Students will be attended via email and also requesting a date by writing to email@example.com
Postproduction 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 the moment in which final decisions are made to give the audiovisual product its final shape. Between the initial script and final product there is often a significant gap that depends not only on the recorded images, but, above all, on how these images are edited or the way in which they are related.
The subject Postproduction and Editing provides a broad overview of the various approaches to this final step, from the point of view of both visual language, and its conceptual implications, and the technical process that is required before the audiovisual product can reach viewers.
Students must have a basic knowledge of Adobe Premiere Pro editing software. They must also have a good command of the audiovisual language’s basic visual syntax (shots, ellipsis, match cut, sound-image relationship, etc.).
The aim of the course is to teach students how to approach the postproduction process of any audiovisual project from both a technical and conceptual point of view. At the end of the course, students should be able to handle any rough audiovisual footage to, firstly, give it shape, meaning and purpose and, secondly, monitor the finished product using appropriate professional standards. Students should also be able to participate in a professional shoot as part of the postproduction team and prepare all the materials necessary to begin a postproduction process in a professional postproduction laboratory.
- 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
- 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.
Acquire a critical point of view towards 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 film and television editing
Knowledge of the various structures of film and television editing
Knowledge of the various stages of the film and television postproduction process
Knowledge of the routines and protocols of offline editing
Knowledge of the laboratory process
Knowledge of the recording and output formats in cinema and television
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 +)
1. Editing base: Form, Sense, Intention.
2.6.Rythm of music
3.Types of editing:
4.Types of film editing:
5. Types of televions editing:
5.1. News editing
5.2. New formats and mixture of editing styles
6.1.The length of the shot, internal movement and cut.
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
|TRAINING ACTIVITY||ECTS CREDITS|
|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.||0.6|
|Focused Praxis. Handing in occasional exercises to learn theory through practice.||1.0|
|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.||0.3|
|E-learning. Virtual learning based on ICT.||0.4|
|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.||0.4|
|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.||0.5|
|Peer learning. The aim of this activity is to ensure that students gain the ability to analyse and be critical. One way of achieving this is by correcting their peers' exercises and results, etc. Each student will be evaluated twice: as both a recipient and a transmitter of critical knowledge.||0.4|
|Mentoring programme. Ensuring a review of and in-depth look at competences and knowledge, as well as the development of habits involving social commitment and responsibility, with the strongest students providing guidance for students from lower years, particularly if they have any type of disability (physical, etc).||0.4|
Evaluation systems and criteria
·PRACTICE 1 (Focused Praxis) - 20% of the final mark
Editing an audiovisual footage delivered by the teacher to show knowledge of editing styles.
·EXERCISE 1 (Focused Praxis) - 20% of the final mark
Editing analysis of an audiovisula piece delivered by the teacher.
·EXERCISE 2 (Focused Praxis) - 20% of the final mark
Defend of an audiovisual project and the editing style choosen.
·PRACTICE 2 (Lab) - 40% of the final mark
Students will have to shot, make the VFX assistance on set, edit and prepare all the required materials for a professional post-production process in a laboratoy of an audiovisual piece of between 3 and 5 minutes lenght that they would have previously written on the paper
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 to be done at the second or other calls, will be the same or similar as the failed part.
In the written work (editing analysis) the regulations of the faculty in relation to spelling mistakes and plagiarism will be strictly applied.
Given the eminently practical nature of the subject, class attendance is 80% a requirement in order to pass it.
Bibliography and resources
ARNHEIM, Rudolf. El cine como arte. Ed. Paidós, Barcelona, 1987.
ATIENZA, Pau. Historia y evolución del montaje audiovisual. De la moviola al youtube. Ed. UOC, Barcelona, 2013.
AUMONT, Jacques i altres. Estètica del cine. Ed. Paidós, Barcelona, 1996.
BURCH, Noël, La praxis del cine. Ed. Fundamentos, Madrid, 1970.
CARRASCO, Jorge. Cine y Televisión Digital. Manual Técnico. Ed. Comunicación Activa UB, Barcelona, 2010.
EISENSTEIN, Sergei. Teoría y técnica cinematográficas. Rialp, Madrid, 1989.
KULESHOV, Lev, Kuleshov on Film Writings of Lev Kuleshov. University of California Press, Berkeley, 1987.
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.
REISZ, Karel. Técnica del montaje cinematográfico. Taurus Ediciones, Madrid, 1986.
SÁNCHEZ BIOSCA. Teoría del montaje cinematográfico. Ediciones Textos Filmoteca Generalitat Valenciana, Valencia, 1991.
VILLAIN, Dominique. El montaje. Cátedra, Madrid, 1994.