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Some of the readings and viewings that will take place during the course are in Spanish and English.
Theory teacher: Fran Pinel
Internship teacher: Adrià Olea
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, the course 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.
Information regarding the classroom:
The classroom (physical or virtual) is a safe space, free of sexist, racist, homophobic, transphobic and discriminatory attitudes, either towards students or towards teachers. We trust that together we can create a safe space where we can make mistakes and learn without having to suffer prejudice from others.
CONTENTS - THEORETICAL PART
SUBJECT 1. Digital composition and VFX
SUBJECT 2. Rotoscopy.
TOPIC 3. Keying
SUBJECT 4. Tracking.
SUBJECT 5. Image Stabilization.
TOPIC 6. Visual Effects.
CONTENTS - PRACTICAL PART
SUBJECT 1. Introduction to calibration
SUBJECT 2. Basic and essential tools for calibration
SUBJECT 3. Basic and essential tools to calibrate II
SUBJECT 4. Advanced tools and focusing elements
SUBJECT 5. Structures of nodes and LUTs
SUBJECT 6. Calibration of a cinematographic sequence
SUBJECT 7. Advanced tools and focusing elements II
SUBJECT 8. Work flow in ACES
SUBJECT 9. Advanced tools and focusing elements III
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 (Recreation of the visual style of a piece of fiction): 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 (Composing scenes for a piece of fiction): 15%
Activity 8 (Theory exam): 20%
NOTE: Activities 3 and 7 are part of a common project that will be assessed in the theoretical and practical part of the subject. It involves the editing, digital composition and color correction of a fictional sequence that will be worked on in connection between the two parts of the subject. The project will be carried out in pairs, given its size.
Rules for evaluation:
The subject assesses theoretical and practical knowledge. In this sense, to make an average, both the theoretical part (exam and practices of digital composition) and the practice (exam and practices of color correction) will be taken into account.
It is necessary to obtain one minimum of 5 in the Theoretical part and a minimum of 5 in the practical part to be able to perform the final average It is necessary to deliver totes the activities to be able to make an average, both in the theoretical part and in the practical part. All activities must have one minimum grade of 5 to be able to do average with the rest.
It is necessary to attend one minimum 80% of the practical sessions so that the deliveries related to the practical part of the subject (color correction) average.
Recovery:
There is no recovery of the activities of the practical part of the subject (color correction), except for Activity 4 (practice exam), which will consist of a similar test.
With regard to the theoretical part (digital composition), the recovery of Activity 8 (final theory exam) will consist, again, of an exam on all the theoretical content of the subject. The exercises of the theoretical part presented during the ordinary assessment, but suspended with a grade lower than 4, will have to be handed in again in the recovery period, with a penalty of the assessment on the maximum grade of 70%. Practices suspended between 4 and 4,9 must be retaken in the make-up call, without penalty on the maximum mark, correcting the issues agreed with the teacher.
Information regarding plagiarism:
Identification of plagiarism is considered a serious circumstance that may result in a failing grade for an activity. 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