Digital Video Post-Production

N/A

Theoretical explanation using exposition, demonstration and the active method in the practical part will be the main teaching methodologies.

Students will have to choose between two forms of assessment: by examination or frequency. This one is divided in:

a) the presentation of a critical analysis of a cinematographic sequence – group work – 50 per cent of the final grade;

b) editing of a video with no more than five minutes using found footage – team work – 50 per cent of the final grade. Participation in team tasks developed in class and supervised by the teacher is mandatory. The attendance of less than 80% of the classes is penalized in 5 to 10% (1 to 2 points) of the final evaluation.

The exam is divided in an editing piece and a theoretical work with the same value.

By the end of the semester, students should be able to:

1) Develop audiovisual skills, improving practical and technical capabilities;

2)Understand the theoretical concepts of montage through historical examples;

3) Understand the principles of operation of audiovisual equipment and their basic technical terminologies;

4) Understand the different stages in post-production;

5) Develop creative abilities around audiovisual projects;

6) Use video post-production to materialize ideas developed in other phases of audiovisual production.

Basic cinema concepts – revision

History of montage: Mélies, Porter, Griffith, Buñuel, the Soviets, Hitchcock

The Kolechov effect

The five types of montage of Pudovkin and Eisenstein

From silent to sound

Editing to the sound

Types of montage

Documentary – editing structure, and examples: Vertov, Flaherty, Varda.

The rules of montage: the cut, rule of the 180 degrees, raccord and continuity

Instruments and editing techniques

Cut, mix and fade

Timecode, continuity notes, editing script, batch capture, import, organization

Exporting and publication online

• - editing of a video with no more than five minutes using founf footage - team work - 50.0%
• - presentation of a critical analysis of a cinematographic sequence - group work - 50.0%

• - Theoretical work - 50.0%
• - Editing piece - 50.0%

NAO

AMIEL, V. (2010). Estética da Montagem, Texto e Grafia: Lisboa.
CRITTENDEN, R. (1995). Film and Vídeo Editing, Blueprint: London.
DANCYGER, K. (2003). Técnicas de edição para cinema e vídeo, teoria e prática, Elsevier: Rio de Janeiro.
EISENSTEIN, S. (1972). The Film Form, Harcourt Brace: New York.
EISENSTEIN, S. (1972). The Film Sense, Harcourt Brace: New York.
SCHIAVONE, R. (2003). Montar um filme, Edições Cine-Clube Avanca: Avanca.
MARNER, T. S. J. (2010). A Realização Cinematográfica. Edições 70: Lisboa.
PUDOVKIN, V.(1999). On Editing, in Film Theory and Criticism, Oxford UniversityPress..
THOMPSON, R.(2001). Manual de Montaje, Plot Ediciones: Madrid.
THOMPSON, R. (2009). Grammar of the shot, Focal Press: Oxford.
ZETTL, H. (2018). Video Basics 8, Belmont: Wadswoth / Thomson Learning.