Multi-camera workshop

Category: Discipline
  • Não
  • Discipline dedicated entirely to the production of television content, from the conception of a program to its production. Composed of 3 teachers, one dedicated to production, direction and image control, another dedicated to studio lighting and scenography and another devoted to the video cameras, mix video and sound.    
  • Semestral

  •  

    Assiduidade (individual) - 20%

    Teste de avaliação (individual) - 40% (data a definir)

    Projecto Final (indvidual e coletivo) - data a definir 40%

    Descrição Avaliação contínua (20%) - Presença obrigatória com marcação de faltas, assiduidade e pontualidade, motivação e participação nas aulas. O aluno não pode dar mais de 3 faltas (sendo excluído da avaliação final caso exceda o valor).

    Exame de Recurso terá uma estrutura semelhante ao do Teste Teórico e com peso de 100%

    Teste de avaliação em dadta a definir - 40%

    Projeto Final - 40%

    Na avaliação Individual é considerado: A intervenção, envolvimento e capacidade de trabalho criativo e prático de cada aluno, durante a preparação e execução das tarefas. Criatividade, Comunicação e Apresentação Sociabilidade, Entreajuda e Disciplina Capacidade de relacionamento demonstrada (individual/ coletiva) durante a preparação e execução das tarefas. Capacidade técnica demonstrada de cada aluno Assiduidade e pontualidade de cada aluno. Nível de execução dos Objetivos Na avaliação Coletiva é considerado: Qualidade inovadora do projeto. Qualidade conceptual, estética, gráfica, cenográfica e cromática; Qualidade e Organização do projeto de pré-produção e de produção. Respeito pelas premissas do projeto. Qualidade técnica de todas as componentes: Cenografia, gráfica, Iluminação, Vídeo, Áudio, Intercom etc. (...) Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito.
  • The production / realization of multi-camera programs. Television grammar. Labor standards. The team's functions. The producer and production assistants. The realization team. Planning and planning. The request for means. The work map. Camera Control, image mixing and studio production. Camera operators and assistants. Cameras. Videotape and servers. The graphics. The Audio. Operators and audio assistants. The language of directors in the realm. The scale of plans. Camera maps (floor plan). Positions, heights and framing of planes. Technical means. Tripods, cranes, telepoint, lenses. Studio lighting. The functions of the lighting team. The Light Designer. The Electrician. Lighting assistants. The set design and the functions of the set design team. The adherent. The materials (absorption and reflection of light). The design and construction. The characterization team. Hair and makeup
  • Learn and use the main linguistic / aesthetic concepts of a studio project. Use the terminology of multicamera production in the studio conveniently. Acquire complementary knowledge about all the functions of a television production team in the studio. Create technical and creative specificities in order to enable the student to develop basic works in the area of multicamera production for television.
  • Mandatory
  • The methodology goes through at the beginning a set of conceptual and theoretical exhibitions, later developing into a practical area, whether in lighting, sound design, production, camera work and realization. This methodology allows each student to gain general skills about television production, but also more specific skills about the specific area of interest. The evaluation is continuous, with an individual component through a written test and the realization of a final television product. Pandemic conditions may suggest adaptations throughout this academic year
  • Português
  • Alton, John (1995).Painting with light. Berkeley: U. Calif. Press. Box, Harry (2002).Set Lighting Technician´s: film lighting equip. Boston: Focal Press. Barata, Julio C. (2014).A Re(E)volução do Vídeo no Cinema e na TV. Lx; Ed.U. Lusófonas. Field, Anthony (2004).Pages From Stages.ETP Gloman, Chuck; Letourneau, Tom (2005).Placing Shadows: Lighting techs for vídeo prod. Boston: Focal Press. Herlinger, Mark (2005)The MultiCamera Director, Western Media Products.  
  • 4
  • 0
  • 6
  • 1
  • IPLUSO6142-22276
  • Multi-camera workshop
  • 22276
  • 6142
  • Audiovisual Content Production

Production Workshop

Category: Discipline
  • Não
  • The Pre-Production CU aims to provide students with essential knowledge for the preparation and survey of an audiovisual production. To this end, it addresses the essential areas ranging from writing to distribution as areas to be taken into account when preparing a project.
  • Semestral

  • Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.

    Exemplo:

    Descrição

    Data limite

    Ponderação

    Teste de avaliação

    dd-mm-yyyy

    30%

    Portfolio

    dd-mm-yyyy

    40%

    (...)

     

     

     

    Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito...

     
  • Production Design, Production Definition and Structure, Positions, Functions and Responsibilities of the different cinematographic areas, Production Phases and their implications; Structuring documents of the cinematographic activity. Study and elaboration of the General Production Schedule, Work Maps, Budget, Service Sheets and Production Dossier, Authorization Requests, Introduction to the applied and practical study of the Movie Magic/Scheduling software; Support and financing
  • Provide students with tools and knowledge of practical production based on theoretical knowledge, in order to enable their future autonomy in the job market in the area of ¿¿Audiovisual Production. How to equate a project from the point of view of its Technical, Artistic, Logistical and Financial requirements. Study and reflection from IDEA to SCREEN
  • Mandatory
  • Innovative methodologies to support the teaching-learning process are used according to the projects.
  • Português
  • The Independent Film Producer¿s Survival Guide, a business and legal sourcebook (Gunnar Erickson, Harris Tulchin and Mark Halloran)
  • 4
  • 0
  • 4
  • 1
  • IPLUSO6142-22275
  • Production Workshop
  • 22275
  • 6142
  • Audiovisual Content Production

Realization Workshop

Category: Discipline
  • Não
  • The Realization Workshop brings together all areas of audiovisual production, from the idea implemented in a script, to the work of capturing images and sound, passing through lighting, to its implementation through editing and post-production. Along with production, realization is what makes any audiovisual project come true.
  • Semestral

  • Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.

    Exemplo:

    Descrição

    Data limite

    Ponderação

    Teste de avaliação

    dd-mm-yyyy

    30%

    Portfolio

    dd-mm-yyyy

    40%

    (...)

     

     

     

    Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito...

     
  • the language of cinema plan and score film continuity The realization experience The triangle principle technique The Master shot, the shot and reverse shot and the inserts The multiplicity of angles Camera and movement. The stages of film work Planning, Shooting Map and Service Sheets Shooting Editing and post-production the team work Different genres: entertainment, advertising, education
  • This course aims to provide students with the conceptual tools and technical knowledge necessary for the first ability to create an audiovisual product. Stimulate individual creativity and collective work, as well as work hierarchy and respect for others.
  • Mandatory
  • In the Directing Workshop, innovative methodologies will be implemented to support the teaching-learning process, favoring a practical and collaborative approach. Software will be used to create technical maps and storyboards, as well as to visualize possible film scenarios, which will allow students to experience the different stages of audiovisual production in a controlled environment. Workshops with industry professionals will also be promoted, creating a learning environment based on real projects. The school's platforms will be used for continuous monitoring and personalized feedback. These methodologies aim to stimulate creativity, autonomy and the development of practical skills in line with the demands of the audiovisual market.
  • Português
  • MARTIN, Marcel (1994) LE LANGAGE CINÉMATOGRAPHIQUE , les editions du cerf, Paris. SALT, Barry (1983) - Film Style and Technology, History and Analysis Starfors, Londres. KATZ, Steven D. (1991) - Film Directing Shot by Shot: Visualizing from Concept to Screen. Studio City: Michael Wiese Productions / Focal Press, USA. KATZ, Steven D. (2004) - Film Directing: Cinematic Motion, (2nd edition). Studio City: Michael Wiese Productions / Focal Press, USA. RABIGER, Michael (2007) - Directing: Film Techniques and Aesthetics, (4th Edition). Oxford: Focal Press, USA. Arijon, D. (1991). Grammar of the film language. Silman-James Press, Los Angeles.
  • 4
  • 0
  • 4
  • 1
  • IPLUSO6142-22271
  • Realization Workshop
  • 22271
  • 6142
  • Audiovisual Content Production

Sound Design

Category: Discipline
  • Não
  • Sound design is the UC in which students learn the most significant aspects of the auditory essence of an audiovisual project. They work with sound in its capture and treatment phase.
  • Semestral

  • Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.

    Exemplo:

    Descrição

    Data limite

    Ponderação

    Teste de avaliação

    dd-mm-yyyy

    30%

    Portfolio

    dd-mm-yyyy

    40%

    (...)

     

     

     

    Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito...

     
  • Sound characteristics: frequency; amplitude and timbre Sound involvement: its evolution and its characteristics Fundamentals of the sound studio Mix table Portable recorder - timecode and indexing Columns and amplification cables and connections The MIDI protocol (Musical Instrument Digital Interface); Characteristics of microphones: directivity and power supply dynamics and condenser Omnidirectional, cardioid and super cardioid Fundamental sound editing practices Destructive editing and non-destructive editing Equalizers: Graphics and Parametrics Dynamics: compression; gate and expanders Effects: delay; reverb; chorus; flanger; phaser Sound editing in Pro Tools platform Advanced Pro Tools Skills OMF as Transfer Format between AVID and ProTools
  • The objectives are: - Introduce students to sound design; - Provide theoretical and conceptual elements; - Develop practical projects; - Highlight the specificities of image sound design
  • Mandatory
  • The assessment method is continuous and face-to-face, using specific equipment and software. The oral explanation, the demonstration of the functions of the tools and the possibilities that the software offers are made known through examples, which are followed by 5 to consolidate your knowledge
  • Português
  • COOK, Nicholas (1998) - Analysing Musical Multimedia, Oxford, Oxford University Press. FONSECA, Nuno (2006) - Introdução à Engenharia do Som, Lisboa, Lidel. HENRIQUE, Luis (2002) - Acústica Musical, Lisboa, Fundação C. Gulbenkian. BORNOFF, Jack (1972) - Music and the Twentieth Century Media, Florence, International Music Council.  
  • 4
  • 0
  • 6
  • 1
  • IPLUSO6142-16957
  • Sound Design
  • 16957
  • 6142
  • Audiovisual Content Production

Cinematography Workshop

Category: Discipline
  • Não
  • The UC Photography Direction Workshop is, in the course, the corollary of training in lighting acquired previously at the UC Lighting Workshop. In developing the acquired bases, the student learns and apprehends the importance of depth of field, texture and volume, chrominance and luminous effects achieved through light. It is also in this UC that the student learns and understands the importance of the differences between long and short focal lengths, essential for the narrative itself. The field of action of this UC is imagery.
  • Semestral

  • Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.

    Exemplo:

    Descrição

    Data limite

    Ponderação

    Trabalhos teórico-práticos

    dd-mm-yyyy

    30%

    Portfolio

    dd-mm-yyyy

    40%

    Avaliação  Contínua

    dd-mm-yyyy

    30%

     

     

    Regras de Conduta: É expectável que os alunos sejam assíduos e pontuais, cumpridores das regras e normas da instituição de ensino e que tenham aproveitamento positivo no final desta UC.

     
  • Handling digital cameras from a technical and aesthetic point of view of image capture for cinema Analyze and design the photograph of a fictional scene The aesthetic choice for a given narrative genre The professional imaging team: camera, lighting and machinery Execution of photographic styles adaptable to cinematographic narrative The differences in photography between fiction, documentary and advertising
  • Acquire aesthetic and technical knowledge in approaching a certain cinematographic genre and executing camera movements combined with the design of light and marking of actors. Aesthetic knowledge of advertising photography.
  • Mandatory
  • Team Simulation Labs: Team practice simulating camera, lighting and machinery functions in controlled scenarios. Critical Analysis of Styles: Interactive film analysis sessions focused on light, color and composition adapted to the narrative. Photographic Aesthetics Workshops: Practical workshops to recreate photographic styles in genres such as suspense and comedy. Project-Based Learning: Development of a fictional scene to apply technical and aesthetic photographic choices. Comparative Study of Formats: Production of short films in fiction, documentary and advertising to compare styles. Mentoring with Professionals.
  • Português
  • Brown, Blain (2014) - The Filmmaker's Guide to Digital Imaging, USA focal Press Stump, David (2014) - Digital Cinematography, USA Focal Pres Brown, Blain (1992) Lighting -USA - Focal Press Uva, Michael G. and Sabrina (2002) Basic Grip Book -USA - Focal Press Alton, J. (1949). Painting with Light. Los Angeles: ASC. IMAGO. (2001). Making Pictures: A century of European Cinematography. Londres: Aurum.
  • 4
  • 0
  • 4
  • 2
  • IPLUSO6142-22277
  • Cinematography Workshop
  • 22277
  • 6142
  • Audiovisual Content Production
  1. Portuguese Language
  2. Post-Production Workshop
  3. Project
  4. Scriptwriting Workshop

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