scott and TRIEU, Tashi. (2015). Modern Post: Workflows and Techniques for Digital Filmmakers. Focal Press.


BOURRIAUD, Nicolas. (2014). Post production. Adriana Hidalgo

HELLER, Eva (2004). Color psychology. How colors act on feelings and reason. Gustavo Gili.

VV.AA. (2018). Reference Manual DaVinci Resolve.

CARRASCO, Jorge (2010). Cinema and digital television: Technical manual. Ube Comunicación Activa.

PELÁEZ, Antonio. (2015). Editing and audiovisual post-production: Practical course. would rise

DELEUZE, Gilles. (1984) The image-movement: Studies on cinema I. Paidós.

DELEUZE, Gilles. (1987) La imagen-tiempo: Studies on cinema II. paid