Coordinating unit: 840 - EUPMT - Mataró College of Engineering Teaching unit: 840 - EUPMT - Mataró College of Engineering Academic year: Degree: 2016 BACHELOR'S DEGREE IN AUDIOVISUAL MEDIA (Syllabus 2009). (Teaching unit Compulsory) ECTS credits: 6 Teaching languages: Catalan, Spanish Teaching staff Coordinator: Others: RAFAEL SUÁREZ GÓMEZ Segon quadrimestre: RAFAEL SUÁREZ GÓMEZ - 11, 12, 13, 21, 22, 23 Degree competences to which the subject contributes Specific: 1. CEA5: To plan, design and realize an audiovisual product (made up by fixed and moving images) taking into account both technical and artistic features in all its components. 2. CEA7: To post produce by using basic digital effects tools (titles, masks, colour effect control,...) for an audiovisual production such as journalistic and cinema reports, videoclip,... 3. CEA8: To design the lighting needs of a location in terms of characteristics and the production's final aim. Transversal: 4. EFFICIENT ORAL AND WRITTEN COMMUNICATION. Communicating verbally and in writing about learning outcomes, thought-building and decision-making. Taking part in debates about issues related to the own field of specialization. Teaching methodology Theoretical concepts will be presented in the classroom by the lecturer. Moreover visual examples and individual exercicies are shown to illustrate the theory to generate a debate in the classroom with the participation of the students. The Activities in the computer lab will be explaind at a practical level using the Final Cut Pro X editing program to do the activities durind the course. Activities are a fundamental part of the classes, as they serve to work the theoretical concepts taught during the lab classes. The practices will increase their level of complexity and therefore the demand in their quality and delivery will increase be affected. Learning objectives of the subject After completing the course the student should be able to: - Understand the different narrative elements of film editing. - Being able to assess the technical and creative work when they deal with different kinds of audiovisual postproduction works. - To encourage the study and analysis of the audiovisual and narrative language with the intention that students develop their critical and stylistic capacity when assessing an audiovisual project. - Know different authors, movements and key words of the history of film editing and how they affect different film genres. - Be able to work independently and ina a professional way using the FCPX. 1 / 7
Study load Total learning time: 150h Hours large group: 40h 26.67% Hours medium group: 0h 0.00% Hours small group: 12h 8.00% Guided activities: 8h 5.33% Self study: 90h 60.00% 2 / 7
Content T1. Edit basics Learning time: 1h Theory classes: 1h content english T2. Digital specifications Learning time: 7h Self study : 3h This content is about basic Digital parameters for editing as different resolutions of film and television or color depth and compression formats. T3. Workflows Learning time: 8h Self study : 4h This content is about different workflows in video and editing, exploring its needs and parameters. T4. Origins and basics of audiovisual editing Learning time: 8h Self study : 4h This content is about the definition of montage and their different meanings, objetcs, functions and dimensions. At the same time is about the analysis of the major theoretical formulations and their main figures related to the film as a narrative and to the film editing. 3 / 7
T5. Film structure. The film editing Learning time: 8h Theory classes: 3h 40m Guided activities: 0h 20m Self study : 4h This content is about the different classifications of film editing and some essential functions at a technical level. T6. Temporality in narrative Learning time: 2h Theory classes: 2h This content is about space and time in the cinematographic field in relation to a film's structure based on the postproduction work. T7. Editing and it's genre effect Learning time: 2h Theory classes: 2h This content is about how the editing process can create recognized visual genre keys in film and television and to analyze and recognize these genre characteristics to use them during the editing process. T8. The contribution of sound during the postproduction Learning time: 4h Theory classes: 1h 30m Self study : 2h This content is about the contributions of sound and its dimensions in relation to editing. T9. The contribution of color during the postproduction Learning time: 4h This content is about the contributions of color and its dimensions in relation to editing. 4 / 7
Other contents Learning time: 12h Theory classes: 12h In theoretical sessions there will be also some master class and sessions of specific analysis about the student's works. Qualification system The evaluation of the subject is: Exam 1: 15% Exam 2: 20% First Activity: 10% Second Activity: 20% Video Essay: 25% Theoretical tests (during theoretical class): 10% 5 / 7
Bibliography Basic: RESIZ, Karel; MILLAR, Gavin. Técnica del montaje cinematográfico. Madrid: Plot Ediciones, 2007. WEYNAND, Diana. Apple Pro Training Series: Final Cut Pro X. Berkeley: Peachpit Press Publications, 2011. ISBN 978-0321774675. Walter Murch. En el momento del parpadeo. Madrid: Ocho y Medio, 2003. ISBN 9788495839480. Complementary: CASE, Dominic. Nuevas Tecnologías aplicadas a la postproducción cinematográfica. Andoain: Escuela de cine y vídeo, 2003. D. KATZ, Steven. Plano a plano: De la idea a la pantalla. Madrid: Plot Ediciones, 2000. THOMPSON, Roy. Manual de montaje: Gramática del montaje cinematográfico. Madrid: Plot Ediciones, 2001. DANCYNGER, Ken. Técnicas de edición en cine y vídeo. Barcelona: Editorial Gedisa, 1999. AMIEL, Vincent. Estética del montaje. Madrid: Abada Editores, 2005. VILLAIN, Dominique. El montaje. Madrid: Cátedra, 1999. EISENSTEIN, Serguei M. S.M. Eisenstein. Hacia una teoría del montaje. Volumen 1. Barcelona: Paidós, 2001. EISENSTEIN, Serguei M. S.M. Eisenstein. Hacia una teoría del montaje. Volumen 2. Barcelona: Paidós, 2001. CASETTI, Francesco. Teorías del cine. Madrid: Cátedra, 2006. SANGRO COLON, Pedro. Teoría del montaje cinematográfico: Textos y textualidad. Salamanca: Publicaciones Universidad Pontificia de Salamanca, 2000. MONTIEL, Alejandro. Teorías del cine: El reino de las sombras. Barcelona: Montesinos, 1999. STAM, Robert. Teorías del cine: Una introducción. Barcelona: Paidós, 2001. KRACAUER, Sigfried. De Caligary a Hitler: Una história psicológica del cine alemán. Barcelona: Paidós, 1995. BURCH, Noël. El tragaluz del infinito: Contribución a la genealogía del lenguaje cinematográfico. Madrid: Cátedra, 1987. MCGRATH, Declan. Montaje y postproducción. Barcelona: Océano, 2001. MASCELLI, Joseph. V. Los cinco principios básicos de la cinematografía: manual del montador de cine. Barcelona: Bosch Editorial, 1998. MARTIN, Steve. Apple Pro Video Series: Final Cut Pro X. Berkeley: Peachpit Press Publications, 2011. C. SANCHEZ, Rafael. Montaje cinematográfico: Arte en movimiento. Buenos Aires: La Crujía, 2008. ISBN 978-987-1004-38-6. SANCHEZ-BIOSCA, Vicente. El montaje cinematográfico: Teoria y análisis. Comunicación. Barcelona: Paidós, 2010. ISBN 978-84-493-0319-7. BAZIN, Andre. Qué es el cine?. Madrid: Rialp, 2001. TARKOVSKI, Andrei. Esculpir en el tiempo. Madrid: Rialp, 2008. TRUFFAUT, Françoise. El cine según Hitchock. Barcelona: Alianza Editorial, 1974. CARRASCO, Jorge. Cine y televisión digital: Manual técnico. Barcelona: Ube Comunicación Activa, 2010. CATALA, Josep María. La puesta en imágenes: Conceptos de dirección cinematográfica. Barcelona: Paidós, 2001. BROWNE, Steven E. Postproducción en alta definición. Andoain: Escuela de cine y vídeo, 2008. EISENSTEIN, Serguei M. Teoría y técnica cinematográficas. Madrid: Rialp, 2002. MARITNEZ ABADIA, Jose. Manual básico de tecnología audiovisual y técnicas de creación, emisión y difusión. Barcelona: Paidós, 2004. 6 / 7
CASTILLO, José María. Televisión y lenguaje audiovisual. Madrid: IORTV, 2004. Joan Marimón. El montaje cinematográfico. Barcelona: Universidad de Barcelona, 2014. ISBN 9788447538065. Michael Ondaatje. El arte del montaje: Una conversación entre Walter Murch y Michael Ondaatje. Barcelona: Plot Ediciones, 2008. 7 / 7