DOCSLIB.ORG

ACEF/1415/05257 — Guião Para a Auto-Avaliação

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ACEF/1415/05257 — Guião Para a Auto-Avaliação ACEF/1415/05257 — Guião para a auto-avaliação Caracterização do ciclo de estudos. A1. Instituição de ensino superior / Entidade instituidora: Instituto Politécnico De Lisboa A1.a. Outras instituições de ensino superior / Entidades instituidoras: A2. Unidade(s) orgânica(s) (faculdade, escola, instituto, etc.): Escola Superior de Comunicação Social A3. Ciclo de estudos: Audiovisual e Multimédia A3. Study programme: Audiovisual and Multimedia A4. Grau: Licenciado A5. Publicação do plano de estudos em Diário da República (nº e data): Despacho n.º 10554/2014, DR 2.ª série, n.º 155, 13 de Agosto de 2014 A6. Área científica predominante do ciclo de estudos: Estudos em Audiovisual e Multimédia A6. Main scientific area of the study programme: Audiovisual and Multimedia Studies A7.1. Classificação da área principal do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF): 213 A7.2. Classificação da área secundária do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF), se aplicável: <sem resposta> A7.3. Classificação de outra área secundária do ciclo de estudos (3 dígitos), de acordo com a Portaria n.º 256/2005, de 16 de Março (CNAEF), se aplicável: <sem resposta> A8. Número de créditos ECTS necessário à obtenção do grau: 180 A9. Duração do ciclo de estudos (art.º 3 DL-74/2006, de 26 de Março): Três anos (seis semestres) A9. Duration of the study programme (art.º 3 DL-74/2006, March 26th): Three years (six semesters) A10. Número de vagas aprovado no último ano lectivo: 90 A11. Condições específicas de ingresso: Os candidatos deverão realizar uma das seguintes provas: - História da Cultura e das Artes - Geometria Descritiva - Português Para o ingresso no curso há ainda como pré-requisito a capacidade de visão (Grupo D). Adicionalmente existem regimes especiais de acesso: (1) maiores de 23 anos; (2) titulares de cursos médios e superiores e outros regimes de acesso para alunos que já frequentam ou frequentaram o Ensino Superior: (1) mudanças de curso e (2) reingresso. As vagas para estes regimes de acesso são definidas anualmente pelo Conselho Técnico-Cientifico. A11. Specific entry requirements: Candidates must perform one of the following tests: - History of Culture and the Arts - Descriptive Geometry - Portuguese Requirements for vision capabilities (Group D). In addition there are special acess regimes: (1) older than 23 years, (2) holders of upper or middle courses and other access arrangements for students who attend or have attended higher education: (1) stud's cycles changes and (2) readmission . Vacancies for these access arrangements are set annually by the Scientific Council. A12. Ramos, opções, perfis... Pergunta A12 A12. Percursos alternativos como ramos, opções, perfis, maior/menor, ou outras formas de organização de percursos alternativos em que o ciclo de estudos se estrutura (se aplicável): Não A12.1. Ramos, variantes, áreas de especialização do mestrado ou especialidades do doutoramento (se aplicável) A12.1. Ramos, opções, perfis, maior/menor, ou outras formas de organização de percursos alternativos em que o ciclo de estudos se estrutura (se aplicável) / Branches, options, profiles, major/minor, or other forms of organisation of alternative paths compatible with the structure of the study programme (if applicable) Opções/Ramos/... (se aplicável): Options/Branches/... (if applicable): <sem resposta> A13. Estrutura curricular Mapa I - A13.1. Ciclo de Estudos: Audiovisual e Multimédia A13.1. Study programme: Audiovisual and Multimedia A13.2. Grau: Licenciado A13.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A13.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): <no answer> A13.4. Áreas científicas e créditos que devem ser reunidos para a obtenção do grau / Scientific areas and credits that must be obtained before a degree is awarded Sigla / ECTS Obrigatórios / ECTS Optativos / Área Científica / Scientific Area Acronym Mandatory ECTS Optional ECTS* Ciências da Comunicação/ Communication CC 30 5 Science Ciências Sociais/ Social Sciences CS 30 5 Estatística/Statistics E 5 0 Ciências Humanas/Human Sciences CH 0 5 Estudos em Audiovisual e EAM 80 15 Multimédia/Audiovisual and Multimedia Studies Estudos em Publicidade e Marketing EPM 5 5 Estudos em Relações Públicas e Comunicação ERPCO 0 10 Organizacional Estudos em Media e Jornalismo EMJ 0 0 (8 Items) 150 45 A14. Plano de estudos Mapa II - - 1/1 A14.1. Ciclo de Estudos: Audiovisual e Multimédia A14.1. Study programme: Audiovisual and Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): <no answer> A14.4. Ano/semestre/trimestre curricular: 1/1 A14.4. Curricular year/semester/trimester: 1/1 A14.5. Plano de estudos / Study plan Horas Horas Unidades Área Científica Duração / Trabalho / Contacto / Observações / Curriculares / / Scientific ECTS Duration (2) Working Hours Contact Hours Observations (5) Curricular Units Area (1) (3) (4) Teorias da 46 OT-1, T-30, CC Semestre1 135 5 Obrigatória Comunicação TP-15, 46 OT-1, T-30, Análise Social CS Semestre1 135 5 Obrigatória TP-15 Audiovisual e EAM Semestre1 135 45 T-30, TP-15 5 Obrigatória Multimédia Fundamentos de EPM Semestre1 135 45 T-15, TP-30 5 Obrigatória Marketing Fotografia EAM Semestre1 135 45 T-15, PL-30 5 Obrigatória Design Gráfico EAM Semestre1 135 45 T-15, PL-30 5 Obrigatória (6 Items) Mapa II - - 1/2 A14.1. Ciclo de Estudos: Audiovisual e Multimédia A14.1. Study programme: Audiovisual and Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): <no answer> A14.4. Ano/semestre/trimestre curricular: 1/2 A14.4. Curricular year/semester/trimester: 1/2 A14.5. Plano de estudos / Study plan Horas Horas Unidades Área Científica Duração / Trabalho / Contacto / Observações / Curriculares / / Scientific ECTS Duration (2) Working Hours Contact Hours Observations (5) Curricular Units Area (1) (3) (4) Comunicação e 46 OT-1, T-30, CC Semestre2 135 5 Obrigatória Linguagem TP-15 46 OT-1, T-15, Estatística E Semestre2 135 5 Obrigatória TP-30 Modelos de CC Semestre2 135 45 T-30, TP-15 5 Obrigatória Narrativa Comunicação Áudio EAM Semestre2 135 45 T-15, PL-30 5 Obrigatória Comunicação Vídeo EAM Semestre2 135 45 T-15, PL-30 5 Obrigatória Design de EAM Semestre2 135 45 T-15, PL-30 5 Obrigatória Comunicação (6 Items) Mapa II - - 2/3 A14.1. Ciclo de Estudos: Audiovisual e Multimédia A14.1. Study programme: Audiovisual and Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): <no answer> A14.4. Ano/semestre/trimestre curricular: 2/3 A14.4. Curricular year/semester/trimester: 2/3 A14.5. Plano de estudos / Study plan Horas Horas Unidades Área Científica Duração / Trabalho / Contacto / Observações / Curriculares / / Scientific ECTS Duration (2) Working Hours Contact Hours Observations (5) Curricular Units Area (1) (3) (4) 46 OT-1, T-30, Linguagens Visuais CC Semestre3 135 5 Obrigatória TP-15 Produção Audiovisual e EAM Semestre3 135 45 T-15, TP-30 5 Obrigatória Multimédia Guionismo e EAM Semestre3 135 45 T-15, TP-30 5 Obrigatória Narrativas Digitais Tecnologia e EAM Semestre3 135 45 T-15, PL-30 5 Obrigatória Programação Web Laboratório 3D I EAM Semestre3 135 45 T-15, PL-30 5 Obrigatória Comunicação ERPCO Semestre3 130 45 T-15, TP-30 5 optativa Estratégica Fundamentos da Comunicação EPM Semestre3 130 45 T-15, TP-30 5 optativa Publicitária (7 Items) Mapa II - - 2/4 A14.1. Ciclo de Estudos: Audiovisual e Multimédia A14.1. Study programme: Audiovisual and Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A14.3. Branch, option, specialization area of the master or speciality of the PhD (if applicable): <no answer> A14.4. Ano/semestre/trimestre curricular: 2/4 A14.4. Curricular year/semester/trimester: 2/4 A14.5. Plano de estudos / Study plan Horas Horas Unidades Área Científica Duração / Trabalho / Contacto / Observações / Curriculares / / Scientific ECTS Duration (2) Working Contact Hours Observations (5) Curricular Units Area (1) Hours (3) (4) Sociologia da 46 OT-1, T-30, CC Semestre4 135 5 Obrigatória Comunicação TP-15 46 OT-1, T-30, Análise Económica CS Semestre4 135 5 Obrigatória TP-15 Laboratório EAM Semestre4 135 45 T-15, PL-30 5 Obrigatória Audiovisual Design Multimédia EAM Semestre4 135 45 T-15, PL-30 5 Obrigatória Laboratório 3D II EAM Semestre4 135 45 T-15, PL-30 5 Obrigatória Modelos e Técnicas de Criatividade em EPM Semestre4 135 45 T-15, TP-30 5 optativa Publicidade Comunicação ERPCO Semestre4 135 45 T-15, TP-30 5 optativa Corporativa (7 Items) Mapa II - - 3/5 A14.1. Ciclo de Estudos: Audiovisual e Multimédia A14.1. Study programme: Audiovisual and Multimedia A14.2. Grau: Licenciado A14.3. Ramo, variante, área de especialização do mestrado ou especialidade do doutoramento (se aplicável): <sem resposta> A14.3. Branch, option, specialization area of the
Load more

Recommended publications
  • TFM 327 / 627 Syllabus V2.0
    TFM 327 / 627 Syllabus v2.0 TFM 327 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill.
    [Show full text]
  • Avid Film Composer and Universal Offline Editing Getting Started Guide
    Avid® Film Composer® and Universal Offline Editing Getting Started Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Film Composer and Universal Offline Editing Getting Started Guide • Part 0130-04529-01 • Rev. A • August 2000 2 Contents Chapter 1 About Film Composer and Media Composer Film Composer Overview. 8 About 24p Media . 9 About 25p Media . 10 Editing Basics . 10 About Nonlinear Editing. 10 Editing Components. 11 From Flatbed to Desktop: Getting Oriented. 12 Project Workflow . 13 Starting a Project . 14 Editing a Sequence . 15 Generating Output . 16 Chapter 2 Introduction Using the Tutorial. 17 What You Need . 19 Turning On Your Equipment . 19 Installing the Tutorial Files . 20 How to Proceed. 21 Using Help. 22 Setting Up Your Browser . 22 Opening and Closing the Help System . 22 Getting Help for Windows and Dialog Boxes. 23 Getting Help for Screen Objects . 23 Keeping Help Available (Windows Only) . 24 3 Finding Information Within the Help . 25 Using the Contents List . 25 Using the Index . 25 Using the Search Feature . 26 Accessing Information from the Help Menu. 27 Using Online Documentation . 29 Chapter 3 Starting a Project Starting the Application (Windows). 31 Starting the Application (Macintosh). 32 Creating a New User . 33 Selecting a Project . 33 Viewing Clips . 34 Using Text View. 35 Using Frame View. 36 Using Script View . 37 Chapter 4 Playing Clips Opening a Clip in the Source Monitor. 39 Displaying Tracking Information . 40 Controlling Playback. 44 Using the Position Bar and Position Indicator . 45 Controlling Playback with Playback Control Buttons . 46 Controlling Playback with Playback Control Keys .
    [Show full text]
  • Avid EDL Manager User's Guide
    Avid® EDL Manager User’s Guide Release 9.0 for the Windows NT® Operating System a tools for storytellers™ © 1995-1996, 1998-1999 Avid Technology, Inc. All rights reserved. Avid EDL Manager User’s Guide for the Windows NT Operating System • Part 0130-04226-01 Rev. A • August 1999 2 Contents Chapter 1 Working with EDLs EDLs and the EDL Manager. 9 Online and Offline Editing. 9 What the EDL Manager Does . 9 Starting EDL Manager. 10 Using Help. 11 Creating or Reading an EDL . 11 Creating an EDL from a Sequence in a Bin, Existing EDL, or OMFI File . 12 Creating an EDL from an Active Sequence . 14 Reading an Existing EDL from an RT-11 Disk . 14 Saving an EDL. 15 Saving an EDL as a Text File or an OMFI Composition . 15 Saving an EDL to an RT-11 Disk . 16 Verifying an RT-11 Save . 17 Formatting an RT-11 Disk . 17 Printing an EDL . 19 Copying an EDL Between Storage Locations . 19 Using EDL Manager with Your Avid Editing System. 20 Creating an EDL from the Active Sequence . 21 Creating a Sequence from an EDL. 21 Viewing a List of Tapes in the Source Table . 22 3 Chapter 2 Customizing EDLs EDL Manager Option Settings . 25 Changing Settings in the EDL Manager Window . 25 Changing the Title of an EDL . 26 Defining Video Tracks and Audio Channels. 27 Including or Excluding Specific Tracks. 28 Redefining a Track. 28 Combining or Isolating Tracks . 30 Creating Stereo Channels. 31 Choosing a Format for the Audio Channels . 31 Displaying Different Views of an EDL .
    [Show full text]
  • Peter Svarinský
    Peter Svarinský TELEVÍZNA PRODUKCIA I. – IV. (Učebné texty pre poslucháčov Katedry produkcie FTF VŠMU) VYSOKÁ ŠKOLA MÚZICKÝCH UMENÍ FILMOVÁ A TELEVÍZNA FAKULTA Peter Svarinský TELEVÍZNA PRODUKCIA I. – IV. (Učebné texty pre poslucháčov Katedry produkcie FTF VŠMU) Obsah 1 Televízia, jej história vo svete a u nás 3 2 Televízny program, televízna relácia 4 3 Televízna produkcia, výrobný štáb 5 3.1 Režisér (director) 8 3.2 Vedúci výrobného štábu – vedúci produkcie (production manager) 9 3.3 Asistent produkcie (production assistant) 11 3.4 Lokačný manažér (location manager) 11 3.5 Asistent réžie (assistant director, AD) 11 3.6 Skript (continuity) 12 3.7 Klapka (clapper) 12 3.8 Kameraman (camera operator) 12 3.9 Architekt, výtvarník (art director, set designer, production designer) 13 3.10 Kostýmový výtvarník (costume designer) 14 3.11 Umelecký maskér (make up-artist) 14 3.12 Zvukový majster (sound designer) 14 3.13 Strihač (editor) 15 4 Etapy tvorby a výroby televízneho programu 16 4.1 Dramaturgická príprava 16 4.2 Etapa prípravných prác 17 4.3 Etapa nakrúcania – realizácie 18 4.4 Etapa dokončovacích prác a likvidácie 19 4.4.1 Nahrávanie dialógov – postsynchróny 20 4.4.2 Nahrávanie ruchov – šlapačiek 20 4.4.3 Nahrávka a nástrih atmosfér 20 4.4.4 Nahrávka alebo výber hudby 20 4.4.5 Záverečná mixáž 21 4.4.6 Likvidačné, záverečné práce 21 5 Televízne technológie – rozdelenie 22 5.1 Podľa spôsobu nakrúcania 22 5.1.1 Záberová technológia 22 5.1.2 Sekvenčná technológia 22 5.2 Podľa použitého nosiča, na ktorý sa nahráva televízna relácia: 22 5.2.1
    [Show full text]
  • Diploma in Film and Tv Production
    TARABA STATE POLYTECHNIC DIPLOMA IN FILM AND TV PRODUCTION NOTES ON FTP 105: EDITING I By Kyantirimam R. Ukwen I. An Overview of Editing Editing is the selection, timing and arrangement of given shots into a film continuity. In essence it requires ‘cutting’ out portions of recorded video, discarding the ones not needed and taking the relevant ones to the position where it can help to tell a film story in a sequence that will help the viewer understand it. I. An Overview of Editing So, what is a sequence? It is a serial arrangement in which things follow a logical order. It is therefore an order or arrangement of anything at all, e.g numbers: 1,2,3,4,5. If it is not sequential, it could be 2,4,3,5,1 or 3,5,1,4,3. If it is a sequence, it takes you easily through from beginning to the end. I. An Overview of Editing Let us look at another example. An order of Esther’s daily chores at home whenever she wakes up in the morning: She 1. prays, 2. uses the toilet 3. brushes her teeth 4. sweeps the kitchen 5. fetches water 6. blows the fire 7. cooks breakfast 8. takes her bath 9. eats her breakfast I. An Overview of Editing However, Esther could choose to begin with any of these chores thus distorting the sequence in which she usually does them, thus: She 5. fetches water 2. uses the toilet 3, brushes her teeth 4. sweeps the kitchen 1. prays 8.
    [Show full text]
  • Dvcprohd Editing with KONA and XENA
    Whitepaper Author: Thad Huston, Product Manager, Windows Desktop Products—AJA Video Systems DVCProHD Editing with KONA and XENA 1. Introduction a. Scope This Document is meant to describe various ways to use the DVCProHD codecs provided in AJA’s XENA software, and AJA’s Mac Plug-ins for Adobe. It will describe capture, editing, sharing, rendering and exporting of DVCProHD files, and projects in the context of use in both online and offline workflow in Adobe Premiere Pro on Windows and Mac. b. AJA’s New DVCProHD Codec Support On Windows: With the version 3.5 release of XENA software, AJA now includes a DVCProHD codec for capture and editing with the XENA card. This codec was licensed by AJA from the codec professionals at Main Concept. The inclusion of this codec serves to add compressed workflow features to a product that, until now, was primarily for uncompressed work. On Mac: Shortly following the release of the XENA 3.5 software on windows, AJA will release AJA Mac Plug-Ins for Adobe. These plug-ins, along with the KONA drivers, will allow the use of KONA cards in Premiere Pro, After Effects, and Photoshop. These plug-ins are Mac versions of the XENA plug-ins. In their first release, a Main Concept codec will not be included with the Mac Plug-ins for Adobe. DVCProHD functionality described below in the Mac Plug-ins for Adobe will require the presence of the Quicktime DVCProHD Codec which is included in Final Cut Pro. 2. DVCProHD Pro’s and Con’s a. File Sizes The most attractive feature in DVCProHD encoding is file size.
    [Show full text]
  • Creating 1080P Proxies from 4K/Uhd Files
    CREATING 1080P PROXIES FROM 4K/UHD FILES This handout will guide you through the stages of creating proxies. ​ If you shoot UHD or 4K footage you may find that your computer/editing software can’t play these files properly - resulting in slow and choppy playback which can make them difficult to edit, especially on laptops/older computers. In order for your computer to play these large files back you can create PROXY FILES. A proxy is a converted, smaller copy of the original file, enabling your computer to play and edit these files in real time. You can then edit these files (this is called Offline Editing) and link these back up to the original, higher quality ​ ​ files at the end of the edit if you required (this is called Online Editing). ​ ​ NOTE: Always store proxies in a separate sub folder within your master edit folder and never rename these ​ proxies. Keep the file names the same as your original files in case you need to reconnect the proxies back to 4K/UHD later on. CREATING 1080P PROXY FILES FROM 4K/UHD QUICKTIMES BEFORE YOU START Create a new folder (ideally within your master edit folder) to store your proxies. Do not rename files as you create proxies (in case you want to reconnect them later on). CREATE A 1080P PRESET IN ADOBE MEDIA ENCODER 1/ Open Adobe Media Encoder 2/ Preset>Create Encoding Preset ​ 3/ Give the Preset a name (i.e. ‘PRO RES HQ 1080P’) ​ ​ 4/ Choose video format Apple Pro Res (HQ) Check Export Video & Audio ​ ​ ​ ​ 5/ Deselect Match Source - under Width / Height type in 1920 W 1080 H (uncheck the chain
    [Show full text]
  • TFM 327/627 - FILM and VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante
    TFM 327 / 627 Syllabus v2.1 TFM 327/627 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill.
    [Show full text]
  • ADOBE® SPEEDGRADE™ Help and Tutorials Getting Started Tutorials
    ADOBE® SPEEDGRADE™ Help and tutorials Getting Started tutorials To learn more, view these recommended resources online. SpeedGrade CS6 FAQ troubleshooting (May. 14, 2012) What is SpeedGrade? Video2Brain (May. 7, 2012) video-tutorial What's new in SpeedGrade CS6 Patrick Palmer (May. 7, 2012) video-tutorial Tips and tricks for using SpeedGrade CS6 Patrick Palmer (May. 7, 2012) video-tutorial Basic workflow Load footage Apply color grading Render out content Special tools and workflows Related topics The SpeedGrade workflow consists of three steps: load footage, color grade, and render out finished content. Use the following views to perform the workflow: Desktop view for loading footage Monitor view for applying color grading Output view for rendering out the completed project Each view is accessible from a tab at the top of the SpeedGrade CS6 application window. To the top Load footage 1. Locate content in the Desktop view. Use the folder browser on the left side to navigate to the folder containing your content. Thumbnails of the clips appear in the Desktop view. If you have many clips, you can manage them as follows: Sort alphabetically. Sort by time code range, resolution, or date modified. Filter to display only certain file types. Search for specific filenames or filename extensions. 2. Add clips to the Timeline by double-clicking or dragging them to the Timeline. Drag clips by their handles to reposition them on the Timeline. Set in- and out-points and switch between Timeline views as you review or color grade your content You can add up to nine separate playheads. See Compare shots with multiple playheads.
    [Show full text]
  • UPT Perpustakaan ISI Yogyakarta VISUALISASI KARAKTER FANTASI DALAM PENYUTRADARAAN FILM FIKSI “PENYELAMAT DUNIA”
    VISUALISASI KARAKTER FANTASI DALAM PENYUTRADARAAN FILM FIKSI “PENYELAMAT DUNIA” SKRIPSI PENCIPTAAN SENI untuk memenuhi sebagian persyaratan mencapai derajat Sarjana Strata 1 Program Studi Film dan Televisi disusun oleh: Yolanita Varensia NIM: 1410072132 PROGRAM STUDI FILM DAN TELEVISI JURUSAN TELEVISI FAKULTAS SENI MEDIA REKAM INSTITUT SENI INDONESIA YOGYAKARTA YOGYAKARTA 2018 UPT Perpustakaan ISI Yogyakarta VISUALISASI KARAKTER FANTASI DALAM PENYUTRADARAAN FILM FIKSI “PENYELAMAT DUNIA” SKRIPSI PENCIPTAAN SENI untuk memenuhi sebagian persyaratan mencapai derajat Sarjana Strata 1 Program Studi Film dan Televisi disusun oleh: Yolanita Varensia NIM: 1410072132 PROGRAM STUDI FILM DAN TELEVISI JURUSAN TELEVISI FAKULTAS SENI MEDIA REKAM INSTITUT SENI INDONESIA YOGYAKARTA YOGYAKARTA 2018 UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta iv KATA PENGANTAR Assalamu’alaikum wr.wb. Salam sejahtera bagi kita semua. Puji syukur dipanjatkan kepada Allah SWT atas limpahan hidayah dan karunia-Nya sehingga, tugas akhir ini dapat selesai dan tersusun dengan baik. Tugas akhir ini disusun guna memenuhi persyaratan kelulusan program S1 Jurusan Televisi, Program Studi Film dan Televisi, Fakultas Seni Media Rekam, Institut Seni Indonesia Yogyakarta. Tugas akhir penciptaan seni ini berjudul “Visualisasi Karakter Fantasi dalam Penyutradaraan Film Fiksi “Penyelamat Dunia””. Proses produksi film fiksi “Penyelamat Dunia” ini dapat terselesaikan dengan tepat waktu berkat bimbingan dari berbagai pihak. Terimakasih kepada semua pihak yang telah membantu proses penyelesaian tugas akhir ini. Oleh karenanya, dengan segala kerendahan hati penulis mengucapkan terimakasih kepada: 1. Allah SWT. yang telah memberikan kekuatan dan kesabaran dalam menjalani proses penyelesaian tugas akhir 2. Kedua orang tua, Bapak Edhy Purwanto dan Ibu Santiani yang selalu memberikan inspirasi 3.
    [Show full text]
  • Avid Media Composer 6.X Cookbook
    Free ebooks ==> www.ebook777.com www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com Avid Media Composer 6.x Cookbook Over 160 highly effective and practical recipes to help beginning and intermediate users get the most from Avid Media Composer 6 editing Benjamin Hershleder BIRMINGHAM - MUMBAI www.it-ebooks.info Free ebooks ==> www.ebook777.com Avid Media Composer 6.x Cookbook Copyright © 2012 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First published: December 2012 Production Reference: 1131212 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK. ISBN 978-1-84969-300-4 www.packtpub.com Cover Image by Benjamin Hershleder ([email protected]) www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com Credits Author Project Coordinator Benjamin Hershleder Michelle Quadros Reviewers Proofreaders Oliver Peters Jonathan Todd Michael Phillips Lauren Tobon Roger Shufflebottom Indexers Acquisition Editor Hemangini Bari Kartikey Pandey Rekha Nair Tejal Soni Lead Technical Editor Sweny M.
    [Show full text]
  • Adobe® Speedgradetm CC Help Legal Notices Legal Notices for Legal Notices, See
    Adobe® SpeedgradeTM CC Help Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 11/30/2015 iii Contents Chapter 1: What's new New features summary . .1 Chapter 2: Workspace SpeedGrade workspace . .3 Desktop basics . .5 Timeline basics . .6 Playback basics . .8 Compare frames with multiple playheads . .9 Work with projects . 11 Set up dual displays . 13 Direct-Link workflow between Premiere Pro and SpeedGrade . 14 Image analysis tools . 19 Adjust the display resolution for playback . 22 Crop the display frame . 23 Adjust the display aspect ratio . 23 Work with keyframes . 24 Keyboard shortcuts . 26 Chapter 3: Loading footage Supported file formats . 31 Load footage . 32 Conform EDLs . 33 Loading and conforming material . 34 Load audio tracks . 34 Detect scene changes . 35 Using scene change detection . 36 Display burn-in information on frames . 36 Chapter 4: Color grading Quickstart: Color grade a clip . 38 Quickstart: Color grade a sequence . 40 Adobe Premiere Pro and SpeedGrade workflows . 43 Continuity Checker and Shot Matcher . 43 Snapshot View and Snapshot browser . 46 Work with masks . 47 Masking and Tracking . 48 Track a masked object through a shot . 55 Adjust color temperature . 57 Balance blacks and whites . 58 Adjust gamma . 60 Grade a specific tonal range . 61 Secondary color correction . 62 Last updated 11/30/2015 SPEEDGRADE iv Contents Apply filters and effects . ..
    [Show full text]