Universitat Internacional de Catalunya
Post Production
Other languages of instruction: Spanish,
Teaching staff
Students will be attended via email and also requesting a date by writing to apetrus@uic.es
Introduction
Post-production is one of the most important steps in the creation process of any audiovisual project because it is the last link before reaching the viewer and when final decisions are made giving the final shape to the audiovisual piece. Among the script, or the initial approach, and the final piece there is often a distance that depends on the registration of the images but, above all, on the assembly or the way how these images are related.
This subject of Postproduction and Editing is a broad overview of the various forms how this final step can be approached, both from the point of view of visual language, and its conceptual implications, and the technical process that is needed before the audiovisual piece can reach the viewer.
Pre-course requirements
Students must have a basic knowledge of the editing software Adobe Premiere Pro. Also, students must have a good command of the minium visual syntax or audiovisual language (shots, elipsis, raccord, sound-image relationship, etc).
Objectives
The aim of the course is that students learn how to approach the post-production process of any audiovisual project from both a technical standpoint and a conceptual point of view. At the end of the course students should be able to cope with any audiovisual footage giving it shape, meaning and purpose, and also following up the final process with appropriate professional standards. Students may be able to assit a professional shooting following the postproduction team requirements and to prepare all the materials needed to begin a postproduction process in a professional postproduction laboratory.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 10 - The ability to confront difficulties and resolve problems
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 16 - The ability to manage, analysis and reflect on content
- 21 - Knowledge and mastery of the digital culture
- 24 - The ability to plan and organize both short term and long term projects
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 40 - The ability to defend and respect authorship and intellectual property
- 44 - The ability to adapt to new audiovisual formats
- 45 - The ability to know and dominate the techniques of audiovisual narrative.
- 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
- 47 - The ability to understand and run digital retouching tools, special effects, postproduction and graphics design
- 48 - Knowledge and mastery of the techniques of filming, directing, producing and editing
- 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
- 51 - Knowledge and mastery of the functioning of Corporate and Institutional Communication.
- 52 - The ability to apply audiovisual knowledge and techniques for commercial purposes in any form
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Learning outcomes of the subject
Acquire a critical point of view in front of images
Ability to discern the various meanings of images
Ability to give form, meaning and purpose to a set of images
Knowledge of the different types of television editing
Knowledge of the various structures of television editing
Knowledge of the various stages of the television postproduction process
Knowledge of the routines on the offline editing
Knowledge of the process needed for television graphics
Knowledge of recording and output formats in television
Syllabus
Editing technical aspects
- Post-production technical assistance on set
- Pos-tproduction workflow
- Guidelines, protocol and organization of editing work (proxies, labeling, metadata, bins, etc.)
- Type of VFX and its impact on the assembly process. VFX models
- Vertical editing and relationship with post-production departments(Graphics, 3D, Color, Sound, etc.)
- Conforming and post-production process
- Mastering and output formats. Special incidence on new platform requirements (Neflix, HBO, Movistar +)
Editing theory
1. Editing base: Form, Sense, Intention.
2.Editing motivations:
2.1.By action
2.1.Psychological
2.3.Directional (Glance)
2.4.Formal analogy
2.5.Conceptual
2.6.Rythm of music
2.7.Combined
3.Types of editing:
3.1.Synthetic/Analytical
3.2.Narrative/Expressive
4.Types of film editing:
4.1. Classical
4.2. Modern
4.2.Postmodern
4.4. Contemporary
4.5. Critical
5. Types of televions editing:
5.1. News editing
5.2. New formats and mixture of editing styles
6.Editing sintaxis:
6.1.The length of the shot, internal movement and cut.
6.2.Movement generation
6.3. Continuity/ discontinuity spatial and temporal:
Space construction. Breaks
Time construction. Ellipsisi. Flashback/Flashforward. Breaks
6.4. Conceptual transmission
6.5. Creating emotions:
Point of view construction
Sound and music
Teaching and learning activities
In person
Teaching and learning activities for Post Production subject are:
Master Classes (9 hours):
Through Master Classes students will go in depht on the Editing Technical Aspects and also on the Editing Theory. Specifically, the following topics will be shown:
Editing technical aspects
4. Digital exports
5. Specific output formats for television
Editing theory
1. Editing base: Form, Sense, Intention.
3.Types of editing
4.Types of television editing
TOTAL
Anna Petrus 0,9 ECTS
Focused Praxis (9 hours):
Through Focused Praxis students wil bring into practice both technical and theoretical concepts studied at the Master Classes. Students will have to analyse the editing (Exercise 1) of a small television piece delivered by the teacher and also they will have to re-edit (remaking) an audiovisual piece of their own. (Practice 1).
The following topics will be shown:
Editing Theory
2.Editing motivations
3.Editing sintaxis
TOTAL
Anna Petrus 0,9 ECTS
Labs (12 hours):
Throug Labs students will have to edit and post produce an audiovisual work (Practice 2).
The following topis will be shown:
Editing technical aspects
1. Footage transfer to computer. Footage organisation.
2. Guideline and rules for the editing process
3. Graphic design in television
Editing theory
5.Editing sintaxis
TOTAL
Anna Petrus 1,2 ECTS
Coaching (10 hours):
Tutorials to follow up the editing and post production process of Practice 2.
All the syllabus of the course will be worked.
TOTAL
Anna Petrus 1,0 ECTS
| TRAINING ACTIVITY | ECTS CREDITS |
|---|---|
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 0,9 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0,9 |
| Lab. Working groups that combine theory and practice. The aim of these is not to undertake already known techniques, but instead to make progress that is both theoretical and technical. These Lab sessions will culminate in the creation of a professional or semi-professional product. | 1,2 |
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 0,4 |
| Meeting Point. Meetings will be organised with notable people from the professional and scientific fields or the international field, and students. These sessions will take the form of conferences, work sessions, discussions, or interviews, etc. | 0,6 |
Evaluation systems and criteria
In person
Post production subject will evaluate the following competencies:
The ability to work in a team and autonomously
The ability of critical analysis, synthesis, concretion and abstraction
The ability to plan and organize both short term and long term projects
The ability to maximize creative development
The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution).
Each practice, exercise or activity will be evaluated as follows:
·PRACTICE 1 (Focused Praxis) - 30% of the final mark
Re-editing (remaking) an audiovisual work previously edited by the students.
·EXERCISE 1 (Focused Praxis) - 30% of the final mark
Editing analysis of an audiovisual piece delivered by the teacher.
·PRACTICE 2 (Lab) - 40% of the final mark
Students will have to edit and prepare all the required materials for a professional post-production process in a laboratoy of an audiovisual piece previously written and shot at PEAC subject.
To pass the subject it is compulsatory to pass all the parts. If the studens fails one part, the marks of the other parts are kept. The exercise will be the same or similar as the failed part.
Bibliography and resources
AMELA, Víctor-M. La televisió espectacle. Editorial UOC, Barcelona, 2008.
ATIENZA, Pau. Historia y evolución del montaje audiovisual. De la moviola al youtube. Ed. UOC, Barcelona, 2013.
BAGGALEY, Jon P. Analisis del montaje televisivo. Ed. Gustavo Gili, Barcelona,
CARRASCO, Jorge. Cine y Televisión Digital. Manual Técnico. Ed. Comunicación Activa UB, Barcelona, 2010.
CRITTENDEN, Roger, Film and video editing. Ed. Routledge, London, 1995.
GIMENO, Gemma; PERALTA, Miquel. El llenguatge de les notícies de televisió. Editorial UOC, Barcelona, 2007.
MARIMON, Joan. El montaje cinematográfico. Universitat de Barcelona, 2014.
MC GRATH, Declan. Montaje & Postproducción. Océano, Barcelona, 2001.
MURCH, Walter. En el momento del parpadeo: un punto de vista sobre el montaje cinematográfico. Ed. Ocho y Medio, Madrid, 2003.
SOLER, Llorenç. La realización de documentales y reportajes para televisión. Editorial CIMS, Barcelona, 1998.
VILLAIN, Dominique. El montaje. Cátedra, Madrid, 1994.