Checking date: 12/03/2024

Course: 2024/2025

Fiction Videomaking
Dual Bachelor in Journalism and Film, Television and Media Studies (Plan: 384 - Estudio: 231)

Coordinating teacher: MEJON MIRANDA, ANA MARIA

Department assigned to the subject: Communication and Media Studies Department

Type: Compulsory
ECTS Credits: 6.0 ECTS


Requirements (Subjects that are assumed to be known)
Practical course with an extensive use of production and postproduction facilities and software, sound equipment and video cameras. Basic knowledge of technical aspects of filmmaking is recommended.Without this knowledge, do no take this course.
1. Capacity to plan andd handle the technical and human resources shooting films as well as the tecniques and processes of creation. 2. Capacity to direct/shoot film according to a step outline, script and shooting plan. 3. Capacity to explore the technical and expressive qualities and techniques of the moving image. 4. Experience in techniques, procedures and processes of shooting and postproduction of short films. 5. Capacity to utilize sound and videorecording devices. 6. Detailed knowledge of concepts of film analysis in terms of mise-en-scene, cinematography, editing and sound for practical purpsoes. 7. Capacity to relate cinema to other visual arts such as painting and photography.
Skills and learning outcomes
Description of contents: programme
- Introduction to fiction videomaking. - Framing: from photography and painting to the cinema. - Mise-en-scene and framing: angles and composition. - Cinematography: lenses, lighting and depth of field. - Digital camera and sound equipment advanced functions and techniques. - Continuity, editing. -Editing: alternatives to continuity. -Sound: aesthetics and recording. -Shot/Reverse shot: theory and practice - Script: from the step outline to the script and storyboard. - Script and Storyboard seminar -Shooting and editing of the final project Workshop lighting: This workshops deals with complex lighting set ups that involve multiple characters in front of the camera and their subsequent movements in relation to the frame. The workshop is a key complement to basic concepts and tools that have already been explored throughout the course. In each workshop, students will work in a specific scene, its lighting challenges and the acquisition of a series of solutions/concepts to achieve their goals.
Learning activities and methodology
-Theoretical classes Film analysis and script writing. Learning of shooting and postproduction equipment. Competencies 1, 2, 6 and 7 - Practical classes Work groups. Shooting and postproduction practical exercises with input from instructor. Competencies 1, 2,3 4 and 5. - Student's work Calendar: Sound Exercise: Week 5 Composition Exercise Week 7 Shot / Reverse Shot Exercise Week 8 or 9 Final Short Exercise Week 12, 13 and 14. .
Assessment System
  • % end-of-term-examination 30
  • % of continuous assessment (assigments, laboratory, practicals...) 70

Calendar of Continuous assessment

Extraordinary call: regulations
Basic Bibliography
  • Brown, Blaine. Motion Picture and Video Lighting. Focal Press. 2007
  • Gurskis, D.. The Short Screenplay Your Short Film from Concept to Production. Course Techology PTR. 2008
  • Jackman, John. Iluminación para video digital y televisión. Escuela de Cine y Televisión. 2010
  • Katz, Stephen. Film Directing Shot by Shot: Visualizing from Concept to Screen. Focal Press. 1991
  • Keast, Greg. The Art Of The Cut: Editing Concepts Every Filmmaker Should Know. CreateSpace Independent Publishing Platform. 2015
  • Kensworthy, Christopher. Film Lighting: Talks with Hollywood's Cinematographers and Gaffers. Michael Weiss Productions. 2012
  • Kensworthy, Christopher. Master Shots Vol 3: The Director's Vision: 100 Setups, Scenes and Moves for Your Breakthrough Movie. Michael Wiese Productions. 2013
  • Kensworthy, Christopher. Master Shots Vol 1, 2nd edition: 100 Advanced Camera Techniques to Get An Expensive Look on your Low Budget Movie. Michael Weiss Productions. 2012
  • Kensworthy, Michael. Master Shots Vol 2: Shooting Great Dialogue Scenes. Michael Weiss Productions. 2011
  • Malkiewicz, Kris. Film Lighting: Talks with Hollywood's Cinematographers and Gaffers. Touchstone. 2012
  • Mercado, Gustavo. The Filmmaker's Eye: The Language of the Lens: The Power of Lenses and the Expressive Cinematic Image. Routledge. 2019
  • Murch, Walter. In the Blink of an Eye: A Perspective on Film Editing. Silman James. 2001
  • Pallant, C and Price, S. Storyboarding: A Critical History. Palgrave. 2015
  • Schenk, S. and Long, B.. The Digital Filmmaking Handbook. Cengage. 2015
  • Shaefer, Dennis and Salvato, Larry. Masters of Light: Conversations with Contemporary Cinematographers. University of California Press. 1983
  • Weinstein, Anna. Directing for the Screen. Routledge. 2017
  • Winters, Patrick. Sound Design for Low & No Budget Films. Routledge. 2017
Recursos electrónicosElectronic Resources *
Additional Bibliography
  • Geuens, J.P.. Film Production Theory.. State University of New York. 2000
  • Thurlow, Clifford and Thurlow, Max. Making Short Films, Third Edition: The Complete Guide from Script to Screen. Bloomsbury. 2013
  • Van Sijll, Jennifer. Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know . Michael Wiese Productions. 2005
(*) Access to some electronic resources may be restricted to members of the university community and require validation through Campus Global. If you try to connect from outside of the University you will need to set up a VPN

The course syllabus may change due academic events or other reasons.