Nov
709 Media Room, in collaboration with CES Schoollaunches the first master’s degree entirely dedicated to color correction. It is the Master in Audiovisual Color and Digital Color Grading and it will be held at the CES Audiovisual Campus from April 7, 2014, with a total duration of 300 teaching hours. Here is a summary of the program, the full version of which can be downloaded here.
MASTER’S DEGREE IN AUDIOVISUAL COLOR AND DIGITAL COLOR GRADING
In recent years, digital color grading has gone from being a technique handled by gurus and only accessible to high-budget productions to become another link in the post-production chain of any audiovisual work. The new Log and Raw recording cameras for HDTV and digital cinema allow to obtain a high dynamic range during the color correction process. Far from being simply a process to correct errors, color grading has its own technical and artistic characteristics that make it a step in which the photographic style of the work is enhanced. However, compared to many others, it is still a young discipline and therefore it is difficult to find specific and high-level training, and there is currently no master’s degree in Spanish or English.
The master’s degree in audiovisual color of 709 Media Room – Escuela Ces meets this need worldwide. It will not only handle in a practical way all the current color tools for video and DI but will explain in detail everything that a colorist should also know: calibration, conforming processes, choice of codecs, formats and workflows, types of cameras, lab processes, color correction on set, mastering…At the end of the course the student will be able to be in charge of the color process from before the beginning of the production, collaborating in the construction of the complete workflow, thus minimizing possible problems and maximizing artistic results and production costs.
ENTRANCE REQUIREMENTS
No initial knowledge of color grading is required. However, it is necessary to meet one of the following conditions:
- Completion of a degree in Audiovisual Communication, Fine Arts (audiovisual specialty), Cinema or Telecommunications Engineering (image and sound specialty).
- Completion of higher cycles of Image, Lighting or Production.
- Have completed studies in television and film schools, with a duration of two or more years in the fields of post-production or cinematography.
- Demonstrable work experience of at least five years in the post-production or photography departments.
In order to verify these conditions and ensure the adequate common level of the students in the master’s program, a selection process will be carried out prior to the beginning of the course.
QUALIFICATION
The Master’s Degree in Color Correction is issued by 709 Media Room – Escuela Ces and is private. To obtain it at the end of the course the student must have completed the required class attendance and delivery of the required practices.
DOCUMENTATION TO BE PROVIDED
In addition to the degree, or documentation required above, the applicant must provide a letter of intent detailing his or her experience and knowledge, as well as the reasons for wanting to pursue this master’s degree. Links to reels, portfolios or other online work carried out by the applicant will also be taken into account. Sending physical media (DVDs, tapes, etc.) will not be accepted.
GENERAL OBJECTIVES
- To understand the overall technical and artistic process of image creation and the place of color in it.
- Design and implement a color calibrated workflow from pre-production and shooting to final mastering.
- Learn how to create an artistic visual style in color correction for each production, working with the director of photography.
- Learn the technical basis and processes of color correction regardless of the tools and programs used.
- Manage and understand the different professional color correction programs, in order to know how to choose the most suitable for each project and workflow.
At the end of the course the student will be able to develop the discipline of color correction using the following tools:
- Blackmagic DaVinci Resolve
- FilmLight Baselight
- Quantel Pablo Rio
- SGO Mistika
- Digital Vision Nucoda Film Master
- Assimilate Scratch
- Autodesk Lustre
- Autodesk Smoke
- Adobe Speedgrade
- Avid Symphony/Media Composer
- Adobe Premiere Pro
- Apple Final Cut Pro
EQUIPMENT: Each student will have an individual Mac or PC workstation with the necessary software installed, different color correction monitors and an external color correction controller. The main room also has an HD projector suitable for color correction. During the different seminars the students will also use the necessary equipment for each practice (digital cinema cameras, Grade 1 monitors, DIT stations, various color correction controllers, etc).
PLACES: The main room is located at the CES Audiovisual Campus. Depending on the different seminars, students will travel to different color grading rooms, film labs, projection rooms, sets, etc.
PRICE: 6.950€ if the registration is done before February 1st. 7.950€ after that date.
DISCOUNTS: Special prices for students and alumni of 709 Media Room, Escuela Ces and Universidad Camilo José Cela. Discounts for prompt payment. Consult all at ces@escuelaces.com
PAYMENTS: Reservation fee, 1.000€. Consult the possibility of deferred payment of the remaining amount at ces@escuelaces.com.
DURATION: 300 hours
DATES: Beginning April 7, 2014 until July 31, 2014. The deadline for registration is March 7, 2014 at 12 noon. The list of those admitted will be made public on March 10, 2014.
SCHEDULE: Afternoon shift from 16 to 20:30h from Monday to Thursday. Fridays will be dedicated to presentations, screenings and tutorials.
SPACES: Minimum of 10 and maximum of 16
You can download the complete program here.
CONTENTS
The master’s degree is structured in the seminars detailed below. The order of the seminars will be arranged according to the syllabus and the availability of the faculty.
COLOR CORRECTION WITH BLACKMAGIC DAVINCI RESOLVE
Handling one of the most complete and popular color correction programs.
COLOR CORRECTION WITH FILMLIGHT BASELIGHT
Handling one of the best color correction tools for film, prime-time television and advertising.
COLOR CORRECTION WITH SGO MISTIKA
Color correction with one of the best international finishing tools.
COLOR CORRECTION WITH ASSIMILATE SCRATCH
Color correction with the standard tool on set and in many postproduction suites.
COLOR CORRECTION WITH ADOBE SPEEDGRADE CC
Color correction with the tool included in the Adobe suite.
COLOR CORRECTION WITH AUTODESK SMOKE 2013
Color and finishing with the Smoke 2013 editor.
COLOR CORRECTION WITH DIGITAL VISION NUCODA FILM MASTER
I work with the professional color correction tool Nucoda Film Master.
COLOR CORRECTION WITH QUANTEL PABLO RIO
I work with the professional color correction tool Pablo Rio.
COLOR CORRECTION WITH AUTODESK LUSTRE 2013
I work with the professional color correction tool Lustre.
COLOR CORRECTION WITH AVID SYMPHONY
Color correction with one of the fastest programs for television.
CALIBRATION AND COLOR MANAGEMENT
Calibration of monitors, projectors and video color correction systems. Color consistency in all stages of audiovisual production.
CODECS, FORMATS AND WORKFLOWS
Establishes the technical cinematographic basis for understanding future color correction processes.
ADOBE PREMIERE PRO CC WORKFLOWS
Basic handling of the editing tool Premiere Pro CC to teach the colorist to be able to shape projects in it.
WORKFLOWS ON APPLE FINAL CUT PRO X
Basic handling of the Final Cut Pro X editing tool to teach the colorist to be able to shape projects in it.
AVID MEDIA COMPOSER 7 WORKFLOWS
Basic handling of the Media Composer 7 editing tool to teach the colorist to be able to shape projects in it.
COLOR REPRESENTATION MODELS
Study of color from the physical point of view and its different representation models.
PSYCHOLOGY OF COLOR
Analysis of the influence of different colors on human psychology through artistic forms: architecture, graphics, painting, etc.
COLOR IN PAINTING
Examples of the use of color in different painting techniques and its possible emulation in digital color correction.
CAMERA AND CINEMATOGRAPHIC LIGHTING
A colorist works with light just as a cinematographer does, knowing the cameras and the way to light on set will help him/her to complement that work in the postproduction room.
DIT AND COLOR CORRECTION ON SET
The colorist must be able to advise on set on the final look of the image if necessary and have communication with the DITs on set.
LABORATORY AND DIGITAL INTERMEDIATE
Processes carried out in the creation of the photochemical positive from digital (DI).
DCP CREATION
Theory and practice of DCP master creation.
MASTERING FOR INTERNET and HDTV
Keys to maintaining signal quality and color in a webcast and broadcast process.
S3D STEREOSCOPIC SHOOTING
Introduction to stereoscopy.
COLOR CORRECTION IN S3D STEREOSCOPY
Parameter setting and color correction with the most widely used tool for stereoscopy: Mistika.
MASTERCLASSES WITH COLORISTS AND DIRECTORS OF PHOTOGRAPHY
In these masterclasses different colorists and directors of photography will analyze their own projects and those of others to establish technical and artistic working keys.
TUTORIALS, VISIONING AND TECHNOLOGICAL PRESENTATIONS
Students will have weekly support hours for the realization of practices, tutorials, revision of work, audiovisual material viewing, visits to places of interest and other activities that are useful for their training. These hours are mandatory.
FINAL PRACTICES
At the end of the course, students must carry out a complete color correction process (conforming, color grading, checking and exporting) of a real audiovisual project that will be established by the professors.
MASTER COORDINATOR: Luis Ochoa.
Luis Ochoa is a colorist, postproducer and director of photography. In recent years he has worked as a colorist in London, color grading projects for the London Film School, and in Spain color grading feature films (Cecilia y Juan), documentaries (Por la gracia de Luis) and television (Tierra de Lobos). He has coordinated the postproduction of numerous projects for Avid Technology. He is an ACI (Avid Certified Instructor) and a Sony ICE post-production expert. Since 2004 he has been teaching post-production and color correction in multiple national and international centers.
TEACHERS
Some of the professors that make up the panel of the Master of audiovisual color are:
Alberto Cayuela. He has been working as a digital colorist for several years. During the development of his professional career Cayuela has worked on a wide variety of color correction systems such as Baselight, Nucoda, DaVinci Resolve or Apple Color. He has worked as a colorist in television (“Cuéntame como pasó”, “Un país para comérselo”), feature films (“Clara no es nombre de mujer”, “Ni pies ni cabeza”, “Lo que ha llovido”), documentaries (“La fuente de la vida”), music videos for bands like Carlos Jean or Leticia Labouat or advertising for brands like Coca Cola or Estrella de Galicia. He is currently color grading the 13th season of “Cuéntame cómo pasó” and the feature film “2 francs 40pts” in the Baselight correction system.
Ricardo Posada. Before focusing his career in color correction, Ricardo Posada worked professionally as a 3D animator, digital compositor with Mistika and visual effects supervisor in productions for major advertising brands, making him an unusually complete professional with a wide scope in the post-production field and with an accumulated experience of 15 years of work. He is a senior operator of the SGO Mistika system, and for the last ten years, director of the audiovisual services company Quimera.
Sergio Ochoa. Colorist, postproducer and stereographer. He has participated as supervisor and postproducer in stereoscopic projects such as “Axterix and Obelix at his Majesty’s service” or “Barcelona 3D”.
Daniel Pérez-Llebot. Post-production supervisor, visual effects and digital services on set. Graduated in systems engineering, he has worked as 3D animator, visual compositor (in Flame, Avid DS, Nuke systems among others) or colorist (telecine, Scratch…) for companies like Softimage, Assimilate, Cinecolor … Having worked in Buenos Aires, Caracas, Miami, New York and many other places in Latin America, a little more than a year ago Daniel Pérez opened in Madrid a new company dedicated to offer equipment rental and Digital Lab services on set: Whyonset.
Rafa Roche, cinematographer specializing in digital cinema and stereoscopy is one of the leading figures in digital cinema in Spain. He is a member of the AEC and ACTV, Independent certified Expert of Sony and partner of Ars Stereoscopica. His more than 20 years of experience in the industry and the last 10 years working as a director of photography have led him to work in feature films, documentaries, television and advertising and to be one of the gurus of digital photography in Spain. Great communicator, he has developed his teaching skills in numerous centers and courses nationwide and through his own training project, Roche HD.
Jaime Climet. Colorist and visual compositor in the post-production company “Gigantes y molinos” in which he has colorized two feature films (The Simmetry of Love and Impávido), several videoclips and commercials. He is colorist in series such as “Tierra de Lobos” and “El don de Alba”. He has also worked in advertising as visual compositor and postproduction coordinator for brands such as Garnier, Nivea, Adolfo Domínguez, Microsoft or EA. He did the finishing and color for the Goya award-winning documentary short film “Héroes, no hacen falta alas para volar” (Heroes, wings are not needed to fly).
José Carlos Panadero. Adobe Certified Instructor. Apple Mentor Trainer. Post-producer and colorist in spots for Coca Cola, Chevrolet and Hyundai.
Fernando Alfonsín. Post-producer, editor and colorist with more than ten years of experience. Expert in DCP mastering.
Javier Urosas. He studied photography in Madrid, showing a special interest in the nature of shadow and the laboratory. For ten years he worked at Tele 5, going through all the post-production processes (editing, montage and composition) while combining this activity with advertising and fashion photography. Shortly after, he entered the world of 3D, working as a technical director on various continuity projects, such as those of Tele 5 and, above all, Canal +. His move into filmmaking arose from his need to tell stories and once again provided him with a link to photography. He has won awards at different festivals (El Sol, Laus, C de C, Fiap…) and is developing different fiction projects for the USA and Latin America.
Jorge “Yoyi” Molina has been active in the audiovisual industry since the late 90’s as an advertising director, effects technician, special effects technician, colorist, director of photography and technical advisor. As a director he has made commercials for clients such as Ubisoft, Loewe or the Spanish Army and numerous music videos for artists such as Amparanoia or Ariel Rot. As technical head of post-production and special effects he has recently directed the series “Herederos” and “Fuera de Lugar” (TVE/Cuarzo), the film “El Frasco”, the documentary “GITANOS DE BUENOS AIRES” (TVE/Continental) and the award-winning sci-fi short film “CÍCLOPE” (Ignoto Planet). He has also worked as a color corrector with DaVinci Resolve in the second season of “Tierra de lobos”, shot with Arri Alexa.
Fernando Ochoa. He is the architect responsible for several works in Madrid and Barcelona. Since 2000 he has been teaching morphology and color at the Istituto Europeo di Desigh and is a professor of the international master of architecture at the University of Alcala de Henares.
Jesús Haro. Director of photography. After working for several years at Kodak Spain, he was in charge of the dailies and color department on set at the Deluxe laboratory in Madrid. He is the author of the book “Mi próxima película es digital, y ahora que?
