|
Lecturer(s)
|
-
Krcha Daniel, MgA. Ph.D.
-
Erla Josef, MgA. Ph.D.
-
Polenský Tomáš, MgA. Ph.D.
|
|
Course content
|
Students are practically acquainted with the scope of work of professions closely related to editing: post-production assistant, DIT technician, script supervisor, and editing assistant. Practical editing exercises: - Semester exercise. - Western. - Time compression. - Fight scene. - Car chase editing. - Dramatical emphasis in the action scene. - "Open school day" clip. - Practical exam from the subject.
|
|
Learning activities and teaching methods
|
Monologic (Exposition, lecture, briefing), Projection (static, dynamic), Exercises on PC, Teamwork, Analysis of a work of art, Individual work of students
- Home preparation for classes
- 22 hours per semester
- Preparation for examination
- 50 hours per semester
- Participation in classes
- 78 hours per semester
|
| prerequisite |
|---|
| Knowledge |
|---|
| Prerequisites not specified |
| Prerequisites not specified |
| Skills |
|---|
| Prerequisites not specified |
| Prerequisites not specified |
| learning outcomes |
|---|
| Knowledge |
|---|
| - Possibilities and limits of dialogue editing in practice. |
| - Possibilities and limits of dialogue editing in practice. |
| - The editor and his position in the crew. |
| - The editor and his position in the crew. |
| - Editing in the pre-production phase. |
| - Editing in the pre-production phase. |
| - Editing in the production phase. |
| - Editing in the production phase. |
| - Editing in the post-production phase. |
| - Editing in the post-production phase. |
| - Script error resolution. |
| - Script error resolution. |
| - Relationship and communication between director and editor. |
| - Relationship and communication between director and editor. |
| Skills |
|---|
| - Possibilities and limits of dialogue editing in practice. |
| - Possibilities and limits of dialogue editing in practice. |
| - The editor and his/her position in the crew. |
| - The editor and his/her position in the crew. |
| - Editing in the pre-production phase. |
| - Editing in the pre-production phase. |
| - Editing in the production phase. |
| - Editing in the production phase. |
| - Editing in the post-production phase. |
| - Editing in the post-production phase. |
| - Script error resolution. |
| - Script error resolution. |
| - Relationship and communication between director and editor. |
| - Relationship and communication between director and editor. |
| teaching methods |
|---|
| Knowledge |
|---|
| Monologic (Exposition, lecture, briefing) |
| Projection (static, dynamic) |
| Projection (static, dynamic) |
| Exercises on PC |
| Exercises on PC |
| Analysis of a work of art |
| Analysis of a work of art |
| Individual work of students |
| Individual work of students |
| Monologic (Exposition, lecture, briefing) |
| Teamwork |
| Teamwork |
| assessment methods |
|---|
| Analysis of the student's performance |
| Analysis of creative works (Music, visual arts, literature) |
| Analysis of creative works (Music, visual arts, literature) |
| Analysis of the student's performance |
|
Recommended literature
|
-
Arundale, Scott. Modern Post: Workflows and Techniques for Digital Filmmakers. Burlington, MA, 2014. ISBN 9780415747028.
-
Castle, Bryan. Media Composer: Editing Essentials. USA, 2014. ISBN 9781936121793.
-
Coleman, Lori. Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV. Boston, 2010. ISBN 9780240813981.
-
Cybulski Mary. Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV.. Burlington: Focal Press, 2014.
-
Kauffmann, Sam. Avid Editing: A Guide for Beginning and Intermediate Users. Burlington, MA, 2012. ISBN 978024081566.
|