With a completely practical approach and a clear commitment to graphic innovation, on the Postgraduate Course in Video Editing you will learn all the expressive resources used in today's audiovisual editing.
The Postgraduate Course in Video Editing is a program in which you will learn to create pieces with which you are capable of transmitting the message you want to communicate. The main objective is that you learn to build audiovisual narratives.
Learn to create stories from the images and discover how, sometimes, the script is changed in the editing, or how the editor helps an actor to win an award. Master the language and tools necessary for video editing thanks to this course. At the end of the course you will be able to assemble pieces of high creative value for the film industry and digital media (films, video clips, trailers, adverts, etc.). Become a creative professional specialized in audiovisual editing.
The Postgraduate Course in Video Editing is endorsed by Pompeu Fabra University, the 1st Spanish university and the 15th best university in the world (of those with less than 50 years), according to the Times Higher Education ranking. In addition, UPF Barcelona School of Management has EQUIS accreditation, the most prestigious institutional recognition for business schools globally.
Study at a school accredited by EQUIS, an international distinction that guarantees the quality of our institution and makes us the 1st school of management linked to a public university with this accreditation in our country.
With this postgraduate course you delve into the management of the main image and sound editing programs: Premiere, Avid, Pro Tools, After Effects, and Da Vinci.
The postgraduate program specializes in the new formats of the world of cinema, TV and the Internet and deals with formats such as narrative films, essay films or documentaries, and music clips or AI edition technologies through the editing of other people's images (found-footage) or our own.
You will be trained by prestigious editors and filmmakers such as Ana Pfaff, Diana Toucedo, Ariadna Ribas, Carla Simón, Fernando Franco or Carlos Marqués-Marcet, and you will be able to edit raw material from their projects.
The Postgraduate Course in Video Editing is aimed at graduates who wish to acquire specialized knowledge in editing, especially those from degrees such as Audiovisual Communication, Journalism, Advertising, Fine Arts, and Design.
The course is structured in different blocks for the different elements of video editing: creation and composition, how to work with narrative (fiction), use of After Effects, associative editing, collage, sound and colour. During the postgraduate year, each student has a computer at their disposal in the classroom and the classes have a theoretical-practical nature, with continuous and tutored weekly practices that allow them to deepen the technical, conceptual, and creative aspects of editing.
1. The editor
- The trade
- Film editing vs audiovisual editing
- The position of the editor in a production
2. Methodology in the editing room. The assistant editor and the editor. Software used: Premiere.
- Analysis of the typology of the projects and possible methodologies.
- Discovering the workflow that best suits our project
- The post-production of a film, documentary, television programme, advert, series, video clip, etc.
- The apprenticeship through Premiere. Basic functions.
- Management of materials (backups and project), the organization in external hard drives, RAIDs, or servers.
- Technical problems before starting: formats, codecs, transfers, shaping, etc.
- Organization of materials, sequencing, synchronization, etc.
- The structure of the timeline for post-production, etc.
- Communication between departments: AAF’s, OMF’s, XML’s, EDL’s, etc. The closing of production and the final shaping.
*This block will be accompanied by practising the editing of fiction.
3. Narrative and continuity editing. Classical writing and structures through editing. The construction of characters, space, time, and rhythm through emotion. Word and dialogues. Action and psychological space. The script and its staging.
4. Discontinuous, expressive editing of relationships and other modern writing. Work on documentaries. The construction of reality.
5. Creative processes in the editing room, reviewing images, detecting their potential, and sculpting. A new rewrite, the editing of relations
Introduction to the creative process, aesthetic reflection, and the practice of editing. Through practical and analytical experimentation, the editing of fiction or narrative continuity is worked on using raw materials from movie sequences.
Each practice is accompanied by views, comments, and corrections. In class, film fragments are also analysed in relation to questions that come up from the practices.
Through editing we work on the narrative writing, the creation of emotions, the construction of characters, the interpretive direction of the actors, the temporal and spatial organization, the rhythm, the ellipsis, the dialogues, the soundscape or the expression of ideas or concepts through images. In parallel, aesthetic issues of editing are studied in relation to visual thinking.
1. The value of viewing and selecting raw materials.
-Compose sequences in editing according to narrative ideas and formal criteria (rhythm, ellipsis, spatial, and sound creation)
2. The creation of emotions through editing. Walter Murch's Rule of Six
3. Continuity editing: narrative writing through editing.
-Point of view.
-Thinking of a sequence from experience and subjectivity.
-Creation of characters.
-Interpretive construction of the actor.
-Possibilities and aesthetic modulations of the plane/counter plane.
-Microstructure and macrostructure
-Associative editing within continuity editing: rhymes
-Character/actor match cuts.
-Thinking and representation of actions.
-Organization of space.
-Invention and expression of time.
Parallel practices: Después también (Carla Simón), Hierro (TV series), Avatar (short), Que Dios nos perdone (Rodrigo Sorogoyen), Júlia Ist (Elena Martín)
In this subject, we will work from the most basic level of After Effects to more advanced aspects of the program. The workshop is designed so that students learn the basic tools of the program and acquire the necessary skills to be able to comfortably carry out exercises in other subjects (such as Animated Collage). It also includes basic notions of Photoshop, which we will use to prepare the material that we will later animate with After Effects.
1. PHOTOSHOP (2 hours in the second session)
- Introduction to the program: Interface and tools
- Selection, clipping and cloning tools. Masks. Layers.
2. AFTER EFFECTS (19 hours)
Introduction to the program. Interface and resources
- Basic notions: layers, properties, keyframes
- Matching layers
- Processing a project: formats and codecs
Trimming and manipulating video images
- The rotoscopy brush
- Track mattes
- Time: time remapping, freeze frame.
2D character animation - Puppet tool. The 3D environment in After Effects
- 3D layers
- Cameras. Typologies. Shallow depth of field
Advanced After Effects
- Basic expressions
- Null object and adjustment layers
- Basic work with typography.
- Animated text
Painting stills frame by frame - Brush tool and paint panel
PRACTICE AND FINAL PROJECT
In each session, we will carry out a practice that contains the class syllabus. The practices will have to be delivered finished at the end of the class or, if there has not been sufficient time, on Monday of the following week.
Each student will carry out a final project that will be presented finished in the last session. It will consist of making a short clip (maximum 30 seconds) of a topic to be specified.
Correctly balance a sequence of images with the DaVinci program using the Vectorscope and the program tools (shaping, offline reference, nodes, key nodes, tracks, resize, render).
1. Writing in the first person
-A historical approach to writing in the first person
-Possible ethical, aesthetic and epistemological repercussions of the subjective documentary
Me-filmmakers: diaries, autobiographies, self-portraits, filmed letters, correspondence, film essay, travel notebook, family cinema, self-fiction, ...
-First-person montage: ideas and emotions
-The meeting place between reality and the filmmaker's memory
-Distance and time management
-What is "home cinema"?
2. Practice: a documentary piece of domestic cinema based on materials from Yourlostmemories.com and the student's materials. Maximum duration 10 min.
The student will work on the materials provided to create a film in the first person, addressing the domestic environment and the experience of time spent in it. In class we will work:
-The organization of the material according to the creation of the script. How to read and write with pictures.
-Inquire into the formal concept of the project and our mode of expression in a montage (types of montages).
-The story: shaping reality and fiction.
-The subject-object dialogue, the openness to the three times (past, present and future) and their exchange (I, you, him). Identity as an inter-subjective expression.
-Voice off or text.
-The sound, its value and potentialities.
-Structures and macrostructures, is our work alive?
Get to know films and, through their techniques, typologies, and uses, approach the expressive possibilities of appropriation or found-footage and collage editing.
1. Introduction to found-footage and collage cinema.
- A cinema without a camera. The appropriation and creation of the discourse. The deviation of meaning.
- An inheritance from the avant-garde (collage, ready-made, photomontage, avant-garde cinema, Soviet cinema).
- A crisis of concepts: unique and original work, and authorship.
- The recycling of images within film production.
- From celluloid to the internet.
2. Editing as an artistic principle, a new meaning for images.
- Horizontal editing and vertical editing. A new narrative. Shock editing, interval. The referentiality of the images and the degree of being recognizable. Mimicking the MRI edit. Formal or narrative echoes. Repetition, rhythm, and change of speeds. Composition within the frame, overlays, working with layers.
3. Typologies and uses in found-footage and collage cinema.
- Criticism and subversion. Poetic-oneiric cinema. Amateur or family cinema. Cinema that talks about cinema. The filmic essay.
- Fiction and non-fiction, experimental practice, video clip, advertising, etc.
4. Image manipulation techniques.
- Frame by frame animation (stop motion): cut-out, painted, live-action.
- Optical compositions from the camera.
- Optical manipulation of the frame: working with the optical printer.
- Physical manipulation of the frame (the importance of the support, the celluloid): torn, painted, frame within the frame. Physico-chemical interventions. Alchemy. The loss of the referent in the image.
- Manipulation within the electronic image (video signal, chroma and its precedents).
- Manipulation on the frame (digital): layers, masks, rotoscopy, effects, composition, data moshing, the inheritance of analogue techniques, etc.
5. Processes in the realization of a piece with archive material.
- Search for the material: Archives or image banks. The history of cinema (and TV) as an archive. Internet.
- Selection and classification of the material: first the image or first the idea. Unification or diversification of the type of material at a plastic level (origin, format, style, period, texture, etc.)
- Technical processes in celluloid or digital. Unification of formats, degree of manipulation, and final copy.
- The building of discourse.
- Plastic elements and degree of image manipulation. Composition, rhythm, speed, continuity, or fragmentation, (false) transparency or shock, visual rhymes, etc.
6. File sources.
The Postgraduate Final Project deals with a topic related to the program and one or more of its subjects. The student has the support of a tutor to carry out the work and an expert who validates it, if applicable, once it is finished.
This work is individual. In it, you must apply the knowledge acquired and put your editing skills into practice by creating your own piece (free format). The presentation and the final viewing transmit the results of this work to the rest of the students. Likewise, if the author or authors allow it, the Postgraduate Final Project will be part of the TFMs/TFPs digital repository.
The Postgraduate Course in Video Editing also includes the possibility of participating in practical activities and activities for personal and professional growth such as:
Once you have passed the program, you will be awarded an electronic degree (e-Título) for the Diploma de Postgrado en Edición de Video y Montaje Audiovisual, issued by the Pompeu Fabra University.
Our expert faculty is made up of film directors, screenwriters, editors, filmmakers and sound engineers. Some of them with numerous films behind them.
The methodology applied in this program combines, on the one hand, theoretical and technical classes on editing programs and, on the other, practical application through projects on different types of editing.
During the postgraduate course, you will carry out individual projects on different types of editing to put into practice the acquired knowledge: creation of a small visual documentary, putting into practice colours and sound in small visual pieces. They must be done outside of teaching hours in order to make the most of the classes.
Your teachers are directors, screenwriters, and editors; all of them with extensive professional experience.
You will learn to use video and sound editing programs so that you can work from the first moment: Photoshop, After Effects, DaVinci, ProTools, etc.
Continuous assessment focused on the students' editing, with a review of the work and practices carried out by the students in each of the subjects, as well as in the final project.
Project-oriented learning and the combination of lectures and active methodologies such as case studies, flipped learning, solving real problems and professional simulations allow the student to connect theory and practice, acquire advanced skills and achieve learning which is transferable to work.
You will have:
With 10 courses behind it, the Postgraduate in Audiovisual Editing guides you to become a video editor capable of adapting to the technical requirements of a film, a documentary, or a television advert. You will be able to work your creativity guided by the best filmmakers and creatives, so that you never stop creating and you can turn your passion into your profession.
Most of the course students come from Audiovisual Communication studies, although you can also coincide with students from different academic courses such as Journalism, Fine Arts, and different Social and Humanistic Sciences. Most of them with professional experience in full development.
Average number of years of professional experience
This course is focused on specific training to be able to edit videos and participate in the post-production of films, documentaries, or other elements of audiovisual communication. It does not include an internship option due to its eminently practical orientation of learning by doing. If you want to do an internship, you should do it on your own and our professional careers department will help you with the agreement.
The UPF Barcelona School of Management offers you different means of financing so that you can take any of our programs without worry. We offer you the opportunity to finance part of your program, either by rewarding your talent through scholarships, through grants from entities dedicated to promoting education or through collaboration agreements with financial entities.
If you are alumni of one of our Partner Universities, you are entitled to a discount of 10% on the UPF Barcelona School of Management Masters and postgraduate program tuition fees (those programs with more than 15 credits).
*Discount not compatible with other scholarships, discounts and reductions.
You can choose how to finance your studies by consulting our simulator.
In addition, we collaborate with various entities which provide study loans on favorable terms. For more information you can contact any of the following links.CaixaBankBBVACaixa d'EnginyersAGAUR