104411 - VIDEO POST-PRODUCTION

Subject type: Mandatory

Coordinator: Maddalena Fedele

Trimester: First term

Credits: 6

The subject is understood as a continuation of "Video Editing" and 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.

On the one hand, it is wanted that the student obtains a formation as much of the theoretical rules of postproduction, the resources of language the history and the use of the color, among others aspects, like its application in the diverse sorts and products audiovisuals through the analysis of pieces.

On the other hand, it is intended that the student understand all the necessary post-production stages and the most important technical aspects related to each of them. Finally, the aim is for the student to know and carry out in a practical way all the processes in each of the facets to complete an audiovisual work with the highest quality and in any format.

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.

At the end of the course the student must be able to:

LO1: Understand the different narrative elements of post-production in audiovisuals.

LO2: Understand the different processes that make up audiovisual post-production.

LO3: Have the ability to evaluate technical and creative resources when dealing with different types of post-production work, especially color correction.

LO4: Encourage the study and analysis of the audiovisual as a narrative language with the intention that students develop their critical and stylistic ability at the same time.

to conceptualize and develop a project or value others.

LO5: Plan the assembly and post-production process of different types of audiovisual products, relating the characteristics of their platforms.

post-production with the technical objectives of the project.

LO6: Be able to work autonomously and professionally using the DaVinci Resolve program.

Other complementary learning outcomes are:

RAC1: Configure and maintain post-production equipment.

RAC2: Carry out the mastering processes in the post-production of the audiovisual product, recognizing the characteristics of the standards and protocols

standardized exchange of documents and audiovisual products.

RAC3: Generate and / or introduce in the post-production process the effects of image valuing the functional and operative characteristics of the tools and technologies

standardized.

The subject has 4h / week of theory and 2h / week of practice.

Theoretical concepts will be presented in theory class by teachers, and audiovisual examples will also be seen to illustrate the theory to generate a debate.

in class with student participation. In some theoretical sessions it will be possible to carry out exercises and analyzes.

The internship activities in the computer lab will work with different editing software and special emphasis will be placed on the explanation of the Davinci Resolve software, in order to perform the post-production work that will be requested during the course. Practices are a fundamental part of the subject, as they serve to work on the theoretical concepts taught in class. The internships will increase with increasing level of complexity and consequently the requirement in their quality and delivery time will be affected.

Classroom operation:

In theory classes, the front door will close ten minutes after the start of the class and will not be accessible until the end of the break. The front door will close ten minutes after the end of the break.

Practical classes are compulsory and it is necessary to attend 80% of the sessions in order to be evaluated in the work of the practical part. Practical classes will be held non-stop. The front door will close ten minutes from the start.

Teachers are not required to upload annotations to the virtual campus. Links will be posted in relation to the topics, with compulsory readings and viewings, as well

resources to expand information.

SUBJECT 1. Processes and terminology of the postproduction

• Conceptual difference between editing, editing and post-production
• Basic glossary of post-production concepts
• Definition and description of the main post-production processes
• Postproduction of types of sequences and products.

TOPIC 2. Digital image parameters and encoding

• Digital image parameters
• Temporary resolution
• Spatial resolution
• Color depth
• Dynamic range
•  

- Color undersampling

- Compression

- Transfer flow

- Formats and codecs

- Raw and processed image

SUBJECT 3. Equipments and models of postproduction

Tools:

- Hardware

- Mac vs. PC

- Processor and graphics cards

- RAID, SSD disks

- I / O Box

- Connected

- Monitors

- Peripherals

Procedures:

• Workflows and work processes for post-production in sets
•  
• DIT and DAS
• Origins, functions and activities of the DIT
• Software. Introduction to software and applications for post-production

SUBJECT 4. Edition.

- Video editing as a mechanical-creative process

- Brief history of digital video editing

- Influence of publishing onstorytelling

- Content import and intake: optimization and proxies

- File systems and sequence types

- Timeline and basic editing tools: creative uses

- Digital composition of the image and influence on thestorytelling

- Workflows

- Effects and adjustment layers

• of files: output modules, formats and codecs
• s of collaborative work 

- Editing software: Premiere PRO, Final Cut X, Avid MEDIA Composer

- Rendered i software compression

SUBJECT 5. Composition and digital visual effects (VFX)

• History FX
• • rome key
  • Match moving
  • Motion control
  • camera tracking
  • motion-capture

- VFX support technologies

- morphing

- bullet time

- High speed photography

- Cyber ​​scanning and structured light scanning

- HDRI

- LIDAR

- Software for VFX and CGI

TOPIC 6. Motion Design.

- Introduction to the concept of Motion Design.

- Motion Design in TV and Cinema: examples and applications.

- Softwares I: digital composition (After Effects).

- Software II: 3D Motion Design (Cinema 4D, Blender, Houdini)

- Credits and introduction sequences.

- keyframing and basics of the motion design.

- Text animation.

- Workflow with compositions and nesting.

- Animation of shapes. strokes.

- Particle systems.

- Lighting.

- Cameras: 3D and 2.5D.

- File processing: output and rendering modules.

SUBJECT 7. Correction of color

- Color semantics

- Evolution of color in cinema

- Color patterns

- Psychology of color

- Color narrative

- Color schemes

- Uses of color

- Color and gender

- Colored spaces

- Software for color

- Color grading:

- Basic color terminology

- Tasks of the colorist i workflow in color correction

- Scopes

- Primary correction techniques

- Secondary correction techniques

- Looks

- Color correction in ENL

- Softwares and color correction tools: Da Vinci Resolve, Magic Bullet, Lumetri ...

UNIT 8. Finishing and mastering

- Types of deliveries

- DCP

- Preparation of DCP material

- Master a DCP

- Export and creation of the DCP

• Back up and stored

The activities related to the subject are divided into:

- Theoretical: viewings, explanations, analysis.

- Practices: exercises and practical deliveries.

- Exams: one of the theoretical part and one of the practical part.

EVALUATION ACTIVITIES

Internship activities (45% of the final grade)

Activity 1: trailer trailer (5% of the final grade) (G2, E5, E7, RA2, RA3, RA5, RAC3)

Internship sessions 1 and 2 (10% final grade)

Evaluable individual activity.

Description

The first practical activity of the subject aims to review the various elements involved in the post-production process.

The practice is basically to edit a movie trailer based on the total footage of a film. In this case, however, the students' goal is to make a piece that presents the film in question as a film belonging to a completely different genre from the one originally attributed to it. For example, from the horror film "The Glow", they will have to create a trailer that presents the film as a family comedy.

Thus, students will have to put their creativity and post-production knowledge of both video and audio at the service of creating a completely new piece that is far from the original. They will have to play with the images, the rhythm, the music, the sound effects and the chyrons to achieve the goal of this first practice. At the beginning of the course, students will receive 4 original films, from which they will have to choose one to do the exercise.

The exercise can be done with both Final Cut Pro X and Premier Pro, and those who require it can also use Adobe After Effects to create visual effects and animated text.

Activity 2: Balance shots of a film sequence (RA3, RA6, RAC1, RAC2, RAC3)

Internship sessions 3 and 4 (10% final grade)

Evaluable activity in pairs.

Description

During practices 3 and 4 we will analyze the editing functions once finished their work: the process of conformation. Depending on the characteristics of the project, a review of the assembly (already performed) will be performed and the material will be organized in order to avoid compatibility problems between the timeline of the assembly software and the calibration software.

Basic color tools (primary corrections) will be introduced so that students can match shots of the same sequence shot with natural light.

Support material

• Lab 5, MAC computers equipped with Final Cut Pro, Premiere and Davinci Resolve.

Specific objectives

At the end of the activity students must be able to:

• Export the assembly using XML through any non-linear editing software.

• Organize and prepare the raw or audiovisual material in the calibration software.

• Carry out the forming process in the calibration software and check that the assembly matches the original.

• Analyze the video signal using waveform monitors.

• Match shots of the same sequence with color and exposure problems.

• Work within the legal emission values ​​of the industry.

Delivery characteristics and evaluation

Each student or group will have to deliver a report (of 1 to 3 pages with captures) explaining how it has developed the process of conformation, the balance of plans, the justification of the style and the inconveniences that have been during the realization of the activity.

The export of the sequence will have to follow the guidelines listed in the statement of the activity and the material will be delivered through the virtual campus.

It will be evaluated:

• Continuity between correlative planes of the same scene (5%).
• Creativity in creating a style and justification of the intention with which it was created (2,5%).
• Adequate and justified use of primary corrections (2,5%).

It will be penalized when:

• The characteristics of the export do not correspond to the one indicated.
• The file is not accessible from the link provided in the report.

Activity 3: Advanced color correction and viewer focus in a film sequence (RA1, RA3, RA6, RAC1, RAC2, RAC3)

Internship sessions 5, 6 and 7 (10% final grade)

Evaluable activity in pairs.

Description

Secondary correction tools will be worked on during practices 5, 6 and 7.

Advanced masks and curves will be made that will allow more specific changes to be made to the image.

Finally, the most used file formats in the professional world of film, television and advertising will be analyzed: RAW files and videos with logarithmic curves.

All the knowledge obtained during the previous sessions (3-4) will also be applied in this activity, prioritizing the newest elements introduced.

Support material

• Lab 5, MAC computers equipped with Final Cut Pro, Premiere and Davinci Resolve.
• Datacolor Spyder Colorimeter (Sermat).

Specific objectives

At the end of the activity students must be able to:

• Match specific colors by using secondary corrections.
• Highlight or dim objects, characters or areas of the image.
• Creation of complex nodal structures that allow the signal to be kept as clean as possible throughout the calibration process.
• Identify the type of material used and configure the project to your needs.
• Calibrate work monitors to the color standard of the film and broadcast industry and to the characteristics of the environment.

Delivery characteristics and evaluation

Each student or group will have to deliver a report (of 1 to 3 pages with captures) explaining how it has developed the balance of plans, the secondary corrections, the justification of the style and the inconveniences that have found during the realization of the activity.

The export of the sequence will have to follow the guidelines listed in the statement of the activity and the material will be delivered through the virtual campus.

It will be evaluated:

• Continuity between correlative planes of the same scene (2,5%).
• Creativity in creating a style and justification of the intention with which it was created (2,5%).
• Adequate and justified use of secondary corrections (5%).

It will be penalized when:

• The characteristics of the export do not correspond to the one indicated.
• The file is not accessible from the link provided in the report.

Activity 4: Recreating the visual style of a film (RA1, RA3, RA4, RA5, RA6, RAC1, RAC2, RAC3)

Internship sessions 8, 9 and 10 (10% final grade)

Evaluable activity in pairs.

Description

During practices 7, 8 and 9 the most advanced tools used in calibration and other nodal structures will be introduced that will allow an orderly workflow. In this way, the color information will remain intact in more aggressive and / or complex corrections.

Color transformations will be performed using LUTs that allow you to create an elaborate visual style in a short time. Color corrections made in the calibration software can also be exported so that they can be applied to non-linear editing software or installed on any professional TV or cinema camera and monitors / recorders.

Animations or correction dynamics will also be created, useful mainly in long-duration shots or sequence shots where it is not possible to make a cut.

With all the knowledge gained in the previous practices and during the last three, each group will choose a film of any cinematic genre and recreate the visual style in another audiovisual piece already assembled. In this way it will reinforce through the psychology of color the emotions that are wanted to transmit to the spectator.

The audiovisual montage will be an ambiguous and soundless piece, so it can be interpreted in different ways.

Support material

• Lab 5, MAC computers equipped with Final Cut Pro, Premiere and Davinci Resolve.

Specific objectives

At the end of the activity students must be able to:

• Analyze the image of an audiovisual piece and recreate the visual style.
• Convey emotions to the viewer through the psychology of color.
• Create a professional and consistent visual style.
• Track objects using masks in complex situations.
• Create correction dynamics and masks.
• Maintain a logical and orderly nodal structure with node groupings.
• Use nodal structures in layers.
• How to properly use LUTs.

Delivery characteristics and evaluation

Each student or group will have to submit a report (of a maximum of 8 pages with screenshots) mentioning the chosen film and arguing why the chosen film genre can work with the short film. Focused elements and tools used must also be justified.

The use of nodal structures will be required in order to achieve the desired result in an orderly and logical manner, without losing the color information and maintaining the legal emission values.

The export of the sequence will have to follow the guidelines listed in the statement of the activity and the material will be delivered through the virtual campus.

It will be evaluated:

• Interpretation and recreation of the visual style of the chosen film (5%).

• Continuity of color and exposure (3%).
• Adequate and justified use of secondary corrections (2%).

It will be penalized when:

• The characteristics of the export do not correspond to the one indicated. Or do not import the original assembly of the XML file.
• The file is not accessible from the link provided in the report.
• Improper or forced use of secondary tools.

Activity 5: Practice test type exam (RA1, RA3, RA4, RA5, RA6, RAC1, RAC2, RAC3)

Evaluable individual activity (10% final grade)

The practical test will consist of answering questions related to the whole syllabus that has been done during the practice and activity sessions.

Theory activities (55% of the final grade)

Activity 6: Analysis of a film sequence (15% of the final grade) (G2, G3, RA1, RA4)

Individual evaluable activity.

Theoretical analysis of film sequence.

The exercise is based on the development of an analysis text in relation to a film sequence to choose from a series of predetermined examples.

The focus of this analysis should be from the elements related to the post-production of image, sound and digital effects, always in relation to the degree of significance they bring to the content of the film in question.

The critical capacity to relate and highlight the potential for significance of post-production (in its possible aspects reflected in the example) on the concepts conveyed in a more conceptual sense will be especially valued. On the other hand, the capacity of written expression, structure of the contents of the text and criteria in the establishment of coherent ideas and conclusions will be evaluated.

Activity 7: Final theory exam (40% of the final grade) (G2, G3, RA1, RA4) 

At the end of the course, during the dates established by the School, there will be an individual theoretical exam on the entire content of the subject.

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 (Recut Trailer): 5%

Activity 2 (Balancing shots of a film sequence): 10%

Activity 3 (Advanced color correction and viewer focus in a film sequence): 10%

Activity 4 (Recreating the visual style of a film): 10%

Activity 5 (Practice exam): 10%

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

Activity 6 (Analysis of a film sequence): 15%

Activity 7 (Final theory exam): 40%

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 three 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.

Recovery:

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

As for the theoretical part, only Activity 7 (Final theory exam) can be retaken, and the retake test will consist of an exam on all the theoretical content of the subject.

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