The Third Year of our Bachelor in Editing, Post-Production and Sound aims at consolidating the knowledge acquired and at absorbing the technique of editing, sonorization and finalising of film projects. As a student, you will apply the knowledge acquired in the shooting and editing of two 35 mm short films, six Digital RED ONE shootings and two RED EPIC CINEMA DIGITAL shootings, performing different roles and taking part in the projects from beginning to end.

1. 1.- Cinema History.
• Cinema History: Period from 1959 to 2009. La Nouvelle Vague and the
second-avantgarde. New Cinema: USA: New York takes over: Cassavetes, Mekas,
Clarke... The free cinema: Richardson, Reisz, Anderson...
• History of Animated Film. Cohl and the birth of cartoons. Pioneers. Abstrac-
tions and vanguards. Screens pins. From the splendor of the Disney to Cartoons.
Stop motion. Lyrics of the third dimension. The Anime. Puppets, hybrids,
invasions and applications. Adult animation. The outsiders. The manga univer-
se. The Pixar renewal.
2.- The editing I.
• The job of the editor I. The story in pictures. The door. The creation of space-
time. Alternate-parallel edition. Modifying the viewer's relationship with the
images and action.
• The job of the editor II. From the action edition to the idea edition. Looking
and direction Raccords. Degrees and axial rules. The orchestration of the order.
Create unity from multiplicity.
• The job of the editor III. Edition of attractions. Collisions of images. Ellipsis.
Free Raccords. Metrics and Rhythm.
• The job of the editor IV. The relations of the Editor and the Director.
• The job of the editor V. The editor during the shooting. The telecine or gross
shots: Capture, viewing and rating. Audio synchronization. The selection of
shots. Discards. First edition. Alternatives, troubleshooting and adjustments.
Codes. The relationship with the lab.
3.- Editing Technology I.
• AVID. Avid and its differences with other editing programs. Creating the
Project. The Attic Folder. Capturing and importing files. Tools. The digitized
image. The Timeline and the segmental edition. Integration with other
programs. Effects. Render. Working with EDL's.
• DVD STUDIO PRO Stories. DVD-ROM. Overlays menus. Layered menus.
Creating Drop Zones and custumized buttons. Alternative angles.
• EDITING TECHNOLOGY: AFTER EFFECTS I: Workspace. Creating a Project.
Place a footage in the composition. Layers. Editing layers. Lock and display
layers. Arranging layers. Inserting text. Insertion of solids.
• EDITING TECHNOLOGY: AFTER EFFECTS II: Mask on fix shots or with internal
movement.Multimask. Grading. Configuration and Basic Concepts of anima-
tion. Animate position. Animate rotation and size. Preview animation. Types of
animation display. Speed and keyframes control.
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www.bandeapart.org
París 143 - local. 08036 Barcelona
Tel: +34 93 444 76 78. Fax: +34 93 419 13 89
info@bandeapart.org
B.A IN CINEMATOGRAPHY
3rd EDITING, POST-PRODUCTION
AND SOUND Major.
DIRECCIÓN FOTOGRAFÍA
Y CÁMARA
MONTAJE ,
SONIDO Y
POSTPRODUCCIÓN.
COURSE STARTS 2016/2017:
OCTOBER 2016
SCHEDULE:
• MORNING :
10:00 to 14:00 hours.
• AFTERNOON:
16:00 to 20:00 hours
FEES :
Choose from single monthly
payment and single payment:
• Total amount of the course
monthly Payment: 5800€.
REGISTER:1.840€ y 8 Fees of 495€
october 2016 to may 2017.
• Total amount of the course
Single payment : 5100€.
This method of payment is a bonus of € 700
cost of the course.
• Places will be allocated in strict
order of registration.
• Check validation of students from
other schools.
OBJETIVES AND STRUCTURE
The Third Year of our B.A in Editing,
Post-Production and Sound aims at consolida-
ting the knowledge acquired and at absorbing
the technique of editing, sonorization and
finalising of film projects. As a student, you will
apply the knowledge acquired in the shooting
and editing of two 35 mm short films, six 16 mm
shootings and the Cineminutes, performing
different roles and taking part in the projects
from beginning to end. We want you to look for
your own style as a creator and film technician,
to become confident in yourself and in your
way of working in a professional environment.
We will coordinate and monitor projects, as well
as following closely the work of the different film
crews. At the end of the Third Year editing and
sound teams will be chosen for the six 35 mm
projects among the students who have shown
the best evolution in all exercises of the Bache-
lor.

2. 4.- Direct Sound.
• Direct Sound I. Deepening types of microphones. Accessories and gadgets.
Microphones: frequency response and directivity. Wireless II: Troubleshooting.
Knowledge and use of different types of mixers and recorders.
• Direct Sound II. The Head of Sound. Sound design. Dialogues. Positioning in
the shooting. Location of gauges sound elements.
• Direct Sound III. Viewing and analysis of sound sequences. Management
practices throughout the material studied.
5.- Digital Composition I.
• COMBUSTION. Import and export projects. Interface: configuration and
setting. Operating modes in Combustion. Building Workspaces. Trackers. Croma
Key.
• NUKEX. Introduction / Workflow / Layers / Channels / Animation. Introduc-
tion to composition. Relationship with others VFX. Interfiace work programs /
browsers / tools / menus. Layers and modes of fusion. Rotopaint: tools, brushes,
clone, revealTracker / Matchmoving Trackers 2D and 3D; animation controls,
adjustments and transformations. Primatte Chroma Key or. Keylight Keyer or
IBKGizmo / Bicolor. Integration ColorLookup or ColorCorrect or grade or hueCo-
rrect.
6- Digital Color Grading and DIT (Digital Imaging Technician).
• Digital Video. Basics. The value of the pixel. Possibilities of digital postpro-
duction. The value of the truca.
• Image Retouching: mass, density, color. Digital camps. Davinci Resolve color
grading. Alternatives in the grading. Progress. Colorimetry Interpretation of the
the monitors.
• The job of DIT. Link Preproduction to postproduction. Value beyond the
custody and downloaded material. Relationship and coordination with teams of
Light, Camera and direction.
7.- The Documentary Film.
• Filmmakers at war. Dissemination and awareness. Chronicles of the Nazi
horrors. The poetic documentary. Mazes and nightmares. An ethnographic film.
The cinema-verité. Mockumentary. Drew's group.
• Direct Cinema. Apocryphal documentary. Policy. Daily. New routes.
• The documentary in Spain. Cinematographic documents. Documentaries of
our time.
-2-
www.bandeapart.org
París 143 - local. 08036 Barcelona
Tel: +34 93 444 76 78. Fax: +34 93 419 13 89
info@bandeapart.org
B.A IN CINEMATOGRAPHY
3rd EDITING, POST-PRODUCTION
AND SOUND Major
REGISTER NOW
1. Download the registration form in
www.bandeapart.org
2. Fill in all pages and select the
course and payment form (single or
monthly )
3. Sing all pages of the application
form and, once you have paid, send
them toghether with the payment
proof and a photocopy of your identity
card or passport to our administration
departament
By e-mail:
administracion@bandeapart.org
By fax:
Nº de Fax: +34 934191389
By post:
Bande a Part Escuela de Cine
c/ París, 143 · Local
08036 Barcelona · España
4. Once all documents have been
receibed,you will receive confirmation
of your place.
If you have any queries, please
address them to our department of
student assistance and information
Monday to Friday
from 10:00 am to 9:00 pm
Tel.:+34 934447678
Skype: bandeapartbcn
Email
info@bandeapart.org
Visit us at:
Bande a Part Escuela de Cine
c/ París, 143 · Local
08036 Barcelona · España
www.bandeapart.org

3. -3-
8.- The Sound editing I.
• PRO-TOOLS I. Introduction to Pro-Tools. Creating a session. Different formats.
Sampling. Bit Depth. Interface. Importing files. Modes: Slip, Grid, Shuffle, Spot.
Create and types of tracks. Tools. Processors. Special Effects. Export.
• PRO-TOOLS II. Configuration study 5.1. Inserting effects in the tracks. Auto-
mation effects. Auxiliary tracks. Buses shipping. Configuring Session 5.1.
Standards and requirements for pre-mixes cinema. Foley recording. Dubbing.
• MIXing I.Technical conceptualization of the sound mixing. Comparing Dolby
surround with other digital systems. Dialogues, sounds, silence, music,
everything is important. The approved study. The sound negative. Subcultures.
The work in mono. Viewing, monitoring and master DCP.
9.- Aesthetic Language and VI. Creating and Mounting Film.
• Analogies. Vanguard and structures. Redefining language. Orbital editing.
Repeat. Duration. Elongation time. Edition in ruins. The Secret Position:
Apotheosis of ellipsis. Indirect editing. The tonal and harmonic. Ruptures of the
internal and external time. Antiflash-back. The untimely. Time stagnant, integra-
ted time. Reversing the time arrow. The new worlds. Order. Counter-structures.
Off-Off. All possible cinemas.
10 - Projects III.
• Red one’s projects exhibition. Exhibition by the editor and sound mixer. Soud
and edition memory. Choice of projects to shoot during the course.
• Shootings Multidisciplinary Practices.
• Teasers / Pitching Projects in Red Epic.
• Shortfilms and Color Grading by each student.
www.bandeapart.org
París 143 - local. 08036 Barcelona
Tel: +34 93 444 76 78. Fax: +34 93 419 13 89
info@bandeapart.org
B.A IN CINEMATOGRAPHY
3rd EDITING, POST-PRODUCTION
AND SOUND Major