| Code |
13098
|
| Year |
2
|
| Semester |
S1
|
| ECTS Credits |
6
|
| Workload |
OT(15H)/TP(45H)
|
| Scientific area |
Cinema
|
|
Entry requirements |
---
|
|
Mode of delivery |
--
face-to-face
|
|
Work placements |
--
No
|
|
Learning outcomes |
This course unit is divided into three distintic areas of cinematographic creation: image, sound and editing. Each student will be able to choose an area to acquire knowledge. In the image 1) the student must be able to develop the technical lighting capacity; 2) Deepen the technical and aesthetic sense of light and shadow; 3) Plan and make decisions in a filming set. In sound, the student must be able to 1) Identify the different phases of the sound process of a film; 2) Be capable to do the sound capture; 3) Perform all stages of sound post-production. In editing it is intended that the student deepens knowledge of advanced techniques of cinematographic editing, and their integration in the post-production process. 1) Specialize technical knowledge using professional editing tools. 2) Analysis of the editor's work process, from choosing raw materials to final editing. 3) Develop the ability to make narrative and visual solutions.
|
|
Syllabus |
IMAGE
- Develop the technical capacity to illuminate
- Natural and artificial light
- Key light; Fill light, backlight
-Aesthetic sense of light and shadow
- the role of different image positions
- choice of equipment
- indoor and outdoor lighting techniques
- Color Correction and grading
SOUND
- Direct sound capture
- microphones
- Digital recording systems
- Mixing tables
- Capture techniques
- Digital audio workstations
- Audio software
- Import, Signal Routing, Editing Tools, Export
- Effects
- Analysis and application of dynamic, temporal, spatial and digital effects
- Processing
- Modulation
- Spatialization of sound (stereo and binaural)
- MIDI Samplers
- Foley
- ADR - Folding
- Mixing / Mastering
EDITING
1. Assembly Tools
2. The mounting path.
2.1 Approaches to viewing and selecting material.
3. Assembly Practice.
3.1. Practice of editing techniques applied to the development of points
view, dialogs, duration, rhythm, music, voice off and silence.
3.2 Choice and struct
|
|
Main Bibliography |
MASCELLI, Joseph V, The Five Cs of cinematography: Motion picture filming techniques, Silman-James, cop. 1965
ALTON, John, Painting With Light, University of California Press; First Edition,2013
BROWN, Blain, Cinematography: Theory and Practice: Image Making for Cinematographers and Directors; Focal Press; 3rd Edition, 2016
CHION, Michel, A audiovisão: Som e imagem no cinema, Lisboa, Texto & Grafia, 2011
FONSECA, Nuno, Introduc¸a~o a` Engenharia de Som, Lisboa, Lidel/FCA, 2007
CARVALHO, Fausto, Composição e Produção Musical com o PC, Lisboa, FCA, 2003
MARQUES, Miguel, Sistemas e Te´cnicas de Produc¸a~o A´udio, Lisboa, Lidel/FCA, 2014
BRICCA, Jacob (2017). Documentary Editing: Principles & Practice. Nova Iorque,Focal Press.
CRITTENDEN, Roger (2006). Fine Cuts: The Art of European Film Editing. Oxford,Focal Press.
FRIERSON, Michael (2018). Film and Video Editing Theory: How Editing Creates Meaning. Nova Iorque, Focal Press.
HAINE, Charles (2020). Color Grading 101: Getti
|
|
Teaching Methodologies and Assessment Criteria |
In the case of a laboratorial, the UC contemples practical exercises that will be privileged. In the image shift group exercises will be performed with each student playing a role, in the areas of sound and editing, as well as individual exercises. There will also be a joint exercise between the three areas, in which students will do a film exercise for up to 3 min.
The UC will have expository classes, but above all practical. In this way, it will be possible to improve the students' technical skills, and a better mastery of image, sound and editing equipment; The UC will allow the student to learn to work in the shooting context, and in post-production with materials from different areas of cinematographic production (image, sound and editing).
|
|
Language |
Portuguese. Tutorial support is available in English.
|