Postgraduate Course in Video Editing

Program curriculum and final degree

Program Curriculum

During the one-year postgraduate course, each student will have their own computer in the classroom. The classes will look at both theory and practice, with continuous tutored practical sessions held every week that will enable students to gain a deeper insight into technical, conceptual and creative aspects of editing.

Premier: Editing Technique and Practice

  • Digital formats.
  • Non-linear editing. Premier. Environment and editing.
  • Interface. Configuration. Technical foundations of creating and working on a project. Organizing folders, timelines and clips. Keyboard resources.
  • Capturing and organizing material: options, resolution and settings. Importing. Video and audio subclips. Synchronization.
  • Editing through cutting.
  • Advanced editing resources and tools.
  • Transitions and types of effect.
  • Colour correction.
  • Editing sound and mixing.
  • Exporting material and finalizing.

Practical Exercises

  • Documentary materials. Structure and rhythm.
  • Fiction materials. Practical exercises on the psychological configuration of characters/actors, drama and narrative meaning.
  • Non-narrative editing.
  • Trailers.
  • Advertisements.
  • Found footage.
  • Music videos.
  • The finished film.

Creative Ideas and Foundations of Editing

  • Introduction to editing and the role of editor. Relationship to the director, producer and project. Stages of post-production.
  • Cinematographic language and editing terminology.
    • Types of shot and scaling values.
    • Types of match cut
    • Shot angle
    • The 180-degree rule.
  • Time-related creation: ellipses, transitions, match cuts, jump cuts, etc.
  • Types of editing: internal/external, synthetic/analytic, narrative (linear, parallel/alternate, reverse), ideological editing (metric, rhythmic, tonal, harmonic).Rhythm.
  • Structure.
  • Sound creation.
    • The relationship between sound and image. The expressive value of sound.
    • Dialogue, noise, silence, music.
    • Music. Cuts and passages between pieces of music.
    • Editing music videos.
    • The voice as an instrument.
  • Narrative writing.
    • Narrative and continuity editing: classical writing through editing.
    • Creating characters. The psychology of an actor.Microstructure and macrostructure.
    • Dramatic progression. Suspense.
    • Composition of cinematographic genres based on editing: fantasy, noir, comedy, melodrama, Western, musical.
  • Television serials.
    • Poetic film.
    • Breakage and modern writing.
    • Cutting-edge cinema. Formal resources and reflections on process and subject.
    • Conceptual editing.
    • Urban symphonies and lyrical montages.
    • Editing through photographs.
  • Editing in advertising.
  • Visual thinking. Filmmakers' ideas and theories on editing.
  • Film reinvented. Found footage.
    • History of found footage.
    • Contemporary uses, styles and forms on the digital screen.
  • Film and reality. Perception and transformation of reality. Documentaries and the cinema of intimacy.
    • Live sound and lightweight cameras: documentaries in the modern day.
    • Travel films, home movies, personal diaries, filmed letters, self portraits, filmed essays.
  • Applying editing to online resources.

Colour Correction Correctly balancing a sequence of images with the DaVinci program, using a vectorscope and tools from the program (conforming, offline reference, nodes, key nodes, tracks, resize, render).

  • Introduction to colour.
  • The art of colouring.
  • The DaVinci interface.
  • Primary correction.
  • Secondary correction.
  • Tracking and stabilizer.
  • Nodes and grades.
  • Look with visual comparison.
  • Formats.
  • Rendering.

Theoretical and Practical Course in Protools 10 Basic parameters: Key concepts in acoustics. Electro-acoustics and the physics of sound.

  • What is sound?
  • Sound waves: how they behave and how to manipulate them.
  • Amplitude, frequency, pitch and timbre.
  • Direct and reflected sound.
  • Absorption, reflection and reverberation.
  • Creating sound in Protools 10.
  • Parameters.
  • Creating, naming and deleting tracks.
  • Saving, locating and opening sessions.
  • Importing files.
  • Inputs and outputs, peripherals.
  • Sample frequency, audio formats and time codes.

Basic Editing Techniques

  • Addendum to editing modes.
  • Cutting, pasting, dragging, fading, cross fading, zooming, pencilling.
  • Sound editing.
  • Editing dialogue.
  • Noise reduction.
  • Room tone.
  • The effects of shooting.
  • Creating atmospheres.
  • M & E track.
  • Music.

Mixing

Binaural recording, panning, surround sound.

  • Levels.
  • Using plugins. Real Time AudioSuite.
  • Equalization, dynamics, modulation, effects.

    • Course on Montaging and After Effects
    • Introduction to montaging.
    • The concept of the montage.
    • Origins: from photomontage to the montages of the leading artistic movements of the 20th century.
    • Montage in found footage films.
    • Vertical montages: composition within the frame, superimposition and layering.

    Montage Techniques

    • Stop motion animation: cutting, painting, live action.
    • Camera-based optical composition.
    • Working with frames (celluloid): shearing, painting, frame in frame, working with projectors.
    • Working with electronic images: video signal, chroma keying and its predecessors.
    • Working with frames (digital): layers, masks, rotoscoping, effects, composition, datamoshing, the legacy of analogue techniques, etc.

    Types of Montage

    • The use of montage in fiction and non-fiction films.
    • The use of montage in experimental cinema.
    • The use of montage in music videos and advertisements.

    After Effects

      Preparing materials.
    • Interface and tools.
    • Masks.
    • Rotoscoping brush.
    • Painting frames.

UPF Barcelona School of Management Inside Module:

This module deals with three key skills that future professionals need in order to achieve success in any area, and to quickly and efficiently respond to the constant challenges that emerge in business. The subjects coincide with UPF Barcelona School of Management's key identifying features: analytical capacity, communication and social purpose.

  • Evidence-based management: this subject brings us closer to professional decision making through prudent, clear and precise data analysis. Real life, relevant examples give students an opportunity to discover the manifold opportunities that big data can provide to different professional sectors.
  • Storytelling: in this subject we develop the functions and mechanisms of audiovisual narrative (storytelling) and we apply them to professional communication. We tackle issues such as how to create communications that make an impact (on a personal, project and corporate level) as well as interpersonal communication and team motivation. The goal is to help professionals transmit any idea successfully, with creativity and energy.
  • Ethics and sustainability: professionals in all sectors have to deal with issues relating to ethics and sustainability throughout their working lives. In this subject, we focus on identifying, analysing and effectively responding to these questions.
  • Project management: the objective of this subject is that the participants transfer the concepts and processes that are specific to project management into both their own professional context and the development of their own project within the program they are taking at the UPF-UPF Barcelona School of Management.
  • CCLab: aims to help you improve your communication skills so that you are able to present your ideas and projects effectively.

* The information contained herein may be subject to changes.

Final Degree

Postgraduate Diploma in Audiovisual Editing , awarded by Pompeu Fabra University.

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