104411 - VIDEO POST-PRODUCTION

Subject type: Mandatory

Coordinator: Jorge Oter Gonzalez

Trimester: First term

Credits: 6

Academic year: 2025

Teaching course: 4

• Catalan

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

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

• 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.

CONTENTS - PRACTICAL PART

SUBJECT 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

SUBJECT 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

SUBJECT 3. Basic and essential tools to calibrate II

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

SUBJECT 4. Advanced tools and focusing elements

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

SUBJECT 5. Structures of nodes and LUTs

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

SUBJECT 6. Calibration of a cinematographic sequence

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

SUBJECT 7. Advanced tools and focusing elements II

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

SUBJECT 8. Work flow in ACES

• Work with RAW and logarithmic material
• Project configuration
• CST Workflow
• Logarithmic color wheels

SUBJECT 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

The assessment of the subject is divided between digital composition assessment activities (theory/large group) (35%), color assessment activities (practical/small groups) (35%) and the content exam (30%).

In particular:

- The color practice part counts for 35% (small groups), 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%

- The digital composition exercises part (large group) counts 35%, distributed as follows:

Activity 4 (Keying): 10%

Activity 5 (Integration with tracking): 10%

Activity 6 (Composing scenes for a piece of fiction): 15%

- The exam or activity 7 counts 30%.

NOTE: Activities 3 and 6 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.

Evaluation and implementation rules for activities:

For each activity, you will be informed of the regulations to be followed, and the particular conditions that govern them. Carrying out the internships is mandatory. Punctuality and rigor in the delivery of the different activities will be assessed as follows:

   -Formats other than those required will not be accepted.
   -Expired works will not be accepted.
   -Work not submitted through the subject campus or through the routes proposed by the teaching staff will not be accepted.
   -The use of generative AI tools to achieve technical and visual results of the practices is not permitted.

Any of these incidents will automatically affect the qualification. not presented, that is, accounting for 0 with respect to the final grade of the sum of the different activities. If any of the practical or follow-up activities is not carried out, it will be considered not presented.

The subject assesses theoretical and practical knowledge. In this sense, both the technical part of digital composition and color, as well as the content exam, will be taken into account to make an average.

General description of the exam:

The exam corresponds to a test of knowledge in relation to the topics covered in the subject. It consists of a test part and a content development part. The percentage of the final grade corresponding to the content exam is 30%.

The development of the exam must be carried out during the time proposed during the week established for this purpose by the academic secretariat of the Tecnocampus.

This information applies to the exam in its first call and recovery version.

It is necessary to obtain one minimum grade of 5 on the exam of content to be able to make a weighted average with the rest of the course activities. A grade less than 5 will entail the need for youto prepare for the exam to the call for recovery.

Evaluation activity during the recovery period:

The only activity that can be recovered is the content exam.

Regarding practices not presented o suspended, these DO NOT they may re-appear after the deadline or during the recovery period.

The qualification of NOT PRESENTED in the ordinary call due to lack of activities and examination, entails the impossibility of appearing in the second call.

Any form of academic fraud will be sanctioned in accordance with the center's assessment regulations. If signs of fraud are detected, including the improper use of generative artificial intelligence tools, the subject's teaching staff may call the student for an individual interview with the aim of verifying their authorship.

Assistance and involvement

Attendance at practical laboratory sessions is mandatory, following the criteria and regulations of the center. Attendance below the minimum imposed in the
regulations will result in the loss of the right to evaluate the subject.

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.

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

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

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

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

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

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

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

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

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

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