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Lecturer(s)
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Course content
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The course unit in the form of consultations solves practical problems of realization of the graduate film in relation to the created concept of the pictorial part of the film. Together with the students, we look for the most suitable and feasible solutions. The consultation analyzes similar concepts and, on their example, leads the student to a wide-ranging controversy about pictorial representation. The student is, even more, looking for a relationship between a literary masterpiece and its transferability to the image. He/she analyzes the expression. The inter-media portability of expression is seriously addressed. Students are looking for the relationship between visual dramaturgy and the film genre. The relationship of intention - medium - the viewer is also analyzed.
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Learning activities and teaching methods
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Lecturing, Projection (static, dynamic), Training in motion and work skills, Practice exercises
- Preparation for examination
- 15 hours per semester
- Participation in classes
- 39 hours per semester
- Home preparation for classes
- 21 hours per semester
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| prerequisite |
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| Knowledge |
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| The student has a broad knowledge of the current state of scanning and recording technology, image formats and is familiar with the ways of its use. They will gain theoretical knowledge and practical experience of working with a camera and practice practical composition. |
| Prerequisites not specified |
| Prerequisites not specified |
| The student has a broad knowledge of the current state of scanning and recording technology, image formats and is familiar with the ways of its use. They will gain theoretical knowledge and practical experience of working with a camera and practice practical composition. |
| Skills |
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| Prerequisites not specified |
| Prerequisites not specified |
| learning outcomes |
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| Knowledge |
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| - define what is a mask, air perspective, or primary and secondary correction |
| - define what is a mask, air perspective, or primary and secondary correction |
| - explain the basics of image post-production and film trickery |
| - explain the basics of image post-production and film trickery |
| - explain image formats |
| - explain image formats |
| - define ways of using it |
| - define ways of using it |
| - characterize expression and orient oneself in the work |
| - characterize expression and orient oneself in the work |
| Skills |
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| - apply experience working with a camera |
| - apply experience working with a camera |
| - create a work using practical composition |
| - create a work using practical composition |
| - sets colour as a means of expression |
| - sets colour as a means of expression |
| - handles primary and secondary corrections |
| - handles primary and secondary corrections |
| - sets the basics of image post-production and film trickery |
| - sets the basics of image post-production and film trickery |
| teaching methods |
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| Knowledge |
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| Lecturing |
| Lecturing |
| Projection (static, dynamic) |
| Training in motion and work skills |
| Projection (static, dynamic) |
| Practice exercises |
| Practice exercises |
| Training in motion and work skills |
| assessment methods |
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| Composite examination (Written part + oral part) |
| Composite examination (Written part + oral part) |
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Recommended literature
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Beyond the screenplay: a dialectical aproach to dramaturgy. Mcfarland, 2012. ISBN 0786466030.
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BOJANOVSKÝ, V. Základní principy osvětlování.
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Box H.: Set Lighting Technician's Handbook. Film Lighting Equipment, Practice, and Electrical Distribution. Routledge,, 2017. ISBN 1138426156.
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BROWN, B. Lighting. Focal Press. 2012. ISBN 978-0240807638.
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CLEWE, B. Film Production Management: How to Budget, Organize and Successfully Shoot your Film. Routledge, 2017. ISBN 0415788757.
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HONTHANER, B.W. The Complete Film Production Handbook. 2001. ISBN 0240804198.
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Hopkins O. Jak číst architekturu. Grada, 2019. ISBN 978-80-271-0373-7.
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MILLERSON, G. Lighting for TV and Film,Routledge. 2015. ISBN 978-1138130128.
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