Nowadays, it is almost impossible to find any form of media that does not rely, at least partially, on digital support. We constantly use and consume audiovisual content as source of information, a tool for communication and a space for leisure, thus becoming indispensable for our day-to-day life.
The general public has a basic understanding of audiovisual language. This subject provides its students with a deeper and more technical comprehension of its grammar, building the necessary foundations to express themselves fluently through image, color, composition, movement and cinematography as a whole.
This theoretical knowledge is reinforced through practical assignments, allowing students to master the fundamentals of digital image editing, the creation of complete audiovisual pieces, film posters, 2D and 3D shot compositing, the development of Color Keys as well as video editing and color grading.
Titular Professors
Professors
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RA.15 Students know the basic concepts of image capture, lighting and composition.
RA.16 Students are able to create image compositions using digital tools.
RA.17 Students are able to create original image composition designs using digital tools.
To provide students with the necessary vocabulary for fluent technical communication within the audiovisual sector.
To provide a solid technical foundation so that they can tackle future, more specialized subjects with ease and confidence.
To consolidate knowledge of composition, color and light to enhance the narrative of audiovisual pieces.
1. Image Properties
2. Basic Photoshop Tools
3. Photobashing
4. Composition and Matte Painting
5. Photography and Layout
6. Color Theory and Psychology
7. Narrative through Composition and Color
8. Fundamental DaVinci Tools
9. Camera Movements
10. Rhythm
Different active teaching methodologies are used, primarily project-based learning. Although there are master classes, demonstrations and practical activities predominate; the latter are carried out individually by students, with supervision and continuous feedback from the teacher.
During practical assignments, students encounter technical limitations that push them out of their comfort zones. In the process, they must solve increasingly complex situations by combining different techniques. This approach also allows the teacher to work with each student individually, providing support, guidance, and more specific resources based on their personal interests and goals.
At the beginning of each session, any doubts from previous assignments or lessons are addressed. Then, new theoretical and practical content is introduced so that students have the knowledge and tools necessary achieve new objectives.
Didactic activities using specific audiovisual materials are assigned so that students can become familiar with technical vocabulary and foster their professional growth through practice and experience.
To assess whether the student has achieved an adequate level of the course objectives, different continuous assessment activities are used, including in-class follow-up exercises and more complex projects that extend over several sessions.
The main goal is to help students keep up with the course, develop good work ethics, progressively assimilate the material taught, and achieve good academic results.
It also helps assessing the student’s overall progress and development throughout the course, without the grade depending on a single assignment or being affected by temporary circumstances.
It allows for individualized support and follow ups with each student.
Submissions must hand in each assigment within the established deadlines and following its requirements.
Students have the right to review.
The maximum grade that can be obtained in the extraordinary evaluation is 5.
The evaluation board will apply the regulations by assessing the student's progress and academic performance.
BERGER, J. 2000. Modos de ver. Barcelona: Gustavo Gili.
BROWN, B. 2014. Cinematografía. Teoría y Práctica. Ed. Barcelona: Omega.
HELLER, E. 2004. Psicología del color. Barcelona: Editorial Gustavo Gili.
JARDÍ, E. 2012. Pensar con imágenes. Barcelona: Ed. Gustavo Gili.
LANGFORD, M. 2001. Fotografía bàsica. Barcelona: Ed. Omega.
SHAEFER , D. I SALVATO, L. 1990. Maestros de la Luz. Madrid: Plot Ediciones.
TORNQUIST, J. 2008. Color y Luz. Teoría y Práctica. Barcelona: Ed. Gustavo Gili.
Any additional material will be listet during class.