Portuguese Language

Category: Discipline
  • Não
  • Stimulate the deliberate use of the resources of Portuguese Foster discourse competencies with a view to achieving a greater degree of intent in communication Apply writing techniques with a view to more effective communication Develop students' ability to analyse texts critically Encourage the production of various types of texts, considering correction of writing (spelling and grammar) as well as the requirements of the type of text in question.
  • Semestral

  • A avaliação contínua da disciplina resultará da ponderação entre as classificações obtidas nos seguintes elementos de avaliação, baseada, sobretudo, na produção dos alunos:

    Exemplo:

     

    Descrição

    Data limite

    Ponderação
    a

    Trabalho individual - Entrega e apresentação de trabalho individual

    4.ª Aula (entrega e apresentação)

    20%
    b

    Trabalho de grupo - entrega e apresentação de trabalho de grupo

    8.ª Aula (entrega e apresentação

    20%
    c

    Trabalho individual - Entrega e apresentação 

    12.ª Aula (entrega e apresentaçã

    20%
    d Comunicação em situação profissional - simulação e desempenho de papéis (role-play) no contexto profissional 15.ª Aula (entrega e apresentação) 20%
    e Empenho, assiduidade e pontualidade Continuo 20%
          TOTAL 100%

     

    As datas poderão ser ajustadas, em função do calendário académico.

     
  • Language as a communication tool; Recap of aspects of the language with relevance to the projects to be undertaken; From the sentence to the paragraph: strategies to develop an idea and write a paragraph Elements of textuality: pragmatic and linguistic; The writing of academic texts: Some types of academic texts: critical review, report, abstract, monography, dissertation, thesis Aspects to consider when writing academic texts: planning, information gathering (sources), structure, revision Pre-textual, textual and post-textual elements Referencing sources (APA and Portuguese Norm) The issue of plagiarism The writing of texts from the business/professional area: Some types of business/professional texts Aspects to consider when writing business/professional texts: planning, information gathering, structure, revision Reading and analysis of texts from a number of authors and in diversified registers.
  • The CU aims to produce the following learning outcomes: Knowledge of linguistic and non-linguistic strategies used explicitly and implicitly to achieve different communicational goals Ability to reflect critically on the texts produced by others and by the students themselves, considering their respective communicational objectives Ability to produce texts in diversified contexts and with diversified goals, autonomously, ensuring they are correct in spelling and grammar, as well as possess internal cohesion and coherence Ability to articulate arguments in a coherent and structured.
  • Mandatory
  • The use of technology is considered as innovative methodology to support the teaching-learning process. Encouraging active student participation through: a)    Presentation of summaries of given material; b)    Presentation of individual work and group work c)    Debates of ideas, which aim to develop the critical perspective, verified in the writing and oral presentation of the work.
  • Português
  • Cintra, Lindley, & Cunha, Celso (1996). Nova Gramática do Português Contemporâneo . 12.ª edição. Lisboa: Livraria Sá da Costa. Duarte, Inês (2000).  Língua Portuguesa, Instrumentos de Análise . Lisboa: Universidade Aberta. Lopes, Óscar & Saraiva, A. J. (1996).  História da Literatura Portuguesa . 17.ª edição. Porto: Porto Editora. Raposo, Eduardo Paiva & al . (2013).  Gramática do Português . Lisboa: Fundação Calouste Gulbenkian. Nascimento, M. Fernanda Bacelar do, Marques, Lúcia Garcia & Cruz, Luísa Segura (1984).  Português Fundamental. Vocabulário e Gramática.  Vol. I. Lisboa: INIC/CLUL. Neves, Marco (2019). Gramática para todos. O português na ponta da língua. Lisboa: Edições Guerra e Paz. Neves, M. (2020). Pontuação em Português. Guia prático para escrever melhor . Lisboa: Guerra e Paz Editores.
  • 4
  • 0
  • 4
  • 2
  • IPLUSO6142-4399
  • Portuguese Language
  • 4399
  • 6142
  • Audiovisual Content Production

Post-Production Workshop

Category: Discipline
  • Não
  • Discipline dedicated entirely to the production of content for special effects. Composed of 1 teacher, dedicated to the creation of special effects.
  • 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

     

    70%

    Assiduidade

     

    30%

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

    por definir

    100%

     

    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...

     
  • Description of contents   Introduction to the history of post-production The beginning of the history of Special Effects and their use. Introduction to Davinci Resolve Software Basic tools Techniques used Exercises
  • Understand and know how to use the main linguistic/aesthetic concepts of various visual effects. Use the terminology of special effects production appropriately. Acquire additional knowledge about all the terminology and functions of the tools used in Post-Production. Create technical and creative specificities in order to enable the student to develop basic work in the Post-Production area.
  • Mandatory
  • The methodology begins with a set of theoretical and conceptual presentations, then evolves into a practical approach focused on special effects. This approach allows each student to develop general skills in audiovisual production, in addition to acquiring more specific knowledge in the area of ¿¿their interest. Assessment is continuous, consisting of an individual component with a written test.
  • Português
  • Steve Wright (2010), Digital compositing for film and video -  ELSERVIER INC - UK London ISBN: 978-0-240-81309-7
  • 4
  • 0
  • 4
  • 2
  • IPLUSO6142-22279
  • Post-Production Workshop
  • 22279
  • 6142
  • Audiovisual Content Production

Project

Category: Discipline
  • Não
  • Conception, development, production, and execution of a final-year audiovisual project. The style and duration of the audiovisual product will be defined in accordance with the number of students and the knowledge they have acquired.
  • 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

    As várias etapas do Produto Audiovisual - Pré-produção; Produção e Pós-Produção.

    dd-mm-yyyy

    50%

    Portfolio Final e Dossier de Produção final 

    dd-mm-yyyy

    20%

    Avaliação Contínua

    dd-mm-yyyy

    30%

     

    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...

     
  • Content Description: 1. Project Conception: from the Idea to the Script Synopsis Character Description Screenplay Treatment Director's Statement Visual and Sound References 2. Pre-Production Assessment of Production Needs Technical and Artistic Team, and their Roles Casting Shooting Locations Scheduling / Call Sheets Technical and Artistic Rehearsals 3. Production Filming Behind the Scenes / Making of 4. Post-Production Image and Sound Editing Post-Production of Image and Sound Image and Sound Effects Final Exports for Exhibition Formats 5. Exhibition; Promotion and Distribution
  • Enable students to complete the course with an audiovisual product that integrates into their academic portfolio, allowing them to collectively apply the knowledge they have individually acquired throughout the program.
  • Mandatory
  • The teaching methodology will alternate between expository and demonstrative approaches. The expository method will take place in class, covering the various phases and crucial moments of audiovisual production, while the demonstrative method will be carried out by the students with the guidance of the instructor. Methodologies will be applied to promote collaboration in teams through online learning platforms, encouraging group work and the exchange of feedback. Additionally, a model will be adopted that combines in-person teaching with digital resources, allowing students to access theoretical content and complementary materials.
  • Português
  • KATZ, Steven D. - Film Directing Shot by Shot: Visualizing from Concept to Screen. Studio City: Michael Wiese Productions / Focal Press, 1991. KATZ, S. D. - Film Directing: Cinematic Motion. 2ª ed. Studio City: Michael Wiese Productions / Focal Press, 2004. LUMET, S. - Making Movies. Nova Iorque: First Vintage Books, 1996. MARTIN, M. - A Linguagem Cinematográfica. Belo Horizonte: Editora Itatiaia, 1993.  
  • 4
  • 0
  • 10
  • 2
  • IPLUSO6142-1919
  • Project
  • 1919
  • 6142
  • Audiovisual Content Production

Scriptwriting Workshop

Category: Discipline
  • Não
  • The curricular unit Scriptwriting Workshop aims at deepening the student's skills in the writing of screenplays for cinema and TV. In the 'oficina', the aim is to consolidate knowledge with a review of the instruments already covered for their consequent refinement.   The analysis and the discussion of short films will deepen, in this process, an important critical position, followed by the consequent script-writing practices to be perfected.  It is intended that the student creates his/her original script with the scriptwriting techniques, presenting a complete dossier of his/her work.
  • 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

    Trabalho Individual do Guião com dossier completo

    dd-mm-yyyy

    80%

     

    Trabalho de Grupo do Projeto de Guião Final

    dd-mm-yyyy

    20%

    (...)

     

     

     

    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...

     
  • Development of knowledge through the practice of screenwriting for cinema and TV. Viewing and analysis of short films  in class.  The creation of an original script with a view to refining writing practices. Creation of a full dossier with the complete script, logline, storyline and synopsis, the intention note and characterisation of characters. Pitch of the personal project. 
  • Develop the mechanisms of scriptwriting for film and TV.  Expand the critical sense of filmic content and aesthetic relevance.  Refine scriptwriting and apply the principles of its language.  To know the diversity of cinematographic universes and understand the potential of their language.   Create an original script, develop characters and points of view.
  • Mandatory
  • Mind maps, group creativity exercises, film watching, with a focus on short films, in-depth work with the characters on the final script to be produced.  Group dynamics and pitchings of individual projects and final work. 
  • Português
  • COUSINS, Mark - Biografia do Filme, Plátano Editora, Lisboa, 2005  COUSINS, Mark - THE STORY OF FILM - AN ODYSSEY | A HISTÓRIA DO CINEMA - UMA ODISSEIA, uma produção Hopscotch Films, Reino Unido, 2011, 900´, COR E P&B, 16X9 – 1.78:1 (DVD) MCKEE, Robert - Story: Style, Structure, Substance, and the Principles of Screenwriting. Kindle Edition. EUA. 2010 PARENT-ALTIER, Dominique - O Argumento Cinematográfico, Edicões Texto & Grafia. Lisboa, 2004
  • 4
  • 0
  • 4
  • 2
  • IPLUSO6142-22278
  • Scriptwriting Workshop
  • 22278
  • 6142
  • Audiovisual Content Production

2D and 3D Animation

Category: Discipline
  • Não
  • The purpose of UC Animation 2D and 3D is to transmit the knowledge necessary for the development of projects in the audiovisual and multimedia area, using new technologies and professional software on the market such as Blender, Adobe Photoshop and Premiere. Mastering these tools, technologies and techniques allows students to expand their possibilities for solutions and resources in the field of animation.
  • Semestral

  • Esta UC segue um método de avaliação contínuo e presencial, e tem como objetivo dotar gradualmente

    os alunos com os conhecimentos necessários à elaboração de projetos de Animação em 2D e 3D,

    recorrendo a equipamentos e software como o Adobe Photoshop, Premiere, e Blender. A explicação

    oral, a demonstração das funções das ferramentas e as possibilidades que o software oferece são dados

    a conhecer através de exemplos, aos quais se seguem 4 exercícios e 2 projetos.

     

    - 11 %. - Exercício 1 | Stop Motion.

    - 11 %. - Exercício 2 | Stop Motion.

    - 15 %. - Exercício 3 | Rotoscopia.

    - 13 %. - Exercício 4 | Modelação 3D.

    - 20%. - Projeto | 1º separador, para TV (animação em modelação 3D).

    - 20%. - Projeto | 2º separador para TV (animação em stop motion ou rotoscopia).

    - 10%. - Assiduidade e trabalho autónomo.

     

    É considerado na avaliação: A aplicabilidade das competências técnicas apreendidas, a qualidade e

    criatividade nos exercícios e projetos.

     

    Em caso de dúvida (por confirmação de plágio, por uso inapropriado da IA, ou por entrega dos mesmos trabalhos em UCs diferentes) o professor tem o direito de pedir um esclarecimento aos estudantes, seja através da realização de prova extra para aferição de conhecimentos sobre o trabalho realizado, de uma conversa, ou por qualquer outro meio que entenda ser adequado no âmbito da UC.

     
  • - Technique and aesthetics of the animated image. - Presentation of experimental animation projects (visual and narrative). - Animation principles (12 Disney rules). - Concepts and practice of Stopmotion animation (2D). - Concepts and Practice of Rotoscopy - Digital rotoscopy techniques. - Animation techniques in 3D environments. - Introduction to 3D animation. 3D modeling of a logo. - Applying a light environment. - Rendering techniques.
  • This course aims to present a set of animation techniques - Rotoscopy, Stop Motion and 3D Digital Animation - so that they can be explored and applied in animation projects for television. It is assumed, within this context, the development of the student's ability to conceive and produce animated projects, exploring the three aforementioned techniques. The guidelines set out throughout the syllabus of the course aim to create work methodologies that are in accordance with the principles taught in previous CUs of the course, namely Visual Culture, Camera and Video Operations, Editing and Post-production, Design and Photography. In this sense, students will have to create two animated tabs for television, following a construction process that complies with the aforementioned principles.
  • Mandatory
  • The course unit employs a face-to-face teaching model and a continuous assessment regime, utilizing both expository and active pedagogical approaches to acquaint students with a variety of tools and working methods. The presentation of the syllabus will be carried out through the use of audiovisual and PowerPoint presentations. Students develop projects and practical exercises during classes, under the continuous guidance of the instructor. For support with projects and exercises, additional information will be made available to students on the Moodle platform.
  • Português
  • WILLIAMS, R. - The Animator's Survival Kit: A Manual of Methods, Principles and Formulas for Classical, Computer, Games, Stop Motion and Internet Animators. London: Faber & Faber, 2012. ISBN 086547897X. WOOLMAN, M. - Motion Design, Moving Graphics for Television, MusicVídeo, Cinema, and Digital Interfaces. London: Rotovision, 2004. ISBN 2880467896. WALSH, C. - Stop Motion Filmmaking, The Complete Guide to Fabrication and Animation. London: Bloomsbury Academic, 2019. ISBN 1474268048. BRATT, Benjamin - Rotoscoping: Techniques and Tools for the Aspiring Artist. Burlington: Elsevier, 2011. ISBN 9780240817040. The Blender Foundation - Blender 3.2 Reference Manual (2022). https://docs.blender.org/manual/pt/dev/ The Blender Foundation - Tutorials (2022). https://www.blender.org/support/tutorials/  
  • 4
  • 0
  • 4
  • 2
  • IPLUSO6142-4423
  • 2D and 3D Animation
  • 4423
  • 6142
  • Audiovisual Content Production
  1. Traineeship
  2. Circuit Analysis
  3. Computer Tools
  4. Digital Systems

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