57231 Advanced Post Production
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Credit points: 8 cp
Result type: Grade and marks
There are course requisites for this subject. See access conditions.
Anti-requisite(s): 57173 Advanced Post Production
Description
The subject takes a holistic approach to the creative roles and practices of media post production with a particular focus on editing and sound design. Students explore the concepts, protocols and techniques related to media flows across pre-production, production and post-production. Students explore new media flows for emerging and spatialised media. Through a mix of real-world, practice-oriented scenarios they develop and hone their skills across a range of data practices from data wrangling, asset management and collaborative workflows in pre-visualisation, to editorial processes during production and post-production and final deliverables. This subject offers an opportunity for students to survey and respond to emerging models of production and post-production. They engage with the associated technologies, issues and workflows for multi-channel, immersive, and multi-layered media including augmented and virtual reality project work.
Subject learning objectives (SLOs)
| a. | Identify problems in media workflows and post production |
|---|---|
| b. | Analyse media industry post production protocols, standards and delivery formats as they emerge |
| c. | Evaluate production materials to determine best practice workflows that are reflective of industry standards |
| d. | Develop media using industry standard production and post production workflows and respond to emerging workflows |
Course intended learning outcomes (CILOs)
This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:
- Remain current in media industry practice (1.1)
- Analyse, develop or produce creative media projects for a range of platforms and experiences (2.3)
Teaching and learning strategies
This subject is centred around applying concepts, media design histories and innovative workflow models to produce two projects that engage with post production as an essential creative process at the heart of media making. These projects are designed to reinforce and reflect knowledge, skills and techniques developed in the complimentary production subjects. These assessments also expand on ideas and techniques that enable students to extend their thinking about the formal and conceptual possibilities for media current and emerging, and those roles related to post production in the industry.
Students develop their knowledge, technical skills and understanding through seminars, in-class lectures, demonstrations, student presentations and workshops. The emphasis of the teaching and learning is a mix of practice-led exercises, self-directed research and an evolving response to new media forms as they arise.
Content (topics)
Ideas and techniques covered in the subject include the theory, concepts, and principles of post-production, pre-visualisation, temporal and co-current montage. It also covers the art of title design, and introduces students to ideas and practices related to compositing and workflows, alongside organisational best practice related to metadata and its use in post production. It explores the art of colour grading in theory and practice and the impact of a sound and vision edit. Lastly it explores post-production for installation-based and emerging media.
Assessment
Assessment task 1: Applying Design Ideas to Post-Production I: Compositing
| Objective(s): | a, b, c and d | ||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 50% | ||||||||||||||||||||||||||||
| Length: | Maximum duration 90 seconds or equivalent experience, plus 250-word analysis | ||||||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Assessment task 2: Applying Design Ideas to Post-Production II: Title Design
| Objective(s): | a, b, c and d | ||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Weight: | 50% | ||||||||||||||||||||||||||||
| Length: | Maximum duration 90 seconds or equivalent experience, plus 250-word analysis | ||||||||||||||||||||||||||||
| Criteria linkages: |
SLOs: subject learning objectives CILOs: course intended learning outcomes |
Minimum requirements
This subject is based on a collaborative approach which involves workshopping and interchange of ideas with other students and the tutor.
Required texts
There are no required texts for this subject. Recommended readings will be available via UTS Library and the online subject site.
References
Betancourt, M. 2017, Semiotics and Title Sequences: Text-Image Composites in Motion Graphics, 1st edn, Routledge, New York.
Bordwell, D. & Thompson, K. 2008, Film Art: An Introduction, 8th edn, McGraw Hill Higher Education, New York.
Dancyger, K. 2006, The Technique of Film and Video Editing, Fourth Edition: History, Theory, and Practice, 4th edn, Focal Press, Burlington, MA, USA.
Edge Codes.com: The Art of Motion Picture Editing 2004, motion picture, Travesty Productions, Toronto.
Goux, M. & Houff, J.A. 2003, On Screen In Time: Transitions in Motion Graphic Design for Film, TV and New Media, RotoVision, Crans-Près-Céligny.
Isaacs, B. 2014, The Orientation of Future Cinema: Technology, Aesthetics, Spectacle, Bloomsbury Academic, New York.
McCann, A. (ed.) 2002, Transitions: Voices on the Craft of Digital Editing, illustrated edition, Friends of ED, United Kingdom.
Meggs, P. 1997, Six Chapters in Design: Saul Bass, Ivan Chermayeff, Milton Glaser, Paul Rand, Ikko Tanaka, Henryk Tomaszewski, 1st edn, Chronicle Books, San Francisco.
Murch, W. 2001, In the Blink of an Eye: A Perspective on Film Editing, 2nd edn, Silman-James Press, Los Angeles.
Shaw, J & Weibel, P. 2003, Future Cinema: The Cinematic Imaginary After Film, illustrated edition. ed. The MIT Press, London.
Scheer, E. & Klich, R. 2011, Multimedia Performance. Palgrave Macmillan, Basingstoke.
Shaoqiang, W. (Ed.) 2017, Motion Graphics - 100 Design Projects You Can’t Miss, Promopress, Barcelona.
Solana, G. & Boneu, A. 2008, Uncredited: Graphic Design & Opening Titles in Movies, Index Book, Barcelona, Spain.