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Universidade Lusófona do Porto

Audiovisual Production Workshop

Presentation

In this discipline the student will develop skills in the various aspects of achievement and production with particular emphasis on the area of actor management, dramaturgical analysis and the construction of filmic discourse through the symbiosis between narrative structures and visual compositions. As far as the direction of actors is concerned, the different styles of direction in the accomplishment and the processes and selection of casting are worked. At the level of work on argument and discourse, particular attention will be given to the work of decoupage, mise-en-scène and all operations associated with the process of visualization of the argument and subsequent construction of a discursive composition. This curricular unit contributes to the development of the cinematographic creation, in the choice of its final project theme the student should, apart from the treatment of the filmological issues, work contents of the general art sciences.

Programme

Audiovisual and Multimedia Communication

Level of Qualification|Semesters|ECTS

| Semestral | 8

Year | Type of course unit | Language

2 |Mandatory |Português

Code

ULP728-5072

Recommended complementary curricular units

História e Teoria da Fotografia

Sonoplastia

Edição e Pós-Produção Audiovisual e Multimédia

Escrita de Argumento 

Direcção Fotografia e Luminotecnia

Operação de Camera e Video

Cultura Visual 

História e Teoria do Cinema

Professional Internship

Não

Syllabus

Image capture techniques for a film narrative as well as scene cover techniques for a fiction movie. The meaning and symbology of the different camera plans and movements to be applied in the short film to several curricular units.
1. The short film in process: Case study analysis, based on the planning and realization options associated with the artistic and technical aspects preparatory to the shooting.
2. Shooting Preparation: Analysis of the key aspects of ongoing short film projects.
3. Preparation of the Shooting: Analysis of the plans to be presented by the performance teams, and production to the work files of the other intervening artistic specialties.
4. Preparation of the Shooting: Monitoring of the work prior to the shooting.
5. Shooting: Monitoring of the work during the shooting period.
6. Assembly and Post Production: Monitoring of work in progress.

Objectives

The objective of this curricular unit is to accompany the students from the beginning of an idea to its transformation into a cinematic narrative. Practical application of concepts and methodologies involved in the production of fictional genre integrating the various specialties of cinematographic and audiovisual creation within the scope of the projects of the final short films of the degree.

The main objective of this curricular unit is to provide students with advanced project and program management skills in the context of audiovisual and film production. Thus, the curricular unit deals with different types of competencies that are articulated around the concept of development and implementation of projects, promoting through this means a training that intends to assure the student's ability to deal with the different phases of conceptualization and production and realization because it passes an audiovisual and cinematographic product along its value chain.

Teaching methodologies and assessment

Without possibility of examination, due to the strong component of technical learning in the context of team work and in the perspective of developing an audiovisual project inherent to the programmatic contents of the UC. The importance of learning in a collective work process justifies a specific evaluation regime, evaluating all the evolutionary stages of the project and the technical and creative interaction with the various valencies of audiovisual and multimedia production. Continuous assessment according to the result of the work developed by the student in the function performed, according to the following criteria:

- Participation and Interest and work in class (20%)

- Presentations in class and content of preparatory work papers (20%)

- Written Test - Production and Realization Issues (20%)

- Final self-assessment report to be presented individually (20%)

- Final Short Film (30%)


Attendance in at least 70% of classes attendance is not assessed

References

HONTHANER, Eve Light (2010), The Complete Film Production Handbook, London: Focal Press

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.

LANCASTER, Kurt (2012) DSLR cinema

LUMET, Sidney (1996). Making Movies. Nova Iorque, First Vintage Books

LUMET, Sidney (1996). Making Movies. Nova Iorque, First Vintage Books

MAMET, David (1992). On Directing Film. Nova Iorque, Penguin Books

MARTIN, Marcel. (1993) A linguagem cinematográfica. Belo Horizonte: Editora Itatiaia

PROFERES, Nicholas T. (2005) ¿ Film Directing Fundamentals, (2nd edition). Focal Press, USA.

RABIGER, Michael (2007) - Directing: Film Techniques and Aesthetics, (4th Edition). Oxford: Focal Press, USA.

RYAN, Maureen (2010), Producer to Producer: A Step-By-Step Guide to Low Budgets Independent  

Office Hours

Nome do docente  

Horário de atendimento

Sala

Marco Ferreira

17.30 - 18.30 / Terça Feira

Gab. Audiovisual