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Oficios Del Cine Ofcios del cine Manual para prácticas cinematográfcas Pedro Alves y Francisco García García (coordinadores) Colección: Estudios de narrativa 9. Ofcios del cine: manual para prácticas cinematográfcas Pedro Alves y Francisco García García (Coordinadores) Primera edición: febrero de 2017 © De los autores, 2017 © Icono14 Editorial, 2017 C/ Salud 15, 5º Derecha - Madrid (28013) www.icono14.es [email protected] Editores: Francisco García García y Mario Rajas Director de la colección: Mario Rajas Diseño de colección: Roberto Gamonal Maquetación y diseño de portada: María Bastida Depósito legal: M-9104-2017 ISBN: 978-849-4028-92-2 (Icono14) ISBN: 978-989-8351-61-6 (CITCEM) Impresión: Discript S.L., Madrid Impreso en España - Printed in Spain Texto evaluado por el método de revisión por pares (Peer review) Quedan rigurosamente prohibidas, sin la autorización escrita de los titulares del copyright, bajo las sanciones establecidas en las leyes, la reproducción total o parcial de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, y la distribución de ejemplares de la misma mediante alquiler o préstamo públicos. Trabalho cofnanciado pelo Fundo Europeu de Desenvolvimento Regional (FEDER) através do COMPETE 2020 – Programa Operacional Competitividade e Internacionalização (POCI) e por fundos nacionais através da FCT, no âmbito do projeto POCI-01-0145-FEDER-007460. Índice Nota de abertura ..................................... 11 El cine y sus ofcios ................................... 15 Francisco García García y Pablo Alonso Colchón Construir o guião: um castelo de areia que resiste ao vento . 53 Ana Sofa Pereira Guión adaptado: transmedia y versiones . 85 Pedro J. Gómez Martínez “If you fail to prepare, prepare to fail”: a produção fílmica . 105 Pedro Alves El director: de la idea a la película ...................... 141 Ignacio Sacaluga Rodríguez Dirección de fotografía ............................... 173 Hernando Gómez A direção de arte .................................... 203 Hugo Barreira Introdução à direção de atores .......................... 245 Eduardo Condorcet Notas sobre som para flme – da pré-produção à pós-produção . 267 Emídio Buchinho VII Música y banda sonora: el ofcio de componer . 289 Manuel Gertrudix Barrio y Felipe Gertrudix Barrio Montador de cine: un perfl profesional multidisciplinar . 315 Mario Rajas Color: técnica y narrativa. El ofcio del colorista . 337 María Bastida Animação: história e métodos de produção . 375 Sahra Kunz e Ricardo Megre El ofcio de diseñar títulos de crédito. Consideraciones en torno su concepto, funciones, clasifcación y proceso creativo . 409 Roberto Gamonal Arroyo Un recorrido por el lanzamiento cinematográfco en el siglo XX y su impacto digital en el mismo en el siglo XXI . 431 María Luísa García Guardia e Cristóbal Fernández Muñoz Quebrando tabus: para uma análise dos modos de produção no cinema português contemporâneo ....................... 453 Daniel Ribas e Paulo Cunha Autores (notas biográfcas) ............................ 491 VIII Nota de abertura O CITCEM – Centro de Investigação Transdisciplinar “Cultura, Espaço e Memória” (Portugal) e a Associação Científca ICONO14 (Espanha) man- têm, desde 2012, um projeto de investigação intitulado “Cinema, Didáti- ca e Cultura”. Desse projeto nasceram publicações e participações cien- tífcas várias, das quais a mais expressiva terá sido o livro editado em 2014 com o título “Aprender del cine: narrativa y didáctica”. Agora, e dando continuidade ao objetivo assumido de produzir materiais de rele- vância científca e empírica no âmbito das relações entre Cinema, Didá- tica e Cultura, damos à estampa este novo projeto editorial, intitulado “Ofcios del cine: manual para prácticas cinematográfcas”. Fruto da identifcação de uma falta e de uma necessidade real nos dois países, o livro pretende posicionar-se como um manual de referên- cia para o aprofundamento de um conhecimento transversal e completo sobre como fazer um flme. Desde o desenvolvimento do argumento e da pré-produção até à etapa da pós-produção, distribuição e exibição, o li- vro apresenta um conjunto de textos direcionados para uma epistemolo- gia empírica sobre o que signifca construir um produto cinematográfco, nas suas várias fases e departamentos. Com esta obra pretendemos esta- belecer uma ferramenta de utilidade teórica e prática para estudantes, professores e profssionais de cinema, um guia para deslindar os infndá- veis e complexos processos de criação, desenvolvimento e concretização efcaz de um projeto cinematográfco. A proposta de produção deste livro estabeleceu-se a partir do gru- po de investigação previamente referido, mas não se limitou apenas ao envolvimento dos membros que nele participam. Promoveu e logrou a participação de vários investigadores, docentes e profssionais da sétima arte, especialistas em cada uma das áreas integrantes da produção fíl- mica e procedentes de várias universidades e áreas de atividade fílmica, quer em Portugal quer em Espanha. Apresentando o conteúdo e os participantes deste livro, este ini- cia-se com um texto de Francisco García García (UCM) e Pablo Alonso Colchón (UCM) que contextualiza e relaciona os diferentes “ofícios” do cinema. No campo do argumento, Ana Sofa Pereira (UCP) e Pedro Gómez Martínez (UFV/UCM) abordam o trabalho intrínseco à construção de uma história para cinema, quer a partir de uma ideia original quer utilizan- do uma base de adaptação ou trabalhando relações com outros meios de comunicação. Sobre Produção e Realização, respectivamente, Pedro Alves (UCP) e Ignacio Sacaluga Rodríguez (UEM) detalham os vários processos de cada departamento desde a fase de pré-produção e preparação exaus- tiva da rodagem até às fases de produção e pós-produção do flme. No campo da Direção da Fotografa, Hernando Gómez (UEM) aborda um con- junto de ferramentas conceptuais e metodológicas no que respeita à pla- nifcação e execução do respectivo ofício. Em relação à Direção de Arte, Hugo Barreira (FLUP) apresenta uma refexão histórico-empírica sobre a área, enquanto Eduardo Concorcet (ULHT) detalha vários dos processos inerentes ao trabalho da Direção de Atores. No campo sonoro, Emídio Buchinho (ESTC) e Manuel Gertrudix (URJC) e Felipe Gertrudix (UCLM) incidem sobre a Direção de Som (da pré-produção até à pós-produção) e sobre a composição de música para Cinema. Dentro da fase de pós- -produção, Mario Rajas (URJC) e María Bastida (URJC) referem um con- junto de processos e ferramentas próprios, respectivamente, dos cam- pos da Montagem e da Correção de Cor. No campo da Animação, Sahra Kunz (UCP) e Ricardo Megre (UCP) abordam detalhadamente a História e vários processos de composições e efeitos visuais, enquanto, no âmbito da composição gráfca, Roberto Gamonal Arroyo (UCM) explora as fun- ções e etapas de desenho dos créditos fílmicos. Finalmente, Maria Luísa García Guardia (UCM) e Cristóbal Fernández Muñoz (UCM) abordam o tra- balho de marketing e publicidade associados ao âmbito cinematográfco, enquanto Daniel Ribas (IPB) e Paulo Cunha (UBI) analisam em detalhe as características e a evolução da distribuição e exibição de flmes em Portugal. Não podemos deixar de realçar que os vários textos que compõem o livro são inéditos e de extraordinária atualidade, procedentes de autores que são também protagonistas em cada uma das áreas exploradas (quer a nível científco quer a nível profssional). Isto signifca, para os leito- res, o acesso a um conjunto de perspetivas e direções práticas de inegá- vel relevância e pertinência no que respeita ao que signifca, hoje, uma produção fílmica. Quaisquer que sejam os objetivos, teóricos ou práticos, de cada leitor sobre a produção de Cinema, acreditamos que encontrará neste livro orientações e ideias válidas para um bom trabalho fílmico. Finalmente, queremos expressar a nossa profunda gratidão e o nosso enorme reconhecimento a cada um dos autores dos capítulos deste pro- jeto. Sem a sua disponibilidade, motivação e esforço, este livro nunca teria sido possível. Agradecemos igualmente ao CITCEM e à ICONO14 o apoio fnanceiro e logístico para a concretização de mais um projeto que muito nos satisfaz e que traduz uma vez mais a procura incessante de corresponder a necessidades identifcadas nos campos científcos e empí- ricos contemplados pelo grupo “Cinema, Didática e Cultura”. Ao leitor: obrigado por aventurar-se pelas páginas que preparámos. Desejamos que, pelos caminhos deste livro, encontre orientações úteis para concretizar os seus projetos. Depois disso... luzes, som, câmara e ação! Porto, 24 de janeiro de 2017 Francisco García García Pedro Alves El cine y sus oficios Francisco García García Universidad Complutense de Madrid Pablo Alonso Colchón Universidad Complutense de Madrid (doctorando) El cine cuenta historias, mejor construye historias, y al construirlas, construye a la sociedad y se construye a sí mismo, en una doble dialéc- tica de ser al hacer ser a la sociedad y la sociedad se refeja en el cine e interroga que será en el futuro, es decir le hacer ser haciendo. Desde el punto de vista narrativo, el cine es la conjunción entre his- toria y discurso. Conjunción perfecta que precisa del trabajo productivo signifcante de la producción textual. Producción textual que precisa de la acción concreta de los operarios de la imagen y el sonido, cada cual en el ámbito de ofcio. Pero al hablar del trabajo de los ofcios del cine, de los expertos crea- dores de imágenes visuales y auditivas para contarnos una historia, cuya idea, contenido, arquitectura
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