The second year in our Degree is common to all majors and provides the student with a first approach to audiovisual creation in all areas: elements of film language, screenplay writing, camera handling...

1. 2016/2017 COURSE BEGINS :
OCTOBER 2016.
SCHEDULE:
· Morning
Monday, Tuesday, Thursday and
Friday 10:00 am to 2:00 pm
· Evening
Monday, Tuesday, Thursday and
Friday
4:00 pm to 8:00 pm
FEES:
Choose between monthly and
single payment:
• Total course fees with:
Monthly payment: 5.800€
Registration fee 1.840€ plus 8 install-
ments at 495€ October 2016 to May
2017.
• Total course fees with:
Single payment: 5.100€
This form of payment entails a
700€ bonification upon the course
fees.
REQUIREMENTS:
Age 16 or above and GCSE/ESO
or equivalent.
• Places will be allocated in strict
order of registration.
OBJECTIVES AND STRUCTURE:
The second year in our Degree is
common to all majors and provides the
student with a first approach to audiovi-
sual creation in all areas: elements of film
language, screenplay writing, camera
handling, use of lighting equipment,
editing and sound software, the role of
every member of a film crew and the
preparation and shooting methodology for
a film.
Upon finishing the course, the student will
be able to perform autonomously in
screenplay creation, direction, photogra-
phy, camera, sound, editing and
finishing of audiovisual products in HD.
The course has theory, practical exerci-
ses led by specialised teachers, exercise
proposals and free choice exercises.
FULLPROGRAM
SECONDYEAR
DEGREE IN CINEMATOGRAPHY
1.- History of Cinema.
• The revolution of the Soviet cinema. The splendor of Hollywood. The appea-
rance of the Japanese directors. The foundation stage of the talking movies.
• The documentary film I. Birth and consolidation of the documentary. The
cinema origins is documentary. Reconstructions. Flaherty: the emergence of a
giant. Cinema-eye. Urban poems. The English School. Frontier Films.
• Cinema history: Period from 1935 to 1959. USA Classicism. The era of classi-
cism in France. Italy, before and after the neorealist. Classicism cinema in the rest
of Europe. Apotheosis of Japanese Cinema. Other areas: India and Latin America.
2. - Language and aesthetics IV. Space.
• FILM LANGUAGE: SPACE. SPACE NATURE. Characteristics. The three basic
functions. The space-action law. Scenery and Atmosphere. Organization of
space. Real space and film space.The multiple space.The thematic structuring of
space. Space Games. Space as a definition element, influence and projection.
Spatial transfiguration. Double space and multi space.The conditioning of visual
space. The off-screen. The dynamic space. The empty space. How to record a
space?
3 -. Language and Aesthetic V: Sound.
• LANGUAGE FILM: THE SOUND. Sound fundamentals. Nature of sound. The
sound and its relationship with the images. The expression of the inner world.
Audiovisual balance and imbalance. Unifications and divestitures. Sounds of
space. Sounds of the character. The point of view and sound. Sonorous tones.
Sound structures. The music noise. The concept of adjoining sounds: deepening
on sonorous systems. Sound relations with other sound elements. Cacophonies.
Wasted technologies. The sound go into avant-garde.
4.- Fundamentals of Film Photography II.
• Light styles scoring the cinema history. Creating from nothing: Billy Bitzer.
Light power: Expressionism: Arno Wagner, Hoffman, Freund ... The Styles of the
30s: from baroque to classicism: Glennon, Garmes, Schüfftan, Bachelet, Milner,
Walker ... The Age of Giants: Toland, Musuraca, Miller, August, Cortez ... The
unique style of the period 45-60: Metty, Matras, Krasner, Alton, Shamroy, Figue-
roa, Miyagawa, Atsuta ... The light of the new cinema: Coutard, Almendros,
Vierny, Delli Colli, Ruban, Rotunno , Nykvist ... the 70-80 decades: Willis, Chap-
man, Müller, Storaro, Lubtchansky, Champetier, Escoffier ... From 90's to the
present: Kaminski, Pollock, Hirsch, Doyle, Elmes, Sekula, Prieto… Ways of
lighting and characteristics of some genres.
-1-
www.bandeapart.org
París 143 - local. 08036 Barcelona
Tel: +34 93 444 76 78. Fax: +34 93 419 13 89
info@bandeapart.org

2. • The job of Director of Photography.
• Indoor and outdoor lighting. Adjustments. Types of light sources. Internal
and external movements. Effects. Raccord.
• Fix Analog Photography (Leikas) and digital (Raw).
• The job of the grip. The assembly of traveling. Parts, accessories and tools.
• The HD video camera. Basic concepts. HD progressive and interlaced.
Capture formats. Recording media. Files. Coding. Postproduction.
• Electricity, Power and Electrical equipment. The Gaffer. Best Boy. Types of
starting. Generators. Structures, tools and techniques. Workplace Safety.
• Steadycam and handheld camera. Parts and accessories of a steady. How is
mounted? Handheld and variants.
5. - Language and Aesthetics VI. The Music.
• FILM LANGUAGE: MUSIC. Basic musical concepts. Specifics of film music. Essen-
ce of the cinemapographic music. Music frontiers. Musical tones and cinemato-
graphic tones. Impulses in the movies. Rhythms and tones. Credit tittles. Diege-
tic and non-diegetic music. The leitmotiv. Intermediate diegesis. Characteriza-
tions, relations, expansions. The song. Music and drama. Composed music.
Selected music. Times and space of the music. Big ruptures of cinematographic
music. Expressive possibilities.
6. - Fundamentals of Sound II.
• Sound / sound reference. On the concept of clean sound. Differences
between sound recording, dialog and live music. Deepening the knowledge of
dat. Mixers, hard drives and other recording systems. Exercises and variations on
the boom operador technique. The wild-tracks. Sound sheets. Classifying, archi-
ving and delivery of sound material of the shooting.
• Sound Editing Software. Introduction to Pro-Tools. Creating a session.
Different formats. Sampling. Bit Depth. Interface. Importing files. Modes: Slip,
Grid, Shuffle, Spot. Create and track types. Tools. Processors. Special Effects.
Export.
7 -. Narrative and Screenplay II.
• Screenplay. Subframes. The dramatic progression and assembly and overco-
ming obstacles. The sequence developments. The construction of the charac-
ters. The concept of empathy. Multidimensionality. The scale of values.
• Cinematographic language: Dialogues. Text and subtext. The dialogues of
silent films. The active and passive in the dialog. Forms of dialogue: from modal
to counterpoint. The dialogue-noise. Rhythmic methods. Hooks, progressions
and repetitions. Speechless dialogues. The voiceover: big mistakes, big possibili-
ties.
• Screenplay. Practical workshops.
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REGISTER NOW
1. Download the registration form in
www.bandeapart.org
2. Fill in every page and select the
year and the payment method, i. e.
monthly payment or single payment.
3. Sign every page in the form and
once you have paid, send them
together with your receipt and a
photocopy of your ID card or Passport
to our Administration department.
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 your documents have been
received, you will receive
confirmation of your place.
Please direct any queries to our
Attention to Students department
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
www.bandeapart.org
París 143 - local. 08036 Barcelona
Tel: +34 93 444 76 78. Fax: +34 93 419 13 89
info@bandeapart.org
FULLPROGRAM
SECONDYEAR
DEGREE IN CINEMATOGRAPHY

3. -3--3-
8 - Applied Informatics II. Editing, Editing and Effects.
• Adobe Premiere II. Work interface. Panels and viewers. Adobe Premiere vs
Final Cut. Adobe dynamic link. Links with After Effects, Photoshop, Encore.
Practical examples.Tools. Effects.Transitions. Lift / Extract.Titles templates. Color
Correction. Theory and practice. Color Finesse. Animation. Curves. Time remap-
ping. Multicam editing. Audio. Panels. Effects and transitions. Export. Formats
and codecs. Adobe Encoder.
• After Effects Introduction. Interface and handling. Import material and
project settings. Basic 2D Animation. Spatial and temporal interpolation of
keyframes. Auxiliary tools for creating animations. Masks and track mattes. Text
animation. Animation in 3D space. Introduction to composition (motion
tracking, keying and rotoscoping).
9 -. Production II.
• The pre-production phase. Coordination and delegation. Locations.
Suppliers. The days before the shooting. Shooting Strategies. After shooting.
• Art Direction. What is and what encompasses the artistic direction? The job
of the art director and their departments. Locations. Atmosphere and props.
Makeup, hair and wardrobe. Theory and practice in the construction of the sets.
The offices of the various departments.
10 -. Applied English.
• Specific vocabulary: Screenplay, Direction and Production. Film language in
use. Technical Vocabulary: Photography, live sound, audio post-production,
editing and postproduction. Screenwriting in English. Script and storyboard
development. The dialogues in the classic films. Contemporary movies in
English (UK, Ireland, USA, Australia ...)
11.- Projects II.
• Digital Cinema Project with Black Magic: Preparation, Presentation and
Election of ideas that could become a film of 2 and 5 minutes. First Script draft.
First script development and corrections. Final script. Technical Screenplay and
Story-Board. Direction memory. Working with photography, editing, sound, art
direction ... for the development of the memory. Justification for the viability of
the film. Pitching Workshop (Preparing the exhibition of the project). Public
presentation in class. Value, choice and shooting of the chosen short films.
• Filming, editing and finishing 2 HD Short Film for 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
FULLPROGRAM
SECONDYEAR
DEGREE IN CINEMATOGRAPHY