| Course Name | Advanced Post-Production Studio |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 338 | Fall/Spring | 2 | 2 | 3 | 5 |
| Prerequisites |
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| Course Language | English | ||||||||
| Course Type | Elective | ||||||||
| Course Level | First Cycle | ||||||||
| Mode of Delivery | face to face | ||||||||
| Teaching Methods and Techniques of the Course | Critical feedbackLecture / PresentationField work/Application | ||||||||
| Course Coordinator | |||||||||
| Course Lecturer(s) | |||||||||
| Assistant(s) | - | ||||||||
| Course Objectives | This course aims to teach the aesthetic tools of film editing language through theory and practice. Students will develop the components of cinematic storytelling through the field of editing. |
| Learning Outcomes | The students who succeeded in this course;
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| Course Description | This course combines theoretical work and film editing practice. Each class will start with a theoretical framework and scene breakdown, followed up by in class assignments on digital editing practices. Students will develop their cinematic storytelling style, understanding of rhythm and aesthetic. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | ||
| Supportive Courses | X | |
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to the course | |
| 2 | Photography and Cinematography: Photography and Cinema, Different Camera Types, Lens Types, Anamorphic Lens, Exposure, Composition, Colour Theory, Camera Movements, Shooting Dimensions, Camera Recording Features | Sergei Eisenstein, Film Form: Essays in Film Theory. Edited and translated by Jay Leyda, Harcourt, Brace & World, Inc, 1949, New York. Selections from Chapters 1, 4 & 6 ISBN-10 : 0156309203 |
| 3 | Introduction to DaVinci Resolve: Importing a Project and Relinking Media, Working with a Media Repository, Creating a Timeline on the Edit Page | K. Dancyger (2011) The Technique of Film & Video Editing: History, Theory, and Practice, p. 391-398. |
| 4 | Introduction to DaVinci Resolve: Adding B-Rolls, Removing and Trimming Timeline Clips Cropping, Using Edit Mode | Walter Murch, 1995, In the Blink of an Eye: A perspective on Film Editing. Silman-James Press |
| 5 | Introduction to DaVinci Resolve: Editing Audio Tracks, Inserting Final Segments, Mixed Insert Edits, B-Roll Slipping and Sliding Clips Fine Tuning and Adjusting Progression Speed | Chapter One and Eleven: John Purcell, 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal Press. ISBN-10 : 9780415828178 |
| 6 | using Sound, Effects and Title on the Edit Page | |
| 7 | Introduction to Colour Correction: The Goals of Colour Grading and the Tools Hollywood Uses | |
| 8 | Color Correction: Using Primary Corrector, Understanding Video Scopes in Colour Correction, Making Automatic Adjustments Using Lift, Gamma and Gain, Making CC using Curve, Using Node for Separate Corrections and Nodal system | |
| 9 | Midterm exam week | |
| 10 | Colour correction: Secondry Colour Correction, Secondry CC with HSL curves, Regional CC using Tracker, Working with LUTs | |
| 11 | Sound Post Production (Fairlight): What is Audio Post Production? What is Audio Post Production Workflow? Exploring the Fairlight Interface | |
| 12 | Film Music Production Dialogue Editing and Sound Design | |
| 13 | Mixing and Mastering in Fairlight, Setting Track Formats and Clip Channels | |
| 14 | Trim Clips in Fairlight and Add Sound Effects Using Fairlight FX | |
| 15 | Final exams week | |
| 16 | Final exams week |
| Course Notes/Textbooks | Sergei Eisenstein, Film Form: Essays in Film Theory. Edited and translated by Jay Leyda, Harcourt, Brace & World, Inc, 1949, New York. ISBN-10 : 0156309203
K. Dancyger (2011) The Technique of Film & Video Editing: History, Theory, and Practice, ISBN-10 : 1138628409
John Purcell, 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal Press. ISBN-10 : 9780415828178
Walter Murch, 1995, In the Blink of an Eye: A perspective on Film Editing. Silman-James Press. ISBN-10 : 1879505622 |
| Suggested Readings/Materials |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 4 | 40 |
| Portfolio | ||
| Homework / Assignments | 1 | 50 |
| Presentation / Jury | ||
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 6 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 2 | |
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | 4 | 10 | |
| Portfolio | |||
| Homework / Assignments | 4 | 12 | |
| Presentation / Jury | |||
| Project | |||
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 152 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | |||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | |||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | |||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
