104411 - VIDEO POST-PRODUCTION

Subject type: Mandatory

Coordinator: Rafael Suarez Gómez

Trimester: First term

Credits: 6

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

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 the teacher, and audiovisual examples will also be seen that illustrate the theory to generate a discussion in class with the participation of students. Part of the theory sessions will be devoted to the explanation of applied post-production concepts using specific software. Therefore, some of the evaluation activities of the theoretical part will cover the application of these contents on post-production practices.

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. Although it is not mandatory to follow the theoretical sessions, it is recommended that students bring their laptop to class if they want to follow the software-based explanations.

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 views, as well as resources for further information.

SUBJECT 1. Composition and Storytelling

• The art of composition
• Stagginf, framing, depth i Libra
• Elements of composition
• Artificial control and primary control
• Digital composition

TOPIC 2. Composition techniques i Pipeline in VVX

• Pipeline of effects
• Tools of tracking
• Transformation tracking
• Four-point tracking
• Camera tracking
• Image stabilization

SUBJECT 3. Composition techniques II

• Chrome Keying
• Rotoscopy
• Masking
• Content Aware

SUBJECT 4. Motion Design

• Introduction to the concept of Motion Design
• Motion Design in TV and Cinema: examples and applications
• Software in Motion Design
• Credits and intro sequences
• keyframing and basic concepts of mption design

SUBJECT 5. Motion Design II  

• Form layers
• animators
• Advanced animation

TOPIC 6. Motion Design III

• Text layers
• Text animators
• Scripting

SUBJECT 7. 3D in After Effects

• Introduction to 2.5D
• Parallax
• Lighting effects on stage
• nesting of 3D scenes
• CINEMA 4D rendering

SUBJECT 8. Advanced effects

• Environmental effects
• Particle systems
• strokes 3D
• Introduction to Newton
• Physical interactions

The activities related to the subject are divided into:

- Practices: exercises and practical class assignments.

- Exams: exam corresponding to the contents of the theoretical and practical parts of the subject.

EVALUATION ACTIVITIES

INTERNSHIP ACTIVITIES (45% of the mark)

Activity 1: Balance shots of a film sequence (RA3, RA6, RAC1, RAC2, RAC3)

Internship sessions 1, 2 and 3 (10% final grade)

Evaluable individual or pair activity.

Description

During practices 1, 2 and 3 we will analyze the editing functions once their work is finished: the shaping process. 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

• Personal: Personal computer equipped with Davinci Resolve.
• Face-to-face: Labs 3 and 4, 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 must follow the guidelines listed in the activity statement and the material will be delivered via the virtual campus and Google Drive.

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

Internship sessions 4, 5 and 6 (10% final grade)

Evaluable individual or pair activity.

Description

Secondary correction tools will be worked on during practices 4, 5 and 6.

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 (1-3) will also be applied in this activity, prioritizing the newest elements introduced.

Support material

• Personal: Personal computer equipped with Davinci Resolve.
• Face-to-face: Labs 3 and 4, computers equipped with Final Cut Pro, Premiere and Davinci Resolve.
• Datacolor Spyder Colorimeter and / or X-rite i1 Display Pro (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 must follow the guidelines listed in the activity statement and the material will be delivered via the virtual campus and Google Drive.

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

Sessions 7, 8, 9 and 10 of practices (15% final mark)

Evaluable individual or pair activity.

Description

During practices 7, 8, 9 and 10 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

• Personal: Personal computer equipped with Davinci Resolve.
• Face-to-face: Labs 3 and 4, 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.
• Apply nodal structures in layers.
• Use LUTs properly.

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 must follow the guidelines listed in the activity statement and the material will be delivered via the virtual campus and Google Drive.

It will be evaluated:

• Interpretation and recreation of the visual style of the chosen film (7%).

• Continuity of color and exposure (4%).
• Adequate and justified use of secondary corrections (4%).

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 4: 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 20 questions related to the whole syllabus that has been carried out during the practice and activity sessions.

Theory activities (55% of the final grade)

Activity 5: Tracking motion (5% of the final mark) (G2, G3, RA1, RA4)

Evaluable individual activity.

Modality d'teaching

• Face-to-face work sessions and independent work.

Description

The exercise consists of the composition of graphic elements in a video sequence using tracking techniques on the image.
The objective is to understand and discriminate the use of the different tracking tools in composition to integrate elements in post-production within an image.

Support material

• Personal: Personal computer equipped with After Effects.
• Face-to-face: Computers equipped with After Effects.

Specific objectives

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

• Understand the operation of tracking tools.
• Establish a good work order and structure in the layers.
• Use null objects to connect tracking information.
• Know and correctly apply video export formats.

Delivery characteristics and evaluation

Each student will deliver the work files in a compiled project folder that will contain the .aep file. Likewise, the final video file of the practice exported in mp4 format and h.264 encoding will be delivered. It is mandatory to use the video material provided by the teacher, to facilitate the subsequent linking of the files.

In the event that the final set of files exceeds the upload space allowed on the virtual campus, they will be sent via Google Drive, to avoid their expiration.

Activity 6: Digital composition of a sequence (10% of the final mark) (G2, G3, RA1, RA4)

Evaluable individual activity.

Modality d'teaching

• Face-to-face work sessions and independent work.

Description

Through the following assessable exercise, we will put into practice the knowledge of composition learned in the course, relating to the use of trackings, masks and chromo keying. The exercise is based on the complete composition of a sequence using these elements and correcting the final formal aspects to integrate each of the plans and materials.

The objective of the practice is to learn about the basic processes of integration and digital composition in audiovisual and cinema, assuming the tools and work processes, as well as the specific workflow of post-production and treatment of the material. A second objective is to understand how resources that are purely technical can work to create meanings and narrative, forming part of what we understand as audiovisual or cinematographic language.

Support material

• Personal: Personal computer equipped with After Effects.
• Face-to-face: Computers equipped with After Effects.

Specific objectives

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

• Know and use the digital image post-production tools used.
• Establish a visual criterion in technical decision-making in search of specific results.
• Know and apply an optimal workflow in the post-production processes and creation of special effects.
• Know and correctly apply video export formats.

Delivery characteristics and evaluation

Each student will hand in the work files in a compiled project folder to facilitate the viewing of the workflow during the evaluation of the contents. This folder will contain the .aep file of the work, as well as the final file of the practice exported in mp4 format and h.264 encoding.

In the event that the final set of files exceeds the upload space allowed on the virtual campus, they will be sent via Google Drive, to avoid their expiration.

Activity 7: Cinemagraph (10% of the final grade) (G2, G3, LO1, LO4)

Individual evaluable activity.

Mode of teaching

Face-to-face work sessions and independent work.

Description

The practice is based on the creation of an animated movie poster using motion graphics and digital composition techniques.

The aim of the practice is to provide a narrative, aesthetic and communicative value through the technical resources learned in the subject, from the compositional value of the image, to the visual influence of movement and three-dimensionality in two-dimensional formats , passing through the sound treatment of the pieces.

Support material

Personal: Personal computer equipped with After Effects.
Face-to-face: Computers equipped with After Effects.

Specific objectives

When the activity is finished, students should be able to:

• Establish a correct criterion for composition and organization of the information in the proposed format.
• Master the tools of motion graphics, 3D composition, parallax and typography.
• Know and apply an optimal workflow in post-production processes and the creation of digital effects.
• Know and correctly apply video export formats.

Delivery characteristics and evaluation

Each student will deliver the work files in a compiled project folder to facilitate viewing the workflow during the content evaluation. This folder will contain the .aep file of the work, as well as the final exported video file in mp4 format and h.264 encoding. Since in this case the work is done on the basis of the student's own criteria and materials, this material must be attached to the delivery in order to be linked in the work file.

In the event that the final set of files exceeds the upload space allowed on campus, they will be sent via Google Drive, to avoid their expiration.


Activity 8: Sequence of credits for a piece of fiction (20% of the final mark) (G2, G3, RA1, RA4)

Evaluable activity in groups (3-4 students).

Mode of teaching

Face-to-face work sessions and independent work.

Description

The final practical of the course is a group exercise in post-production and motion design aimed at creating a full credit sequence for film/serial fiction/short film. Based on a real or fictitious example proposed by the working group, the production of the necessary content will be carried out to recreate a complete sequence of credits, which must include different elements studied during the subject:

- Masks/rotoscopy of elements.

- Tracking of elements and/or typography.

- Text animators.

- Animated elements in Motion Design.

- Color treatment and final composition of the material.

Unlike the previous practices, the final activity must be accompanied by a short production report that includes an explanation of the concept of the piece, the references and resources analyzed, and the production process and making of sequence

The objective is to put into practice all the practical knowledge covered during the subject on a piece with a professional finish, understanding in the process how the resources that are purely technical can work to create meanings and narrative, being part of what we understand as audiovisual or cinematographic language.


Support material

Personal: Personal computer equipped with After Effects.
Face-to-face: Computers equipped with After Effects.

Specific objectives

When the activity is finished, students should be able to:

• Know and use the digital image post-production tools used.
• Mix different post-production techniques optimally in one piece.
• Know and apply an optimal workflow in post-production processes and the creation of digital effects.
• Know and correctly apply video export formats.

Delivery characteristics and evaluation

Each group will deliver the work files in a compiled project folder to facilitate the viewing of the workflow during the content evaluation. This folder will contain the .aep file of the work, as well as the final exported video file in mp4 format and h.264 encoding. All the video files, graphics and sounds used in the piece must be delivered for their correct linking in the program. The projects will be accompanied by a production report containing the keys to the development of the project.

In the event that the final set of files exceeds the upload space allowed on campus, they will be sent via Google Drive, to prevent them from expiring.

Activity 9: Final theory exam (10% of the final grade) (G2, G3, RA1, RA4) 

The examination of the theory part of the subject will consist of a set of 20 test-type questions related to the theoretical and technical issues seen during 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 (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 (Practice exam): 10%

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

Activity 5 (Tracking Motion): 5%

Activity 6 (Composition of a sequence): 10%

Activity 7 (Cinemagraph): 10%

Activity 8 (Credit sequence for fictional piece): 20%

Activity 9 (Final theory exam): 10%

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.

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 9 (Final theory exam) can be retaken, and the retake test will consist, again, of an exam on all the theoretical content of the subject.

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Morales, Fernando (2013). Audiovisual editing: theory, technique and control methods. Barcelona, ​​UOC.

Heller, Eva (2004). Color psychology. How colors act on feelings and reason. Barcelona: Ed. Gustavo Gili.

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

Van Hurkman, A. (2014). Color Correction Handbook: Professional Techniques for Video and Cinema. Berkley: Peachpit Press Publications.

Arundale, S .; Trieu, T. (2015). Modern Post: Workflows and Techniques for Digital Filmmakers. Oxon: Focal Press.

DELEUZE, Gilles. The image-movement: Studies on cinema I. Ed. Paidós, Barcelona, ​​1984.

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Peláez, A. (2015). Editing and audiovisual post-production: Practical course. Tarragona: Altar.

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Freire, A .; Vidal, M. (2015). Audiovisual editing and composition manual: Techniques, solutions, effects and tricks. Tarragona: Altar.

Eisenstein, Serguei (2001). Towards an assembly theory. Volume 2. Barcelona: Paidós