Law 56/2003, of 16 December, of Employment, establishes, in its article 3, that it corresponds to the Government, on a proposal of the current Ministry of Labour and Immigration, and prior report of this Ministry to the Sectoral Conference of Employment and Industrial Affairs, the elaboration and approval of the regulatory provisions in relation to, among others, occupational and continuing vocational training in the State field, as well as the development of such management.

Article 26.1 of Law 56/2003 of 16 December 2003, following the amendment by Royal Decree-Law 3/2011 of 18 February 2011 of urgent measures for the improvement of employability and reform of policies In the field of employment, it is concerned with the vocational training subsystem for employment, in which, since the entry into force of Royal Decree 395/2007 of 23 March, which regulates it, the arrangements for vocational training in the field of employment have been integrated labour-training and continuing training. This subsystem, according to the legal provisions laid down in the Organic Law of the European Communities, of Qualifications and Vocational Training, will be carried out in the framework of the National System of Qualifications and Vocational Training. of the National Employment System.

For its part, the Organic Law of June 19, the Organic Law of 19, understands the National System of Qualifications and Vocational Training as the set of instruments and actions necessary to promote and develop the integration of offers of vocational training and the assessment and accreditation of professional skills. The main instruments of this System are the National Catalogue of Professional Qualifications and the procedure for recognition, evaluation, accreditation and registration of the same. Article 8 of the Organic Law of 19 June provides that certificates of professional competence prove the professional qualifications of those who have obtained them and that they will be issued by the competent administration, with a view to official and valid throughout the national territory. In addition, Article 10.1 indicates that the General Administration of the State, in accordance with the provisions of Article 149.1.30. and 7. of the Constitution and after consulting the General Council of Vocational Training, shall determine the qualifications and certificates of professionalism, which shall constitute the offers of vocational training referred to in the National Catalogue of Professional Qualifications.

The National Catalogue of Professional Qualifications, according to Article 3.3 of Royal Decree 1128/2003 of 5 September, which regulates the National Catalogue of Professional Qualifications, in the wording given to the By the same token, Royal Decree 1416/2005 of 25 November provides the basis for drawing up the training offer leading to the acquisition of vocational training qualifications and certificates of professionalism and the modular training offer. the cumulative associated with a competition unit, as well as other training offers adapted to collectives with specific needs. In accordance with Article 8.5 of the same royal decree, the training offer of certificates of professionalism shall be in accordance with the minimum quality indicators and requirements which guarantee the fundamental aspects of a system. training, to be established by mutual agreement between the educational and labour administrations, after consultation of the General Council for Vocational Training.

Royal Decree 34/2008 of 18 January, governing certificates of professionalism, as amended by Royal Decree 1675/2010 of 10 December 2010, has updated, in line with the regulations mentioned above, the regulation of the certificates set out in the previous Royal Decree 1506/2003 of 28 November 2003 laying down the guidelines for certificates of professionalism, which have been repealed.

In that Royal Decree 34/2008, as amended by Royal Decree 1675/2010, the structure and content of the certificates of professionalism are defined, from the National Catalogue of Professional Qualifications and the guidelines established by the European Union, and it is established that the Public Service of State Employment, with the collaboration of the National Focal Points, will prepare and update the certificates of professionalism, which will be approved by royal decree.

In this regulatory framework it is appropriate for the Government to establish five certificates of professionalism of the professional family Image and sound of the professional areas of audiovisual production and photographic productions incorporate into the National Directory of certificates of professionalism by levels of professional qualification, in the light of the professional competence required by the production activities, as set out in Article 4.4 and Annex II of the Royal Decree 1128/2003, cited above.

With the entry into force of this royal decree, the new certificate of professionalism "Montaje and postproduction of audiovisual" which in it is established, replaces the certificate of professionalism of the occupation of Publisher-Image Monter, set out in Royal Decree 945/1997 of 20 June, which is therefore repealed.

With the entry into force of this royal decree, the new certificate of professionalism "Chamber of cinema, video and television" which in it is established, replaces the certificate of professionalism of the occupation of Chamber, established in Royal Decree 944/1997 of 20 June, which is consequently repealed.

With the entry into force of this royal decree, the new certificate of professionalism "photographic production" that in it is established, replaces the certificate of professionalism of the occupation of Photographer, established in Royal Decree 948/97 of 20 June 1997, which is therefore repealed.

With the entry into force of this royal decree, the new certificate of professionalism "Development of interactive multimedia audiovisual products", which in the same one is established, replaces the certificate of professionalism of the occupation of the audiovisual technician, set out in Royal Decree 947/1997 of 20 June, which is therefore repealed.

In the process of drawing up this royal decree has issued report the General Council of Vocational Training, the General Council of the National Employment System and has been informed the Sectoral Conference of Employment and Labor.

In its virtue, on the proposal of the Minister of Labour and Immigration and after deliberation of the Council of Ministers at its meeting of May 20, 2011,

DISPONGO:

Article 1. Object and scope of application.

This royal decree aims to establish five certificates of professionalism of the professional family Image and sound that are included in the National Directory of certificates of professionalism, regulated by the Royal Decree 34/2008, of 18 January, for which certificates of professionalism are regulated, as amended by Royal Decree 1675/2010 of 10 December.

Such certificates of professionalism are official and valid throughout the national territory and do not constitute a regulation of professional practice.

Article 2. Certificates of professionalism that are established.

The certificates of professionalism that are established correspond to the professional family Image and sound and are the ones listed below, the specifications of which are described in the following annexes:

Professional family: Image and sound.

Annex I. Assistance to the cinematographic and audiovisual works management-Level 3.

Annex II. Photographic Production-Level 3.

Annex III. Film, video and television camera-Level 3.

Annex IV. Audiovisual assembly and post-production-Level 3.

Annex V. Development of interactive multimedia audiovisual products-Level 3.

Article 3. Structure and content.

The content of each professionalism certificate responds to the structure set out in the following sections:

(a) In paragraph I: Identification of the certificate of professionalism.

(b) In paragraph II: Professional profile of the certificate of professionalism.

(c) In paragraph III: Training of the certificate of professionalism.

(d) In paragraph IV: Prescriptions of trainers.

e) In paragraph V: Minimum requirements for spaces, facilities and equipment.

Article 4. Requirements for access to the training of certificates of professionalism.

1. The competent labour administration shall be responsible for verifying that the trainees have the training and professional qualifications to take advantage of the training in accordance with the terms set out in

following paragraphs.

2. In order to qualify for the training of the training modules for certificates of professionalism in vocational qualification levels 2 and 3, students must meet one of the following requirements:

a) Be in possession of the Graduate Degree in Secondary Education Required for Level 2 or Bachelor's degree for Level 3.

b) Be in possession of a certificate of professionalism of the same level of the module or training modules and/or the certificate of professionalism to which you wish to access.

(c) Be in possession of a level 1 certificate of professionalism of the same family and professional area for level 2 or of a level 2 professionalism certificate of the same family and professional area for level 3.

d) Meet the academic requirement of access to mid-grade training cycles for level 2 or higher grade level 3, or have exceeded the corresponding access tests regulated by the administrations education.

e) Having passed the university access test for over 25 years and/or 45 years.

f) Having sufficient training or professional knowledge to enable training to be used.

Article 5. Trainers.

1. The requirements on training and professional experience for the delivery of certificates of professionalism are those set out in paragraph IV of each certificate of professionalism and must be complied with both in person and in person. distance.

2. In accordance with Article 13.3 of Royal Decree 34/2008 of 18 January, they may be recruited as experts for the provision of certain training modules specified in paragraph IV of each of the Annexes to the certificates of professionalism, qualified professionals with professional experience in the field of the unit of competence to which the module is associated.

3. In order to prove the required teaching competence, the trainer or expert must be in possession of the certificate of professionalism of occupational trainer or equivalent training in didactic training methodology for adults.

The requirement set out in the preceding paragraph will be exempt:

(a) Those who are in possession of the official university degrees of graduate in Pedagogy, Psychopedagogy or Master in any of their specialties, of a graduate degree in the field of the Psychology or Pedagogy, or an official postgraduate degree in the fields mentioned above.

b) Those who hold an official university degree other than those referred to in the preceding paragraph and who are also in possession of the Certificate of Pedagogical Aptitude or Professional Specialization Didactics and the Certificate of Pedagogical Qualification. In addition, the holders of the Master's Master's degree for the exercise of the regulated Professions of the compulsory secondary education and the secondary school, vocational training and the official schools of the Languages.

(c) Those who credit a proven teaching experience of at least 600 hours in the last seven years in vocational training for employment or the education system. "

4. Trainers who provide distance training must have training and experience in this mode, in the use of information and communication technologies, as well as to meet the specific requirements set out for each of them. certificate of professionalism. To this end, the competent authorities shall develop specific programmes and actions for the training of these trainers.

Article 6. Contracts for training.

1. The theoretical training of contracts for training may be carried out at a distance up to the maximum of hours likely to be developed in this modality, which is established for each training module in the certificate of professionalism.

2. The training of training modules which are not developed at a distance may be carried out in the workplace or in face-to-face training.

Article 7. Distance learning.

1. Where the training module includes distance learning, it shall be carried out with didactic supports authorised by the competent labour administration to enable a system-based learning process for the participant to be met by the accessibility and design requirements for all and will necessarily be complemented with tutorial assistance.

2. The training of the training modules taught through distance learning will be organised in groups of up to 25 participants.

3. Training modules which, in their entirety, are developed at a distance will require at least one final test of an in-person nature.

Article 8. Centers authorized for your partition.

1. Training centres and institutions which provide training leading to a certificate of professionalism must comply with the requirements of trainers and the minimum requirements for spaces, facilities and equipment. established in each of the training modules which constitute the certificate of professionalism.

2. Centres providing exclusively the theoretical training of contracts for training shall be exempt from the requirements on spaces, facilities and equipment as laid down in the previous paragraph, in any event to be ensured by the institutions. persons with disabilities the necessary technological supports and the elimination of potential physical and communication barriers.

Article 9. Correspondence with vocational training qualifications.

The accreditation of the units of competence obtained through the improvement of the professional modules of the vocational training qualifications will provide the effects of exemption from the module or training modules of the certificates of professionalism associated with those competition units set out in this royal decree.

Additional disposition first. Level of the certificate of professionalism in the European Qualifications Framework.

Once the relationship between the national qualifications framework and the European qualifications framework is established, the corresponding level of professionalism certificates set out in this royal decree will be determined. within the European Qualifications Framework.

Additional provision second. Equivalences with previous professionalism certificates.

The equivalence to all effects of the following certificates of professionalism is declared:

Certificates of professionalism to be repealed

Equivalent professionalism
Royal Decree 945/1997, of 20 June, establishing the certificate of professionalism of the occupation Editor-Image Monter.	Assembly and post-production of audiovisual.
Decree 944/1997, 20 of June, which establishes the certificate of professionalism of the occupation of Camera Operator.	Chamber of cinema, video and television
	Photo production
Royal Decree 947/1997 of 20 June, establishing the certificate of professionalism of the Audiovisual technician occupation.	Developing interactive multimedia audiovisual products

First transient disposition. Modification of training plans and training actions.

In the training plans and in the training actions that are already approved, under the Order TAS, 718/2008, of March 7, for which the Royal Decree 395/2007, of March 23, is developed, for which the subsystem is regulated In the case of training for employment, training in the field of supply and the establishment of the regulatory bases for the award of public grants for financing, on the date of entry into force of this royal decree, which include training associated with the certificates of professionalism which are now repealed, the training may be replaced by the which is associated with the certificates of professionalism declared equivalent in the second provision, subject to the approval of the Administration which approved it and provided that the requirements of the trainers and the requirements are met minimum spaces, facilities and equipment set out in the certificate.

Second transient disposition. Low in the Specialty File.

The specialties corresponding to the certificates of professionalism repealed will cause low in the file of specialties from the nine months after the entry into force of this royal decree. During this period these certificates shall remain valid for the purposes specified in this royal decree. In any event, the training actions linked to these certificates must be initiated before the end of the nine-month period.

Transitional provision third. Request for the issue of the repealed certificates of professionalism.

1. Persons who, as provided for in the first transitional provision of Royal Decree 34/2008 of 18 January, have completed with a positive assessment the training associated with one of the certificates of professionalism of which they are repealed, during the life of the same, they shall have a period of five years to request their expedition, to count from the entry into force of the present royal decree.

2. They may also apply for the issue within five years of completion with a positive assessment of the training of such certificates of professionalism:

a) People who, having taken part of that formation during the actual decree that is now repealed, complete the same after their repeal.

b) Persons who undertake the training of these certificates of professionalism under the training plans and the training actions that are already approved at the date of entry into force of this royal decree, by virtue of the Order TAS 718/2008, dated March 7.

Transitional disposition fourth. Provisional accreditation of centres.

The training centres which at the entry into force of this royal decree were included in the registers of the competent authorities and approved to provide training in the training courses corresponding to one or more of the certificates of professionalism which are now repealed, shall be deemed to be provisionally accredited for the purposes of the distribution of training actions linked to the certificates of professionalism established in this royal Decree and declared equivalent in the second, previous provision authorisation from the competent authority. This accreditation will have effects for one year from the entry into force of this royal decree and until the completion, if any, of the approved training actions. After this period, in order to be able to provide training aimed at obtaining the certificates of professionalism established in this royal decree, the training centres must ask the competent authorities for their accreditation, which must comply with the requirements set out in the certificates.

Single repeal provision. Regulatory repeal.

The Royal Decree 945/1997 of 20 June, establishing the certificate of professionalism of the occupation of Editor-Image Monter, Royal Decree 944/1997 of 20 June, establishing the Certificate of professionalism of the occupation of Chamber Operator, Royal Decree 948/1997, of 20 June, establishing the certificate of professionalism of the occupation of Photographer and Royal Decree 947/1997, of 20 June, for which the certificate of professionalism of the occupation of the audiovisual technician is established.

Final disposition first. Competence title.

This Royal Decree is dictated by the powers conferred on the State in Article 149.1.1., 7. and 30. of the Spanish Constitution, which attributes to the State exclusive competence for the regulation of the basic conditions guaranteeing the equality of all Spaniards in the exercise of rights and in the fulfilment of constitutional duties; labour law; and the regulation of conditions for obtaining, issuing and approving of academic and professional qualifications and basic standards for the development of Article 27 of the Constitution, in order to ensure compliance with the obligations of the public authorities in this field.

Final disposition second. Regulatory development.

The Minister of Labor and Immigration is authorized to dictate how many provisions are necessary for the development of this royal decree.

Final disposition third. Entry into force.

This royal decree will enter into force on the day following its publication in the "Official State Gazette".

Given in Madrid, 20 May 2011.

JOHN CARLOS R.

The Minister of Labor and Immigration,

VALERIAN GOMEZ SANCHEZ

ANNEX I

I. IDENTIFICATION OF THE CERTIFICATE OF PROFESSIONALISM

denomination: ATTENDANCE AT THE FILM AND AUDIOVISUAL WORKS MANAGEMENT.

Code: IMSV0408

Professional Family: Image and Sound

Professional area: Audiovisual production

Professional qualification level: 3

Professional reference qualification:

IMS220_3. Assistance to the cinematographic and audiovisual works management (RD 1228/2006 of 27 October)

Relationship of competency units that configure the certificate of professionalism:

UC0700_3: Determine the resources required for the development of the audiovisual project.

UC0701_3: Coordinate the availability and adequacy of the human, technical, and artistic resources required for filming/recording.

UC0702_3: Organize and control filming/recording and post-production processing.

General competition:

Attend the planning, organization and supervision of the preparation and execution of cinematographic projects or audiovisual works from the script to the assembly and post-production, determining and coordinating the media technical, artistic, human and material necessary for their achievement in time and with the established quality, adjusting to the technical, formal and artistic criteria marked.

Professional Environment:

Professional scope:

Develops its professional activity in the places and spaces indicated (study, "set" of recording, locations) in film, television, advertising and other producers. Self-employed or self-employed.

Productive Sectors:

Film producers. Public and private television stations, at national, regional or local level, whatever their broadcasting system. Television producers. Video producers. Advertising producers and others.

Occupations or related jobs:

2934.1012 Film address assistant.

First Address Assistant in Cinema.

Second Address Assistant in Cinema.

Realization helper in videographic products.

Duration of the associated training: 440 hours

Relationship of training modules and training units:

MF0700_3: Planning of the cinematographic project or audiovisual work. (120 hours)

• UF0667: Film or audiovisual project. (80 hours)

• UF0668: Scenic and human resources forecast. (40 hours)

MF0701_3: Elaboration of the plan of shooting and coordination of the resources for the filming/recording. (120 hours)

• UF0669: Shooting and human resources organization. (70 hours)

• UF0670: Technical and material resources required for filming/recording. (50 hours)

MF0702_3: Organization and control of filming/recording and post-production processing. (120 hours)

• UF0671: Organization and control of shooting/recording (70 hours)

• UF0672: Organization and control of post-production process (50 hours)

MP0138: Module of professional non-working practices for film and audiovisual works assistance (80 hours)

II. PROFESSIONAL PROFILE OF THE CERTIFICATE OF PROFESSIONALISM

Competition Unit 1

denomination: DETERMINING THE RESOURCES REQUIRED FOR THE DEVELOPMENT OF THE AUDIOVISUAL PROJECT

Level: 3

Code: UC0700_3

Professional realizations and realization criteria

RP1: Define and optimize resources from the analysis of the literary script

CR1.1 The type and intentionality of the narration, film of length, medium or short film, "spot" of advertising, "video clip", documentary, "tv movie", teleserie and others, are identified to establish their characteristics particular.

CR1.2 The formal and aesthetic aspects of the project are identified and defined, according to: historical and artistic epochs and styles, expressive aspects of light, sound and scenery.

CR1.3 Reading the literary script allows you to identify and establish the human, material, technical, and artistic resource needs required to perform the project.

RP2: Determine the most appropriate technical, formal and aesthetic elements to optimize resources from the technical script and the storyboard.

CR2.1 The necessary equipment and materials are defined and related, according to the technical means, through the elaboration of lists of technical needs, with all the necessary information to coordinate the different Teams involved, distinguishing:

-Image and sound recording and fetching equipment.

-Equipment and special camera displacement machinery.

-Lighting equipment.

-Support types (photosensitive, electromagnetic), recording equipment, and formats.

-Visual and sound visual documentation, according to literary script.

-Video and sound assembly/editing and post production equipment.

CR2.2 Scenic spaces and their features are identified, to detect the specific needs of:

-Own or foreign studies.

-Natural or built-out decorations.

-Structures and auxiliary equipment.

CR2.3 The characteristics and number of the characters are identified according to the Address criteria.

CR2.4 The costume and characterization characteristics of the interpreters or participants are identified according to the aesthetic aspects of the project.

CR2.5 The final determination of the technical elements is performed in coordination with the other professionals involved and with the production team.

RP3: Propose the most appropriate locations to the intentionality of the film project or audiovisual work.

CR3.1 The locations are identified, studying the script, defining their number, main characteristics, and needs for the feasibility of the shooting plan.

CR3.2 The examination of the locations takes into account the reports of the other members of the technical team, and ensures the suitability and availability to meet the needs of performance in terms of scenic space, lighting, sound, camera location, power supply and special media.

CR3.3 The information generated about possible locations is collected in a report or tab, so that it allows an objective assessment by the director and producer.

RP4: Define the characteristics of the actor tests to organize according to the direction instructions, drawing up conclusions and data parts.

CR4.1 From the breakdown of characters and their characteristics, it establishes the technical and artistic needs for the actors ' tests, which are communicated to Production for the citations of the staff. artistic.

CR4.2 The characterization, makeup, hairdressing, and costume tests for all actors are monitored in order to determine times based on the visual and expressive results sought.

CR4.3 It is monitored that the actors are correctly informed of the dates and times of their participation, having the day addresses, telephones, and other data, in order to be able to locate them.

CR4.4 The organization of the essays of actors and specialists (technical and artistic) and readings of the artistic script are optimized for the achievement of a better staging.

CR4.5 The reading of the technical script with all department heads is organized in order to solve all the problems that may arise during the shoot.

CR4.6 The conclusions and individual data parts obtained from the actors ' tests are elaborated.

Professional Context

Production media

Computers. Specific software. Office material.

Products and results

Book of breakdown of artistic and technical needs by sequences. List of artistic and technical needs by departments. Parts of conclusions. Player and location tabs.

Information used or generated

Budget. Literary script. Storyboard. Books. Photographs, recordings of locations and actors. Relationship of technical and human needs. Relationship of characters.

Competition Unit 2

Denomination: COORDINATE THE AVAILABILITY AND ADEQUACY OF THE HUMAN, TECHNICAL, AND ARTISTIC RESOURCES REQUIRED FOR ROSE/WRITE

Level: 3

Code: UC0701_3

Professional realizations and realization criteria

RP1: Assist in the elaboration of the filming plan and the documentation and information needed for its execution.

CR1.1 The filming or recording plan is manually crafted and with the help of IT tools, following the direction guidelines, optimizing times, spaces and resources.

CR1.2 The planes are grouped according to their spatial continuity, the fields of light, the narrative, their typology, the difficulty of execution or the availability of interpreters, among other criteria.

CR1.3 The filming or recording plan is coordinated with the work plan, developed by the production team, with the possible use of "cover-set".

CR1.4 From the technical script, the drawings that correspond to each interpreter are identified and the parts are elaborated.

CR1.5 From the technical script, the drawings are specified that correspond to each day of service, taking into account technical criteria.

RP2: Coordinate and verify the preparation of technical and material resources for cinematographic or audiovisual work, as well as the elaboration of intermediate products, ensuring their suitability, availability and operativity.

CR2.1 Decorated, atrezzo, auxiliary machinery, stage effects machinery, are the required and respond to the aesthetic and expressive characteristics.

CR2.2 The image and sound recording and reproduction elements are those specified and appropriate to narrative and expressive intentionality.

CR2.3 The responsible professionals are checked to ensure that the technical parameters of the equipment are correct.

CR2.4 Lighting elements respond to narrative and expressive intentionality.

CR2.5 The completion of intermediate products necessary for the development of production (photomontages, videos, or others that may be required) is coordinated.

RP3: Coordinate the human resources (technical and artistic) in charge that are involved in the execution of the film product or audiovisual work, according to the criteria established by the management.

CR3.1 It is proven that the technical teams have the information of the phases of the process in which they are involved, their tasks and they have the necessary documentation to develop their work properly.

CR3.2 During the tests the correct execution of the tasks of the technical team is checked, in the established times and with the required quality, making the necessary corrections.

CR3.3 In the essays, the actions of the artistic personnel are specified and directed, marking positions and movements when necessary.

CR3.4 The decisions and changes decided in the trials are recorded, to be taken into account later during the filming or recording.

Professional Context

Production media

Computers. Specific software. Office material.

Products and results

Citation Sheets, Shooting Orders, Shooting Plan. Daily parts of work.

Information used or generated

Budget. Technical script. "Storyboard." Work plan. Listings, technical reports, parts.

Competition Unit 3

Denomination: ORGANIZE AND CONTROL ROSE/WRITE AND POST-PRODUCTION PROCESSING

Level: 3

Code: UC0702_3

Professional realizations and realization criteria

RP1: Verify that the media and the technical and artistic personnel are prepared, depending on the order of the day and according to the deadlines set for the performance of the filming/recording.

CR1.1 The incorporation of the technicians to the work and their tasks, according to the plan and schedule: makeup artists, machinists, electric, among others.

CR1.2 The actors are received and verified to be made up and dressed as planned for that session.

CR1.3 All items needed for the takeover are available, perfectly located and arranged correctly.

RP2: Organize the shooting/recording of each plane according to the criteria or objectives set, to achieve the required narrative, technical and formal intentionality.

CR2.1 The anticipation of the planes to be rolled has been communicated to all the equipment involved in the filming/recording, so that the preparation of each plane takes place in established times and corresponds to the plan of filming.

CR2.2 The actions of the figuration are directed and coordinated so that they conform to the intentionality of the hyphen, to the established phases, and to execute correctly.

CR2.3 The different members of the technical team are aware of their intervention well in advance and using the established codes and guidelines.

CR2.4 The correct work order is maintained, giving the relevant orders (explanation of the plane to be rolled, technical and artistic needs, needs of street courts according to camera shot, silence, sound, action and others) so that the director and other departments can develop their work.

CR2.5 The director's verification of the takeover is expected to continue with the shooting/recording.

CR2.6 The address of a second drive is assumed when the director indicates it.

CR2.7 The criteria for the prevention of occupational risks apply, in their field of activity, according to established guidelines.

RP3: Coordinate the workday to be fluid and adjust to the planned plans, preparing the tasks of successive days, until the end of the filming/recording process.

CR3.1 The job plan compliance control is the one expected in the filming plan and in the case of incidents to do so.

CR3.2 Stops and cuts are effectively communicated (rest, food, among others)

CR3.3 Together with the Production team the work order is worked out for the next day.

CR3.4 Within the daily shooting plan, the use of "cover-set" is considered.

CR3.5 The criteria for the prevention of occupational risks apply, in their field of activity, according to established guidelines.

RP4: Dispose of all the audiovisual material needed for post-production, ordering it and identifying it to have a mounting plan that ensures a smooth work.

CR4.1 Video tapes are minualised with precision, indicating codes of times, content, type of plane, duration, and technical and formal incidents.

CR4.2 The transfer to the post-production format is organized, monitoring all material that is not compatible.

CR4.3 The post-production part collects all the information regarding the formal aspects of content and art of all the audiovisual material, working in a concise, precise and recognizable way by any member of the realization equipment.

RP5: Understand the needs of the assembly and suggest technical-artistic alternatives to facilitate the achievement of the objectives of the work.

CR5.1 The plane, music, sound effect, graphics, or other requested elements are identified and their location and time code is communicated.

CR5.2 The audiovisual material is collected in detail, to effectively address the requests of the performer.

CR5.3 During the assembly are proposed alternatives, effects, transitions based on their knowledge of the audiovisual material.

Professional Context

Production media

Computers. Specific software. Office material. Megaphone. 'Walkie-talkies'. Mobile phones.

Products and results

Part of post-production. Daily work orders. Weekly advances. Reports of the day, Parts of continuity. Relationship of post-production needs. Minuts.

Information used or generated

Technical Script. Work plan. Breakdown of plans. Work order. Site sheets. Citations. Mount dash.

III. TRAINING OF THE CERTIFICATE OF PROFESSIONALISM

FORMATIVE MODULE 1

Naming: PLANNING OF THE FILM PROJECT OR AUDIOVISUAL WORK

Code: MF0700_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0700_3. Determine the resources required for the development of the audiovisual project.

Duration: 120 hours

FORMATIVE UNIT 1

Naming: CINEMATOGRAPHIC OR AUDIOVISUAL PROJECT

Code: UF0667

Duration: 80 hours

Competition reference: This training unit corresponds to RP1 and RP2 in terms of equipment, materials, technical elements, and characters.

Assessment Capabilities and Criteria

C1: Relating the production processes of cinematographic and audiovisual works with the companies and professional teams involved in each phase of the process and its characteristic products and/or services.

CE1.1 Describe the different phases of the production process of a cinematographic work and those of an audiovisual work, identifying the technical personnel involved, their functions and the technologies employed in each of the phases.

CE1.2 Specify the types and functions of the different companies and professional teams involved in the film or audiovisual production process.

CE1.3 Describe and relate, in functional organizational charts, the job positions characteristic of a film or audiovisual production.

CE1.4 Distinguished and describe the different types of products produced by companies engaged in the production of cinematographic or audiovisual works.

CE1.5 To differentiate the type and characteristics of the information, documentation, and the input and output products of each phase of the film production process or of audiovisual works.

C2: Set up effective visual messages, based on the identification of the structural elements and formal and expressive codes of the different genres and video and film typologies.

CE2.1 Value the formal and aesthetic criteria of the project, taking into account the period aspects, historical references, artistic styles, lighting styles, nature of the sound segment and scenery.

CE2.2 List the elements of the image by relating their plastic, functional, semantic and technical qualities.

CE2.3 Describe the typology of frames and angles, their expressive and aesthetic value, as well as their function in the elaboration of visual messages.

CE2.4 Explain visual expression and composition procedures: proportions of the format, the point of view, depth and distance, synchronization and movement, analyzing the most frequent image compositions and distinguishing the elements that define them (lines, volumes, color, among others), their symbolic characteristics (balance, rhythm, harmony, among others), their disposition and their proportions.

CE2.5 From the display and analysis of an advertising spot from the image composition perspective:

-Apply the standardized techniques in the framing composition to address the point of interest: the placement of the motif, the rule of the thirds, the aurea division, among others.

-Apply the basic compositional balance rules to the character location of a frame or a scenic space.

-Identify the basic qualities of the objects as well as the relationships that are established between them and the composition techniques that allow them to be underlined or dissipated.

-Apply the techniques of how to generate dynamism, create the feeling of depth and remoteness by organizing the structural elements of the image (relationship, juxtaposition).

CE2.6 Describe and explain the formal and expressive features of different camera movements (panoramic, "travelling", crane, "zoom").

CE2.7 Identify and explain the expressive and communicative value of the spatial concepts of the image: field, off-field, internal movement and external movement of a plane.

CE2.8 Explain the expressive function of lighting in a cinematic or audiovisual narrative: compositional, dramatic, naturalistic, expressionist, etc.

CE2.9 Describe different forms of image manipulation in your expressive application to the audiovisual media.

C3: Analyze forms and modes of expression through sound, identifying their structural elements and articulation.

CE3.1 Describe the forms of sound application of sound in cinematographic and audiovisual works.

CE3.2 Relate the types of sound resources (music, effects, and others) with their expressive and descriptive applications.

CE3.3 Describe the general characteristics of the different spatial distribution techniques of sound as well as their expressive functions (space and displacement printing, location of sound sources, among others).

CE3.4 Distinguished the expressive value of the various components of the soundtrack of an audiovisual production (voice in "off", synchronized voices or dialogues, music, environmental sound effects, silences, among others).

C4: Develop the appropriate technical documentation, using the appropriate information and symbology, based on the analysis of the types of scripts most used.

CE4.1 Describe the different phases of construction of a film or audiovisual narrative (synopsis, treatment, literary script) and presentation models.

CE4.2 Describe the main forms of planning for a script: technical script, storyboard, by decoration plants, work script.

CE4.3 Relate the symbology used in a technical script or decoration plant for the description of flat types, camera movements, angles, character movements, sound, effects.

CE4.4 Explain the basic techniques for the audiovisual construction of a cinematographic or audiovisual narrative: the proportional jumps, the law of the axis, the contraplan plane, the master plane, the plane sequence, the plane resource, among others.

CE4.5 Different types of narrative continuity: movement, action, direction, lighting, costume, daring, and others.

CE4.6 Describe the typology of characters in a film or audiovisual narrative: protagonists, secondary, episodic, figurative, among others.

CE4.7 Identify the necessary technical elements (equipment and materials) to coordinate the different teams involved in the project.

CE4.8 Identify character characteristics and their costume and characterization needs.

CE4.9 Describe the auxiliary documents used in the performance of cinematographic or audiovisual works (breakdowns, minuts, plan of filming/recording, parts of camera, among others).

C5: Rate the visual and sound codes used and the ways to articulate space/time in the cinematographic or audiovisual accounts.

CE5.1 Relate the typology of image planes and their expressive and communicative value, identifying their spatial and temporal relationships.

CE5.2 Relate the typology of sound planes and their expressive and communicative value, identifying their spatial and temporal relationships.

CE5.3 Explain the different ways of articulating the image planes with the sound planes (synchronous and non-synchronous sound, "off" sound) and describe their expressive function.

CE5.4 From a fragment of a cinematographic or audiovisual work:

-Describe the types of image and sound planes used.

-Relate the camera moves used.

-Relating the different camera angulations.

-Describe field/off field utilization.

-Rate the articulation of the image and sound planes.

CE5.5 From the analysis of cinematographic or audiovisual works, identify sound resources and their functions.

CE5.6 From the literary and technical script of an audiovisual project:

-Identify the different narrative structures used in the narrative (linear, counterpoint, among others).

-Explain the temporal structures of the film or audiovisual narrative: in real time, diegetic time, historical time.

-Explain the space/tempo articulation used in the project: ellipsis, "flash back", "flash forward".

-Identify the different sources of sound narrative (voices in "off", music and sound effects, dialogues) that make up the program's narration.

-Identify the functions of the sound elements.

-Determine the lighting functions.

CE5.7 Explain the ways to fragment the cinematic or audiovisual narrative: mechanical sequence, dramatic sequence, scene, block.

Contents

1. Process of production of a cinematographic or audiovisual work

-Film and audiovisual industry:

-Industry companies: Types and functions.

-Organizational structures.

-Production systems and production strategies.

-Production process phases:

-Development and funding.

-Preproduction.

-Roddage/Recording.

-Postproduction.

-Distribution and marketing.

-Professional teams involved:

-Functions.

-Management team interaction with the various professional teams.

-Project types:

-Objectives and guidelines.

-Contents and structure.

-Associated documentation.

-Coordination and budgetary requirements.

2. Visual expression techniques applied to the aesthetic intentionality of the work

-Formats of the format.

-Image constitutive elements:

-Shape.

-Color.

-Texture.

-Line.

-The point of view.

-Compositive rules:

-Balance.

-Rhythm.

-Harmony.

-Synchronization and movement.

-Symbolic characteristics of the image composition.

-Visual representation elements and their articulation.

3. Resources of the audiovisual language: characteristics and contributions to the intentionality of the work

-Tipologia and expressive and narrative value of the planes:

-General.

-Three quarters or American.

-Medium.

-foreground.

-Plano detail.

-The point of view in the plane composition:

-Target plane.

-subjective plane.

-Semi-subjective plane.

-Transition between planes and their expressive and narrative value:

-Encadados.

-Cortinillas.

-Find.

-Composition:

-Lines.

-Forms.

-Colors.

-Escorches.

-Camera movement:

-Panoramic.

-Travelling.

-Crane.

-Zoom.

-Steadycam.

-Expression and narration of camera movements.

-The expressive value of the spatial concepts of the image:

-Field.

-Out of field.

-Internal movement and external movement of a plane.

4. Expressive contribution of sound to the work

-Sound expression techniques:

-Features and functions.

-Spatial distribution.

-Sound Planes.

-Sound language.

-Musical Ambientation.

-The soundtrack.

5. Audiovisual storytelling

-Identification of visual and sound codes in the film narrative.

-Application across different genres and styles.

-Account Fragmentation:

-Mechanical Sequence.

-Dramatic.

-Scene.

-Block.

-Time and space in audiovisual storytelling.

-Temporary structure of the filmic account:

-Real time.

-Diegetic time.

-Historical time.

-Account space/time of account:

-Scope.

-ellipsis.

-"Flash back".

-"Flash forward".

-Transitions.

-The "raccord". Elements and principles of audiovisual continuity:

-Moving.

-Action.

-Address.

-Lighting.

-From costumes.

-De atrezzo.

-Movement and audiovisual rhythm.

-Internal Rhythm.

-External Rhythm.

6. Conceptual and aesthetic analysis of the script

-Dramatic script analysis:

-Dramatic lines and narratives.

-The psychological profile and evolutionary arc of the characters.

-Analysis of the spaces and their relationship with the dramaturgy.

-Narrative point of view.

-Address and aesthetic treatment point of view (director's aesthetic plan).

-Aesthetic text:

-Plastic treatment of elements (shape, color, texture ...) to be used to give plastic unit to the set of distinct scenarios.

-Aesthetic Subtext:

-Plastic treatment of the elements (shape, color, texture ...) that support the dramatic connotations of the script.

7. Identifying resources from script analysis

-The mechanical structure of the dash.

-Converting a dash to images.

-Symbology and script language.

-Literary script breakdown:

-By sequences.

-By characters.

-By scenic spaces.

-By decorated and daring.

-By costume and characterization.

-By setting and special effects.

-Planning and tailoring of the technical script.

-Planning on site and the storyboard.

-Job Guion.

-Making technical needs listings.

-Resource optimization strategies.

-Final determination of resources.

-Coordination with production.

-Coordination with other professionals involved.

FORMATIVE UNIT 2

Naming: FORECASTING OF SCENIC AND HUMAN RESOURCES

Code: UF0668

Duration: 40 hours

Competition reference: This formative unit corresponds to the RP2 in terms of scenic spaces, RP3, and RP4.

Assessment Capabilities and Criteria

C1: Apply the standardized scenario localization processes for filming/recording of cinematographic and audiovisual works, according to the criteria established from the reading of the script.

CE1.1 Identify through the script the most relevant formal aspects of the possible location.

CE1.2 To elaborate a relation of the possible locations indicating the arguments for and against, from the aesthetic and narrative perspective and from the perspective of the viability gives the production (infrastructures, accommodations, displacements)

CE1.3 Get, generate and analyze reference documentation from recordings, photographs, plans, "internet", or other sources of information.

CE1.4 Develop reports that justify the existence and location of "cover set" when needed, in accordance with a shoot/write plan.

C2: Define and value evidence of actors, "casting", with precise timing and schedule, drawing up reports of data and artistic conclusions of suitability.

CE2.1 From a project for the realization of a short film:

-Develop a final report of conclusions after identifying the needs of artistic personnel and their characteristics from the analysis of the script.

-Develop a calendar with breakdown of actors ' participation times and durations reflecting changing room needs, characterization and makeup, appropriate to the intentionality of the script.

-Develop a report from the analysis of the recorded/rolled drawings of each of the characters.

CE2.2 Valorar, in the vision of audiovisual productions, the plastic and narrative results achieved, taking into account the historical atmosphere, costumes and characterizations, producing a final report of conclusions.

Contents

1. Location procedures

-Ambient and scenery as an expressive resource.

-Analysis of the aesthetic and expressive needs of locations.

-Characteristics of the scenic spaces.

-Own and foreign studies.

-Natural and built decorations.

-The "cover set".

-Structures and auxiliary equipment.

-Optimizing the locations:

-Managing the infrastructures.

-Accommodation.

-Displacements.

-Searching and analyzing documentation.

-Report or Location tab.

2. Process of selecting the artistic staff

-Character Analysis:

-Determination of technical and artistic needs for testing.

-Choice of actors.

-Preparation of tests and organization.

-Timetable of times.

-Coordination with production and other department heads.

-Citations.

-Characterization tests.

-improvisations and essays.

-Italian reading organization of the text.

-Pula on scene.

-Parts of conclusions and individual data of the actors ' tests.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum hours
80
Normalcen Training Unit 2-UF0668	40	20

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 2

Designation: ELABORATION OF THE PLAN FOR THE SHOOTING AND COORDINATION OF THE RESOURCES FOR THE ROSE/RECORDING

Code: MF0701_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0701_3. Coordinate the availability and adequacy of human, technical and artistic resources required for filming/recording

Duration: 120 hours

FORMATIVE UNIT 1

Naming: HUMAN RESOURCES ORGANIZATION AND FILMING PLAN

Code: UF0669

Duration: 70 hours

Competition reference: This training unit corresponds to RP1, RP3.

Assessment Capabilities and Criteria

C1: Develop a plan for filming/recording of cinematographic and audiovisual works, following established criteria.

CE1.1 Describe and contrast the different models of shoot/write plans, according to the expressive media and gender.

CE1.2 Rate the importance and degree of participation and utilization of human, technical and material resources in the different phases of the filming/recording, according to the expressive medium and the program's gender.

CE1.3 Value the budget prepared by production, proposing the modifications that are considered necessary in the budget items to achieve the expected narrative and aesthetic objectives.

CE1.4 Apply the standardized test/write plan contrast techniques with daily production tracking.

CE1.5 From the script of a cinematographic or audiovisual work:

-Develop a schema of the run-in/write phase with the processes and jobs to be performed.

-Develop the shoot/write plan, including alternative solutions for the most common contingencies that may arise.

-Develop the explanatory memory of the criteria followed in the production of the shoot/write plan.

-Successfully write the documents, using appropriate techniques and codes, using the appropriate IT tools.

C2: Detect the availability and adequacy of the resources involved in the production of cinematographic and video works.

CE2.1 Calculate the combination of all technical and artistic resources to generate an optimal sequence recording order in performance and cost.

CE2.2 Contemplate technical, expressive, artistic and bureaucratic difficulties (taxiing permits, authorizations, among others) to estimate the time needed to complete the shooting of each sequence.

CE2.3 Reflect on the ordered filming plan for days, all needs, time schedules and expected times.

CE2.4 Distribute this information to project managers for proper management of their equipment.

CE2.5 Monitor the availability of technical equipment as well as the incorporation of the actors (dressed and characterized) for the work plan of the work.

CE2.6 Verify that all human resources (technical and artistic) are ready and available on date and criteria.

CE2.7 Perform essays with artistic personnel to check the correct execution of the tasks of the technical team times and qualities.

CE2.8 In a practical case, check that all human resources. (artistic and technical) are prepared and available on dates and criteria.

CE2.9 In a practical case, check that all human resources (artistic and technical) are ready and available on dates and criteria.

C3: Relating the elements involved in the staging and the techniques of performing cinematographic or audiovisual works.

CE3.1 Recognize the functions of different gestural codes, expressions, and body language as expressive resources.

CE3.2 Explain the methods of directing more employees and synthesize their essential characteristics.

CE3.3 Relating the components and the expressive function of the staging of a film or audiovisual narrative:

-Characteristics of the stage (interior, exterior, natural constructed, complex of decoration, among others), characteristics of the costume and makeup (neutral, characterizer, stylizer or others), characteristics of the decoration and atrezzo.

CE3.4 From various sequences of a literary script:

-Undo the sequences.

-Schedule the shoot/write.

-Schedule the sequences.

-Place the location and movement of the cameras and the characters in the plants of the decorated ones.

-Eskimp the "storyboard".

-Point out the continuity elements that allow the correct spatial/temporal articulation of the planes and sequences.

-Prepare a report by justifying the decisions made.

Contents

1. Preparation of the filming plan

-Criteria for grouping the blueprints.

-Identification of planes by interpreter.

-Identification of planes by days of shooting.

-Optimizing times, spaces, and resources:

-Coordination with the production job plan.

-Coordination with other departments.

-Participation of resources according to phases, expressive media and gender.

-Planning the optimal resource mix.

-Managing the availability of resources.

-Estimate of times.

-Contingency forecasting and alternative plan.

-Models of taxiing plans according to the project development status.

-Human resource participation.

-Using technical and material resources.

2. Planning for filming

-Shooting/write plan contrast techniques.

-Criteria to consider based on product type.

-bureaucratic requirements. Formalization of permissions.

-Document elaboration:

-Work order.

-Parts of work.

-Managing IT tools.

3. Study of the budget of the audiovisual work in the area of management

-Analysis of budget items:

-By concept.

-By units.

-Relationship with the production manager.

4. Coordination of human resources

-Information and communication:

-Intervention phases and tasks.

-Documentation.

-Essays:

-Positions and movements of artistic personnel.

-Annotation of decisions and changes.

FORMATIVE UNIT 2

Naming: TECHNICAL AND MATERIAL RESOURCES REQUIRED FOR ROSE/WRITE

Code: UF0670

Duration: 50 hours

Competition reference: This training unit corresponds to the RP2.

Assessment Capabilities and Criteria

C1: Valoring materials, technical equipment, collection systems, recording, processing and imaging, with mechanical means and photochemical processes used in the production of cinematographic and audiovisual works, by relating their features and capabilities to their function in the process.

CE1.1 Describe the motion picture camera, identifying its constituent parts and operating mechanics.

CE1.2 Classify and relate the most relevant characteristics of the different image capture and projection formats used in the film realization.

CE1.3 Identify and describe the different types of targets used in the film direction, relating their characteristics to the camera format and the characteristics of the image.

CE1.4 Relate the different types of emulsions used, in color or in black and white, with their characteristics and their capabilities.

CE1.5 Interrelate the elements involved in achieving a correct exposure in the taking of cinematographic images.

CE1.6 Describe the equipment used in the processing and treatment of film film.

CE1.7 Describe equipment and materials used in the assembly of film films.

CE1.8 Recognize the most common types of film handling and manipulation performed using analog or digital procedures.

C2: Analyzing materials, technical equipment, systems for capturing, recording, processing and imaging, with electronic means and electromagnetic and electrooptical processes, used in the production of works cinematographic and audiovisual, relating their characteristics and performance to their function in the process.

CE2.1 Describe the video camera, identifying its constituent parts and operating mechanics.

CE2.2 Identify and describe the different types of objectives used in the videographic realization, relating its characteristics to the camera's "target" and the characteristics of the image.

CE2.3 Describe image capture fundamentals by electronic means, identifying the correct viewing parameters.

CE2.4 Describe the fundamentals of image monitoring by electronic means, identifying the correct parameters of viewing.

CE2.5 Rate the characteristics of the different types of image capture formats used in the video realization.

CE2.6 Describe the electronic image recording equipment used in the shooting of film films and explain their function, performance and characteristics.

CE2.7 Describe the performance of the auxiliary equipment used in the image collection: cranes, "travelling", "camera car", "steadycam", "hot heads".

CE2.8 Rate the performance of the editing/postproduction and processing equipment of the electronic image and relate the basic computer treatments of application to the post production of video programs and the generation synthetic images.

C3: Distinguished materials, technical equipment, collection systems, recording, processing and monitoring of sound, used in the production of cinematographic and audiovisual works, relating their characteristics and performance with its function in the process.

CE3.1 Describe the fundamentals of sound recording/playback and classify recording formats by indicating the technology used and the characteristics of each one.

CE3.2 Identify and describe the different systems and formats for capturing, recording and reproducing sound used in cinematographic and video making.

CE3.3 Describe the fundamentals of sound signal processing and processing and relate application computer treatments to sound postproduction.

CE3.4 Rate the types and characteristics of the microphones.

CE3.5 Describe the capabilities of auxiliary equipment used in sound capture: "giraffes", "pertigas", "antiwinds", feet, remote control.

C4: Describe the technological bases of lighting systems used in film production or audiovisual works.

CE4.1 Recognize the quantitative and qualitative parameters of light and list the photometric units.

CE4.2 Describe the fundamentals of trichromy and additive and subtractive synthesis of color, as well as the relationship between the spectral composition of light and the color temperature.

CE4.3 Rate the performance of equipment used in the lighting of cinematographic or audiovisual works, identifying their technical characteristics.

CE4.4 Apply the main lighting methods used in audiovisual productions.

CE4.5 Distinguished the technical characteristics of the lighting according to the medium and/or support for which it is used.

Contents

1. Film processes and technical means: photochemical and digital cinematography

-Processes with photochemical support:

-Revealed.

-Positivated.

-Telecine.

-Montaje off line telecine.

-Edl.

-Cut and splice negative.

-Copion.

-Etalonage

-Standard copy.

-Digital support shooting processes:

-Recording.

-Downconversion.

-Mount off line.

-Edl.

-Conformation.

-Colonization.

-Filming to 35 mm.

-Negative object.

-Copion.

-Etalonage.

-Standard copy.

-Digital intermediate.

-Pick support selection criteria; photochemical or digital:

-The final destination of the production.

-Display form: Film, DVD, Video Game, Television, etc.

-Image quality required.

-Budget.

-Length of shots.

-Managing run-in times.

-Immediate Playback.

-Direct access to postproduction.

-Features and capabilities of film equipment and material: contribution to the aesthetics of the work:

-The movie camera.

-Objectives and auxiliary elements.

-Aspects to consider from the post-production process in the planning of photochemical shooting:

-The film lab.

-Equipment used in the processing and treatment of film film.

-Equipment and materials to be used in the assembly.

-Types of image handling and manipulation

2. Process and technical video media

-Video Camera:

-Objectives.

-Auxiliary elements.

-Catch systems.

-Media and video formats.

-Recording and playback of the video signal: principles and formats.

-Monitored of the video signal.

-Editing and processing equipment for the video image.

3. Audio technical processes and media: aspects to be considered in sound collection and postproduction

-Sound collection teams: selection criteria for the intentionality of the takeover:

-Microphones: types, features, applications, and issues.

-Accessories and supports (anti-winds, power, pertigas, giraffes).

-Indoor and outdoor sound-taking.

-Spatial distribution of sound.

-Incorporation of the sound to the image.

-Analog and digital sound features and capabilities.

-Sound recording, processing, and playback systems and equipment.

-Media and sound formats.

-Monitored of the audio signal.

-Computer treatments applied to sound postproduction.

4. Technical lighting processes and means: aspects to consider in planning

-Color theory.

-Light sources.

-Lighting methods.

-Features and capabilities of equipment used in lighting:

-Contribution to the aesthetics of the work

-Technical characteristics of lighting according to the medium and support used.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum hours
30

Sequence:

The training units for this module can be programmed independently.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 3

Naming: ORGANIZATION AND CONTROL OF ROSE/RECORDING AND POST-PRODUCTION PROCESSING

Code: MF0702_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0702_3. Organize and control the filming/recording and post-production process.

Duration: 150 hours

FORMATIVE UNIT 1

Naming: ORGANIZATION AND CONTROL OF ROSE/WRITE

Code: UF0671

Duration: 70 hours

Competition reference: This training unit corresponds to RP1, RP2, and RP3 as referred to the coordination of the workday.

Assessment Capabilities and Criteria

C1: Apply standardized techniques for the realization of cinematographic and audiovisual works, in order to achieve the quality of the required product.

CE1.1 In a practical case of recording or shooting a documentary, from which the script is given:

-Develop the recording or filming plan.

-Set the locations adapted to the dash.

-Organize the technical team following the shoot/write plan.

-Run the realization.

-Control narrative continuity.

-Minute the recorded planes.

-Detect and log variations and modifications produced during recording, adapting the work order.

-Rate the results obtained and produce a report justifying the actions and decisions taken.

CE1.2 In a practical case of recording or shooting a short-lived work of fiction, which is given the script:

-Prepare the write/shoot plan.

-Determine the scenery adapted to the dash.

-Organize the technical team by following the recording or filming plan.

-Coordinate the human team.

-Run the realization.

-Control narrative continuity.

-Minute the recorded planes.

-Detect and log variations and modifications produced during recording by adapting the work order.

-Rate the results obtained and produce a report justifying the actions and decisions taken.

C2: Deal with the conflicts that arise in the environment of your work, by negotiating and making timely decisions, taking into account the opinions of others regarding possible solutions.

CE2.1 Describe the most common negotiation strategies, relating them to the most common situations of conflict occurrence in the enterprise.

CE2.2 Value the appropriate methods for preparing a negotiation taking into account the phases of information collection, assessment of the relationship of forces and foresight of possible agreements.

CE2.3 Rate the possible types of decisions that can be used for specific and defined situations.

CE2.4 Evaluate the circumstances in which you need to make a decision and choose the most appropriate one.

CE2.5 Apply the search method for a solution or response.

CE2.6 Respect and take into account the opinions of others, even if they are contrary to their own.

C3: Effectively use communication techniques in your workplace to receive and issue instructions and information, driving the motivation process and improving the environment of your work environment.

CE3.1 Distinguished a good communication that contains a clear message from another with divergent paths that disappear or enturate the main purpose of the transmission.

CE3.2 Rate the existence and affect of interferences that can make it difficult to understand a message.

CE3.3 Describe the most applicable motivation techniques in the specific audiovisual work environment.

CE3.4 Select and apply appropriate motivation techniques to each situation, in simulated cases.

C4: Define leadership styles in activities related to film direction and audiovisual works.

CE4.1 Relating the command styles and behaviors that characterize them.

CE4.2 Confront the leadership styles with different scenarios and situations that the leader can encounter.

CE4.3 Estimating the role, competencies, and limitations of the intermediate command in the organization.

Contents

1. Direction theory and technique

-Organization and mechanical processes of audiovisual performance with one or more cameras.

-Rodd/write:

-Image and sound fetch processing.

-Pula on scene.

-Address of actors.

-Figuration.

2. Filming techniques

-Roddage with unconventional cameras.

-Minutage of planes.

-"Raccord":

-Moving.

-Light.

-De atrezzo.

-Sound.

-Interpretation.

-Claqueta identification.

3. Communication in the film and audiovisual business and motivation in the working environment

-Production of documents in which the tasks assigned to members of a team are contained.

-Media, channels, and media.

-Difficulties/barriers in communication.

-Control of the information.

-Information as a function of address.

-Diagnosis of factors capable of motivating.

-Oral and written communication of instructions for achieving objectives.

-Vertical and horizontal communication.

4. Conflict negotiation and decision making in management assistance

-Negotiation strategies.

-Negotiation phases.

-Resolution of conflicting situations caused as a result of relationships in the workbench.

-Process for troubleshooting.

-Command Styles:

-Address and/or Leadership.

-Address Styles.

-Theories and approaches to leadership.

FORMATIVE UNIT 2

Naming: ORGANIZATION AND CONTROL OF THE POST-PRODUCTION PROCESS

Code: UF0672

Duration: 50 hours

Competition reference: This training unit corresponds to RP4 and RP5.

Assessment Capabilities and Criteria

C1: Relating the main theories and techniques of the audiovisual assembly to identify the characteristic elements that determine them and describe the techniques for their application in the construction of audiovisual accounts according to the various genres and styles.

CE1.1 Describe the principles of assembly expressed by Kulechov, Griffith, Pudovkin, Eisenstein, Arnheim among others.

CE1.2 Compare the various classical theories of the assembly, identifying their differentiating concepts and drawing up a report of conclusions.

CE1.3 Arguing the expressive and narrative contribution of sound to the audiovisual assembly.

CE1.4 Explain the concept of rhythm and external movement of the audiovisual assembly.

CE1.5 Explain the differences between "on line" mount, "off line" mount, nonlinear editing systems, and their purpose, detailing the criteria and conclusions that are derived from each of these work systems.

C2: Plan the stage of assembly/editing, post-production, sonorization and dubbing of audiovisual productions, identifying the most appropriate technology according to the different audiovisual genres and developing the technical documentation appropriate.

CE2.1 Classify the various assembly rooms, post-production and sonorization according to their capabilities and characteristics.

CE2.2 Describe the configuration of the different assembly rooms, post-production and sonorization according to the equipment and technologies used.

CE2.3 Relate the models of templates most used in the planning of the assembly, post-production and sonorization of audiovisual.

CE2.4 From a film or audiovisual project:

-Identify the appropriate technical means to mount, post-production, and sound.

-Define the configuration most appropriate to the narrative or expressive intentionality of the hyphen.

-Identify the required documentary sources.

-Schedule the mount and/or post-production by working out a mount dash.

-Plan the sonorization and dubbing by working out a sound and dubbing plan.

-Prepare a report by justifying the decisions made.

C3. Value the possibilities offered by the mechanical and digital visual effects in the production of an audiovisual.

CE3.1 Relating the different techniques of mechanical visual effects and their use to achieve the desired results (bullet impacts, pumps, climatological effects, others)

CE3.2 Identify visible and invisible visual digital effects and apply them to different aspects of production (decorated, climatology, cloning of figurants, others)

C3.2 Set the taxiing criteria that have digital postproduction, such as the flat on chroma key.

Contents

1. Application of audiovisual assembly techniques to the construction of the story

-Mount/edit theory.

-Concept and expressiveness of film assembly.

-Principles of assembly according to Kulechov, Griffith, Pudovkin, Eisenstein, Arnheim, others.

-Movement and audiovisual rhythm.

-Mount/edit tipologies according to the narrative structure and technique.

-Mount "on line".

-Mount "off line".

-Non-linear edit systems.

-Other.

2. Intervening elements in the post-production process in the planning of photochemical shooting

-Film Lab.

-Equipment used in the processing and treatment of film film.

-Equipment and materials to be used in the assembly.

-Types of image handling and manipulation.

3. Audiovisual assembly, editing and post-production rooms

-Prstations and features.

-Types and configuration of the movie assembly rooms.

-Types and configuration of analog and digital video editing rooms.

-Types and configuration of video postproduction rooms.

4. Planning the post-production stage

-Template models used in post-production planning.

-Criteria for selecting the most appropriate technical means and configuration.

-Mount Guion.

-Elaboration of the soundproofing and dubbing plan.

5. Visual effects

-Optical visual effects:

-Front projection.

-Retroprojections.

-Painted machines and crystals.

-Mechanical visual effects:

-Shots.

-Explosions.

-Weather effects (rain, snow, wind ...)

-Digital visual effects:

-Rodages over chroma.

-Rodages over chroma with CGI, 3D image.

-Integration and composition of elements into chroma bearings.

-Visual effects analysis on dash:

-Visible and invisible visual effects.

-Elements to be resolved on visual effects.

-Optimizing resources about visual effects.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum hours
40
40
40
40
40
Normalcen Formative Unit 2-UF0672	50	20

Sequence:

The training units for this module can be programmed independently.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

MODULE OF NON-WORKING PROFESSIONAL PRACTICES IN THE FIELD OF FILM MANAGEMENT AND AUDIOVISUAL WORKS

Code: MP0138

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Participate in the configuration of effective messages, based on the identification of the structural elements and formal and expressive codes of the film or audiovisual project.

CE1.1 Apply standardized techniques to direct the point of interest considering the placement of the motive, the rule of the thirds, and the aurea division, among others.

CE1.2 Apply the basic rules of balance in the location of characters within a frame or a scenic space.

CE1.3 Identify the basic qualities of the objects, the relationships that are established between them, and the composition techniques that allow them to be underlined or dissipated.

CE1.4 Apply the techniques of how to generate dynamism, and create the feeling of depth and remoteness by organizing the structural elements of the image (relationship, juxtaposition).

CE1.5 Contribute to determining the types of planes needed, camera movements, camera angulations, and field/off-field utilization.

CE1.6 Identify the different visual narrative sources (decorated, interior/exterior, night/day) and sound (voices in "off", music and sound effects, dialogues) that make up the narrative.

CE1.7 Identify the functions of the sound elements.

CE1.8 Identify lighting functions.

C2: Participate in the elaboration of a plan for filming/recording of cinematographic and audiovisual works, following established criteria.

CE2.1 Develop a schema of the filming/write phase with the processes and jobs to be performed.

CE2.2 Contribute to the filming/recording plan, including alternative solutions for the most common contingencies that may arise.

CE2.3 Intercoming in the breakdown of sequences and their schedule

CE2.4 Contribute to placing in the plants of the decorated the location and movement of the cameras and the characters.

CE2.5 Esbozar the "storyboard".

CE2.6 Point out the continuity elements that allow the correct spatial/temporal articulation of the planes and sequences.

CE2.7 Relate the components and the expressive function of the staging of a cinematic or audiovisual narrative (features of the stage, the costume and the makeup, and the decorated and daring).

C3: Collaborate on the definition and assessment of actors ' evidence, "casting", with precise timing and timing, and to write data reports and artistic conclusions of suitability.

CE3.1 Develop the final report of conclusions after identifying the needs of artistic personnel and their characteristics from the analysis of the script.

CE3.2 Develop a calendar with breakdown of actors ' participation times and durations reflecting the needs of costumes, characterization and makeup, appropriate to the intentionality of the script.

Ce3.3 Elaborate a report from the analysis of the recorded/rolled planes of each of the characters.

C4: Apply standardized techniques for the realization of cinematographic and audiovisual works, in order to achieve the quality of the required product.

CE4.1 Collaborate on the choice of locations or determination of the stage adapted to the dash.

CE4.2 Help organize the technical team by following the shoot/write plan.

CE4.3 Assist in performing the realization.

CE4.4 Collaborate on controlling narrative continuity.

CE4.5 Minute the recorded planes.

CE4.6 Detect and annotate variations and modifications produced during recording by contributing to the adaptation of the work order.

C5: Participate in the planning of the stage of assembly/editing, post-production, sonorization and dubbing of audiovisual productions, identifying the most appropriate technology according to the different audiovisual genres and preparing the appropriate technical documentation.

CE5.1 Identify the appropriate technical means for mounting, post-production, and sonization.

CE5.2 Contribute to defining the configuration most appropriate to the narrative or expressive intentionality of the hyphen.

CE5.3 Identify the required documentary sources.

CE5.4 Collaborate in the planning of the assembly and/or post-production by participating in the elaboration of the mount script

CE5.5 Collaborate in the planning of sonorization and dubbing by participating in the elaboration of a plan of sonorization and dubbing.

CE5.6 Develop a justification report for the decisions made.

CE6.1 Behave responsibly in both human relationships and the jobs to be performed.

CE6.2 Respect the procedures and rules of the work center.

CE6.3 Diligently undertake tasks according to the instructions received, trying to bring them into line with the company's work rate.

CE6.4 Integrate into the production processes of the job center.

CE6.5 Use the established communication channels.

CE6.6 To respect at all times the measures of risk prevention, occupational health and environmental protection.

Contents

1. Identification of the formal and expressive elements of the different genres

-Criteria for directing the point of interest.

-Character location.

-Composition techniques.

-Organization of the structural elements of the image.

-Flat types and features.

-Camera movement.

-Camera, type, and effects.

-An expressive value of the spatial concepts of the image (field, off-field, internal movement, and external movement of a plane).

-Audiovisual and audio narrative sources

-Functions and input of the sound to the work

-Lighting functions and input

2. Planning for filming

-Criteria for scheduling the sequence.

-Planning of the decoration site.

-Aspects to consider in the elaboration of the "storyboard".

-Elements that allow narrative continuity.

-Identification and grouping of blueprints.

-Optimizing times, spaces, and resources.

-Coordination with other departments

-Contingency and alternative plan forecasting

-Bureaucratic requirements and permission formalization.

-Making documents (order and work items)

-Managing IT tools.

3. "Casting" of actors

-Character analysis and determination of technical and artistic needs for testing.

-Preparing and organizing tests.

-Timetable of times.

-Citations.

-Reporting.

4. Management and filming techniques

-The image and sound fetch process.

-Pula on scene.

-Address of actors.

-Figuration.

-Optical effects of the shoot.

-Roddage with unconventional cameras.

-Minutage of planes.

-"Raccord".

-Claqueta identification.

5. Planning for the audiovisual assembly

-Movement and audiovisual rhythm.

-Mount/edit tipologies according to the narrative structure and technique.

-Elaboration of the mount script.

-Elaboration of the soundproofing and dubbing plan.

-Selection of drawings and shots for mounting.

-Planning of the stage of assembly/editing, post-production, sonorization and dubbing of audiovisual productions.

-The mount, edit, and post-production rooms, types, and configuration.

6. Integration and communication in the workplace

-Responsible behavior in the job center.

-Respect to the procedures and rules of the work center.

-Interpreting and diligently performing the instructions received.

-Recognition of the organization's production process.

-Using the communication channels set in the job center.

-Adequation to the company's work rate.

-Tracking the regulations for risk prevention, occupational health and environmental protection.

IV. PRESCRIPTIONS OF TRAINERS

Training Modules

Required Accreditation	Experience professional required in the scope of the competency
	If you have accreditation	If no accreditation is
MF0700_3: Planning of the cinematographic project or audiovisual work	Licentiate, engineer, architect or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree or degree title other equivalent titles • Higher Image and Sound Professional Family Technician.	2 years	4 years
Elaboration of the plan of shooting and coordination of resources for the filming/recording	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or title corresponding degree or other equivalent degrees • Higher Technician of the Professional Image and Sound family.	2 years	4 years
MF0702_3: Organization and control of shooting/recording and post-production process	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree degree or other equivalent titles • Higher Technical Family of Image and Sound.	2 years	4 years

V. MINIMUM SPACES, FACILITIES AND EQUIPMENT REQUIREMENTS

Forming Space

Surface m2 15 pupils	Surface m2 25 students
45		60
	Workshop Audiovisual works address	90	90

Forming Space	M1	M2	M3
	X	X	X
Audiovisual works	X	X	X

Forming Space

Equipment
Classroom	-Audio-visual equipment -Network-installed PCs, projection cannon, and internet -Specialty-specific software -Rotuder-write Pizarras -Rotafolos -Classroom Material -Table and Chair for trainer -Messes and chairs for students
Workshop on the direction of audiovisual works	-Plato with film equipment and video -Cameras. -Character generator and titters. -Analog and digital cronometers. -Monitors. -Mixer video. -Edit and sound image station with "off line "

It should not be interpreted that the various identified learning spaces should necessarily be differentiated by closure.

The facilities and equipment must comply with the relevant industrial and sanitary sanitary regulations and respond to the universal accessibility and safety measures of the participants.

The number of units to be provided with the tools, machines and tools specified in the training spaces will be sufficient for a minimum of 15 students and must be increased, in their case, to attend to the top number.

In the event that the training is addressed to persons with disabilities, the adaptations and reasonable adjustments will be made to ensure their participation in equal conditions.

ANNEX II

I. Identification of the certificate of professionalism

Denomination: Photo Production

Code: IMST0109

Professional Family: Image and Sound

Professional area: Photo Productions

Professional qualification level: 3

Professional reference qualification:

IMS441_3 Photo Production (RD 1957/2009, December 18)

Relationship of competency units that configure the certificate of professionalism:

UC1417_3: Design, organize, and manage photo projects

UC1418_3: Monitor and/or perform the staging, lighting, capturing, recording, and rating of the quality of photographic images

UC0928_2: Digitalize and perform image processing using computer applications

UC1419_3: Ensuring the processes of delivery, archiving and preservation of images and photographic materials

General competition:

Perform full photographic projects, designing, valuing and integrating scenography solutions, lighting, capturing, digital treatment of images, finishing, archiving and preservation of photographic originals, achieving the technical, expressive and aesthetic quality agreed with the client.

Professional Environment:

Professional scope:

Develops its professional activity in large, medium and small companies dedicated to the elaboration of photographs, or that includes the realization of photographs among its processes. Works for an employed or self-employed person.

Productive Sectors:

Photo sector: industrial, social, scientific and technical. Advertising. Press and editorial. Multimedia productions. Film, videographic and television sector. Institutions (corporate image).

Occupations or related jobs:

3731.1016 Photographer in general.

Photographer.

3731.1025 Reporter and/or graphic reporter.

Graphic Reporter.

8133.1033 Photo Redressing.

Digital photo toilet.

Photo Operator.

Fixed photo.

Duration of the associated training: 630 hours.

Relationship of training modules and training units:

MF1417_3: Photo Projects (80 hours).

MF1418_3: Realization of the photo take (230 hours).

• UF1206: Scenography and lighting in the photo take (70 hours)

• UF1207: Photo Captation (90 hours)

• UF1208: Photo-taking quality control (40 hours)

• UF1209: Prevention of occupational and environmental risks in photographic production (30 hours)

MF0928_2 (Cross-sectional): Digital image processing (190 hours).

• UF1210: Color management in the photo process (60 hours)

• UF1211: Scanning and capturing photographic images (40 hours)

• UF1212: Digital photo processing (90 hours)

MF1419_3: End processes of finishing and preserving photographic images (50 hours).

MP0254: Photo Production Non-Labor Professional Practices Module (80 hours)

Linking with professional trainings:

Overcoming with positive evaluation of the training established in the training unit UF1209 "Prevention of occupational risks in the production of live shows and events" makes it possible to obtain the qualification for the performance of the basic level occupational risk prevention functions, in accordance with Annex IV of the Prevention Services Regulation, approved by Royal Decree 39/1997 of 17 January.

II. PROFESSIONAL PROFILE OF THE CERTIFICATE OF PROFESSIONALISM

Competition Unit 1

Naming: DESIGNING, ORGANIZING, AND MANAGING PHOTO PROJECTS

Level: 3

Code: UC1417_3

Professional realizations and realization criteria

RP1: Define the technical-expressive characteristics of photographic projects, based on the requirements of the client, in order to assess their possibilities of realization.

CR1.1 Project information (customer order in writing or "briefing") is analyzed and interpreted, identifying:

-The communicative intentionality of the image and its purpose.

-The formal, expressive and aesthetic aspect.

-The legal constraints.

-The fetch technology.

-Human, technical, and material resources.

-The type of decoration or location: natural exteriors, natural interiors, public or private, among others.

CR1.2 The formal aspect (aesthetic of the image or "look", ambientation, realism or subjectivism, among others) is defined with the supervision of the creative advertising or art director, taking into account the objective communication of the image and the client's requirements.

CR1.3 The need for digital treatment of the image to be performed (alteration of the tone, brightness or saturation of the image, among others) is valued according to the characteristics and formal aspect required.

CR1.4 The technical possibilities and needs and their characteristics (type of analogue or digital technology to be used, input and output formats, accessories for taking and lighting, decoration, logistics) are valued from the analysis of the elements to be fetched.

CR1.5 The human, material and technical resource needs are valued from the analysis of the production characteristics and their needs.

CR1.6 The need for study or location decoration (natural, natural, public or private exterior) is valued based on the project's aesthetic and formal requirements.

CR1.7 The definition of the technical-expressive characteristics of the project is collected in a document to concretize the details with the client contributing to the definition of the order.

RP2: Define the staging, setting, and expressive characteristics of the image according to project requirements to design its formal appearance.

CR2.1 Scenography (setting and daring) and styling (dressing room, hairdressing, makeup and characterization) are defined from the project analysis, and the conclusions are collected in a document with and sketches of technical-expressive solutions that are part of the photographic project,

CR2.2 The visual style of the product and the expressive characteristics of the lighting (hard, soft, angulation, direction of the shadows, chromatism, among others), are defined, if necessary with the rest of the equipment technical and artistic, based on the analysis of the project, and the conclusions are collected in a document that will be part of the photographic project.

CR2.3 The location (natural, natural, public or private exterior) is decided and selected based on the project's aesthetic and formal requirements.

CR2.4 The special effects (physical, chemical, or mechanical) are defined in order to help shape the expressiveness and the formal aspect of the project.

CR2.5 The computer-type images to be generated as an expressive complement of the image are defined and the conclusions are collected in a document that is part of the photographic project.

RP3: Determine the human, material and technical resources, depending on the needs, to prepare the work plan and to budget the project, taking into account the process of validation of the product and the criteria of optimization.

CR3.1 Human resources, materials (analog or digital recording media, among others) and technicians (camera, optical and accessories formats, among others) are valued and decided on the basis of the analysis of the characteristics of the production and its needs.

CR3.2 The planning of each of the phases of the work is determined taking into account the deadlines of receipt of the material to be photographed, of elaboration of funds, of atrezzo, of realization of the casting; the transport needs, availability of artistic resources and validation by the client.

CR3.3 The work plan or production of the photographic project is designed and contrasted for compliance, respecting the expected temporary and budgetary criteria.

CR3.4 The budget is prepared from the analysis of the project, the design of the work plan and the needs of human resources, materials, technicians and locations, as well as the exploitation that goes to be performed from the worker/s.

CR3.5 Project planning is in contrast to the rest of the human team involved and alternatives or changes are proposed, if necessary, in technical and artistic aspects to ensure their viability.

CR3.6 Customer's process of validation of the product (test delivery, retouching suggestions or product modifications and acceptance) is set out in a contract document, at the end of the ensure project planning.

RP4: Make the recruitment of human and material resources by taking into account project characteristics and applying optimization criteria.

CR4.1 The selected material and equipment is reserved to ensure its availability within the time limits, terms and conditions set forth and proceeds from its procurement.

CR4.2 The components of the technical equipment required to perform the production are selected and contracted based on the project characteristics and the established budget.

CR4.3 In the selection and hiring of the artistic team:

-Agencies and representatives of models and artists are identified.

-Selection tests are organized, taking into account time and artistic needs.

-Contract conditions conform to the project and budget established respecting the image rights.

CR4.4 Scenographic needs, locations, special effects, process logistics, technical equipment, and accessories are contracted with resource optimization criteria.

Professional Context

Production media

Computer tools to support photographic production with Internet access.

Products and results

Contract documents. Image copyright contracts. Documents, schemes and sketches of technical-expressive solutions (styling, setting, daring, lighting, camera, format, special effects, digital treatment, image generation). Breakdown or listing of material, technical, human and logistical resources. Work plan or production plan. Budgets broken down by item.

Information used or generated

"Briefing" or customer order. Technical and artistic documentation of the project. Databases of material and human resources. Technical manuals for systems and equipment. Sketches. Technical information of registration materials. Catalogues. Quality standards of the manufacturer. Current legislation on property rights and reproduction. Sketches or photographic models. Sketches or location schemes of the elements of the taking and lighting equipment. Material listings. Configuration and equipment assembly instructions. Rated quotes.

Competition Unit 2

denomination: MONITOR AND/OR PERFORM THE STAGE, LIGHTING, CAPTURE, RECORDING AND RATING OF THE QUALITY OF PHOTOGRAPHIC IMAGES

Level: 3

Code: UC1418_3

Professional realizations and realization criteria

RP1: Coordinate and/or perform the scenography and styling according to the requirements set for the achievement of the communicative objectives of the image.

CR1.1 Scenography (decorated and daring) is constructed from the initial analysis and approach of the project according to aesthetic and formal-style criteria of the image.

CR1.2 The locations are adapted in their visual and scenic aspects to the characteristics of the project and the logistics are available to access them.

CR1.3 The permits or accreditations required for photographic collection at locations are presented or available at the site of the takeover.

CR1.4 The criteria for styling (dressing room, makeup, characterization and hairdressing) apply to the actors or models to check their consonance with the aesthetic and formal criteria of the defined image in the creative design phase of the project.

CR1.5 Scenography and styling maintain a visual and formal style relationship with the lighting design, adapting to the intentionality of the project.

CR1.6 The tone, texture, luminosity, shapes and size of the funds are adapted to the technical-artistic characteristics of the project.

CR1.7 The set design, styling and lighting, facilitate the composition and framing solutions that reinforce the intentionality and purpose of the image.

CR1.8 The special effects are prepared and adjusted to fit the camera technology and the scenery in order to respond to the technical or expressive requirements of the project.

RP2: Coordinate and/or perform the preparation and installation of the lighting equipment according to the expressive needs, to ensure a correct capture of the image under security conditions.

CR2.1 The technical and expressive solutions of the lighting are carried out, based on the project analysis and the pre-established decisions in the formal design phase of the image, working out a lighting scheme to allow the required style to be achieved for the project.

CR2.2 Lighting equipment is installed, adjusted, and checked to ensure optimal performance during uptake, reviewing the necessary electrical voltage and intensity.

CR2.3 Light sources and lighting fixtures (projectors, diffusers, reflectors, among others) are distributed, deployed and adjusted in line with the planned design of the previous design lighting taking into account the homogeneity and intensity of the light and its direction.

CR2.4 Scene lighting fits the appropriate contrast, color, tone and effect parameters.

CR2.5 The color temperature of the illumination is modified by corrective filters placed on the target or on the light sources proving that they produce the right color, tone, or effect.

CR2.6 Light intensity is modified by neutral density filters, regulators of the light source itself, or appropriate lighting fixtures for the trimming and control of light intensity. checking that they produce the right effect.

CR2.7 The contrast of the lighting is adapted to the type of film/image sensor to be used and to the established aesthetic criteria.

CR2.8 The exposure measurement data and the camera setting parameters for obtaining the intended results are noted for application at the time of the intake.

CR2.9 Lighting equipment operations are performed in accordance with current safety and occupational risk prevention regulations.

RP3: Proceed to the assembly and to the point of the camera equipment and auxiliary elements, and to its disassembly, to ensure the operation of image capture and the preservation of the technical material.

CR3.1 The camera's placement on its support (tripod or pedestal) and its angulation is made to fit the planned frames.

CR3.2 The optical, its focal distance and the camera accessories are chosen from the measurement and checking of the light parameters of the scene and the position and point of view of the camera, according to the style, the technical and aesthetic effects and requirements defined in the project.

CR3.3 The optical, fixed or variable focal distance, and the camera accessories (parasol, filters) are installed, fitted in the chamber and are shown to have no lights capable of producing reflexes, pearls or veils. optical (parasitic lamps).

CR3.4 Auxiliary equipment (special supports, electrical power generators, scaffolding, among others) are installed, adjusted and checked to ensure optimal performance during the collection, reviewing the necessary electrical voltage and intensity.

CR3.5 The cleaning status of the camera and its accessories, the lighting equipment and the auxiliary equipment, as well as its perfect operation, is checked before the collection is carried out.

CR3.6 Camera equipment and equipment is checked, disassembled, conditioned, packaged, and transported under conditions that ensure proper conservation, observing existing occupational risk prevention measures.

RP4: Perform scene capture by coordinating human resources and adjusting the technical parameters needed to achieve technical and expressive adequacy in security conditions.

CR4.1 The tests of actors, models and interpreters and the technical tests are carried out on the basis of the checks carried out during the setting up of the camera equipment, auxiliaries and, if necessary, of the special effects in line with the project's aesthetic-expressive requirements.

CR4.2 Technical camera decentrations and tills are checked to ensure that they generate the desired effects on the image.

CR4.3 The perspectives created with the camera are checked to ensure that unwanted distortions of objects and bullets are not generated.

CR4.4 The final measurement of the exposure takes into account the depth of the field, the motion of the camera and the scene, as well as the reflectance of the framing elements and the aesthetic-expressive objectives.

CR4.5 Image capture is performed on the basis of previously established and tested technical, aesthetic, and compositional criteria during trials.

CR4.6 The characteristics of the shots are recorded in a technical tab to proceed with their analysis and/or reproduction or rectification of the intake, and subsequent analog or digital treatment of the image.

CR4.7 The captured images are viewed and checked immediately to assess that the light parameters, camera settings, composition and framing correspond to the expected results.

CR4.8 Images stored on the camera's log support, if it is a memory card, is dumped to a storage device (external or internal hard disk or other system), identifying and adequately protected for transport, in order to have the same for subsequent treatments.

CR4.9 The collection support (negative or positive), in the case of photochemical film, is stored in optimal conditions and is referred, duly identified and protected as quickly as possible, to the lab or production center.

CR4.10 The processes to be followed with the captured material are agreed with the laboratory or the digital editing and treatment team, in order to obtain the expected results.

CR4.11 All equipment operations are performed in accordance with current safety and occupational risk prevention regulations.

RP5: Monitor and control the results of processing and processing of films, materials and images by selecting those that match the quality levels specified in the project.

CR5.1 The film is analyzed considering: exposure, focus, grain, dominant and revealed defects, contrast and status.

CR5.2 The quality of the test and the photographic magnification is analyzed taking into consideration: the color, the detail in the shadows and in the high lights, the depth and the grain.

CR5.3 The analysis of the treated image takes into account the use of a control image (grayscale) and color card containing sufficient elements to assess the resolution obtained, the density, the exposure and chromatism, among others.

CR5.4 Results are validated and process corrective measures are defined when deviations from the specified values occur.

CR5.5 The defects observed in the obtained copies and sensitive materials (dominant tones, stripes, or others) are marked for subsequent correction.

CR5.6 The selection of the images is performed according to their technical quality and their adequacy to the defined formal and expressive characteristics.

Professional Context

Production media

Costume material, makeup, characterization and hairdressing. Stage elements and accessories. Light sources (continuous and "flash") and projectors. Accessories (light windows, reflection screens, flags, "snoots", cutters, masks, light screens). Tripods, "spiders", "feet", pantographs, sandwich. Filters. Electrogens. Photometers, flashmeters, termocolorimeters, luxometers. Lighting regulation elements. Effects machinery (smoke, fans). Transport bags. Photographic cameras of different formats. Optical. Accessories (parasols, visors or others). Auxiliary elements (tripods, supports, cranes). Camera cleaning equipment. Gray scales and color cards. Image monitoring systems. Computer connection cables. Computer equipment. Movies. Memory cards. Independent storage units.

Products and results

Scenographic elements. Drawings and lighting designs. Decorated decorated. Special effects plan. Permissions and authorizations. Negative, positive and digital photographic images. Technical data sheet for the laboratory/digital manipulation. Secure equipment handling.

Information used or generated

Technical and artistic documentation of the project. Technical manuals. Floor of the decoration. Data of the objects and/or subjects to be illuminated. Scheme or croquis in plant of location of lighting elements. Material listings. The technical information sheet for the adjustment, configuration and regulation of the camera and lighting equipment. Current regulations on the prevention of labour risks.

Competition Unit 3

Naming: DIGITISING AND PERFORMING IMAGE PROCESSING USING COMPUTER APPLICATIONS

Level: 2

Code: UC0928_2

Professional realizations and realization criteria

RP1: Check the originals, classifying and adapting them for further processing, taking into account the established production process, their technical characteristics and/or the layout and instructions work order techniques.

CR1.1 The original reception is checked taking into account the technical specifications, the needs of the production process and/or the technical characteristics of the model.

CR1.2 The transparent, opaque and original printed transparencies are checked against the characteristics of the support, the good status of the originals and the value of the viability of reproduction.

CR1.3 The technical characteristics of the digital originals: color mode, color depth, size and others, are verified, modifying them according to the production process, the corresponding profiles of the test kits and corresponding print machines and final support, following the instructions on the work order.

CR1.4 The originals are classified according to the type of support and the different processes to be performed on the defined workflow.

RP2: Perform color management maintenance on digitalizing devices and monitors to maintain color consistency in the imaging process, according to the technical instructions.

CR2.1 The calibration of the monitor is performed, following the guidelines established in the technical procedure, by means of specific application, determining the characteristics of luminance and its tolerance in the device, adjusting brightness and contrast, and prefixing the color temperature and range by observing under normalized conditions.

CR2.2 The characterization of the monitor is performed according to the guidelines established in the technical procedure, by means of the specific application module and the appropriate measuring instrument (screen colorimeter). or spectrophotometer), storing the result obtained from a color profile on the operating system and keeping it active for the computer applications that are used.

CR2.3 The calibration of the digitizing devices is performed according to the guidelines established in the technical procedure, by means of the procedures established by the manufacturer through patterns or wedges. own and acting on

software options that control them.

CR2.4 The characterization of the digitizer device is performed according to the guidelines established in the technical procedure, using specific applications and digitalizing, in conditions default, a color letter or standard pattern developed.

RP3: Perform the scanning of images for further treatment, according to the product's technical specifications and defined quality standards.

CR3.1 The cleaning of the originals is done taking into account the needs of the support and the emulsion of the transparent and opaque originals.

CR3.2 The originals are prepared for digitalization by marking the frames, cuts, enlargement/reduction factor and other indications, taking into account the characteristics of the same, the capture and technical characteristics of the product.

CR3.3 The maintenance, cleaning, and preparation of the digitizer device are performed appropriately according to the characteristics and type of the device, configuring all the parameters necessary for this purpose.

CR3.4 The color profiles of the images are selected based on the scanning device, the image support and the specified color space, depending on the needs of the production process.

CR3.5 The color control of the images is applied to the color spaces, the characteristic response of the digitizer device, and the treatment with respect to the image support and color of the image. original.

CR3.6 The device parameters are configured by setting the frames, escalates, and resolutions according to the production sheet specifications and the needs of the production process.

CR3.7 The digital reproduction of the original is adapted to the technical specifications of production, using the tools and specific computer applications.

CR3.8 The digitized images are checked on screen to assess their quality by detecting the possible deviations of color, errors in the lights and shadows and other defects, valuing their composition and verifying that the digital original obtained is tailored to the job specifications.

CR3.9 The images are stored in the appropriate file format and are stored to be integrated into the preprint flow, in accordance with established quality recommendations and standards.

RP4: Perform the digital processing of images, using computer applications, to match them to the needs of the final product, adjusting to the technical specifications of the production process.

CR4.1 The preparation of the necessary equipment in the imaging process is performed by checking its calibration and the active color profile of the monitor.

CR4.2 The configuration of color management in computer image processing applications is made taking into account the recommendations of manufacturers and standardization organizations, as well as as the color flow set in the production process.

CR4.3 Color transformations are performed according to the color control rules set for the production flow.

CR4.4 The color corrections to the original are made by adjusting the quality according to the requirements of the final product.

CR4.5 Defects, impurities and unwanted elements are removed by retouching tools, improving the quality of the final product.

CR4.6 The definitive images are adapted to the technical characteristics of the medium or established medium: paper, web, multimedia or other media, and to the needs of the production process.

CR4.7 Definitive images are stored using the image format appropriate to the needs of the production process.

CR4.8 The correction of digital images of images is performed taking into account the indications given in the printed tests using the appropriate computer applications.

CR4.9 The possible quality control incidents are recorded in the corresponding control sheets.

RP5: Perform image photomontages using computer tools, to match them to the needs of the final product, adjusting to the model and/or technical specifications.

CR5.1 The images required to perform the photomontage are collected and classified taking into account the particularities of the assembly defined in the model and/or technical specifications.

CR5.2 The assembly is made with images that maintain among them appropriate qualities of harmony, naturalness and color balance.

CR5.3 The images that integrate the photomontage are technically valued and are specifically treated by adapting them to the required technical particularities.

CR5.4 Required masks and masks are performed by applying technical criteria according to the merging needs.

CR5.5 The merge is performed smoothly and imperceptible by removing the pronounced steps.

CR5.6 The photomontage file is stored using the image format appropriate to the needs of the production process.

RP6: Perform and treat vector graphic elements using computer applications to integrate them into the production process, adapting them to technical specifications.

CR6.1 The preparation of the required equipment in the vector drawing is performed by checking its calibration, and the active color profile of the monitor.

CR6.2 The configuration of color management in the vector drawing computing applications is performed taking into account the recommendations of the manufacturers and the standardization organizations and the flow control of the color established in the production process.

CR6.3 The values obtained in the color management configuration are set as the preferences of the application that you are working with.

CR6.4 Vector charts are performed, treated, and corrected by achieving the appropriate optimization for their reproduction.

CR6.5 The colors defined in the vector charts are checked and modified taking into account the established color flow and the limitations of the final playback device.

CR6.6 The color transformations of the vector graphics are made by adapting them to the color specifications set for the production flow.

CR6.7 The functionality of vector graphics is valued by checking the existence and accuracy of all component elements, as well as the availability of the fonts used.

CR6.8 The vector charts are stored in the appropriate file format for the production flow, verifying that they meet the established quality standards.

CR6.9 The quality of vector graphics is verified by intermediate color tests.

RP7: Obtain intermediate and final tests for the color and quality of the images, depending on the production process, applying the established quality and technical specifications and verifying their correct realization.

CR7.1 The cleaning and preparation of the test device is performed appropriately in compliance with the standards specified in the occupational risk prevention and environmental protection plan.

CR7.2 Machine settings, configuration, and calibration of the test device are performed according to established quality standards.

CR 7.3 The choice of raw materials, supports and inks is performed according to the typology, quality and output device, controlling through quality procedures the stability in the behavior and that the end result is the same.

CR7.4 The tests are obtained by launching the digital file with the appropriate printing parameters to the optimum output device according to the type, quality and objective of the test, according to the specifications. the technical and technical requirements of the final product.

CR7.5 The evidence obtained is verified by checking that they lack the technical failures of the printing process and that they contain all the control and recording elements necessary to assess the color and the image quality.

CR7.6 The evidence obtained is remitted for correction to the manager established in the production flow and/or customer in case of final testing.

Professional Context

Production media

Computer and local communications and extensive area communications (internal and external). Computer equipment. Digitizing devices. Test kits. Storage devices. Colour measurement and control devices: densitometer, colorimeter and spectrophotometer. Monitors. Capture devices. Calibrated and characterized test devices. Scanning software, image processing and vector drawing. Workflows, color control software, and check-up programs. Image banks and vector graphics. Raw materials for testing systems. Normalized light pupitre and mounting table. Useful and measuring instruments: rules, tipometer, storytellers. Stationery and stationery.

Products and results

Incidents of quality control. Digitized images. Framed images. Corrected images. Photomontages in digital support. Graphics, logos and vector products in digital support. Color tests, correction tests, and contract tests.

Information used or generated

Production order. Sheet of technical specifications. Information on the production process of the product. Established workflow and quality control. Check and check sheets. Customer-facilitated information: graphic product sketches, graphic product models, sample products, customer-facilitated product models, style book, and corporate identity manual. Libraries of specific colors or used in the job. Letters, ranges and colour catalogues. Paper catalogues or other media. Image catalogues and vector graphics. Technical process of characterization and calibration. Technical documentation of preprint teams, applications, and workflows. Quality standards and standards. Applicable ISO, UNE standards. Safety, health and environmental protection regulations.

Competition Unit 4

Naming: ENSURING THE PROCESSES OF DELIVERY, ARCHIVING AND PRESERVATION OF IMAGES AND PHOTOGRAPHIC MATERIALS

Level: 3

Code: UC1419_3

Professional realizations and realization criteria

RP1: Perform the intermediate and final validation of the photographic product by applying the established verification procedures and taking into account the requirements agreed with the client.

CR1.1 Positivated copies are checked to ensure that they have been performed on the type of photo support provided for in the initial project matching the client request.

CR1.2 The surface of each copy is reviewed with attention (using gloves), to detect any physical imperfection (stripes or impairments of different types) and repair or replace it.

CR1.3 Slides and negatives are cleaned with sprays, brushes, solvents or ultrasounds so that there is no trace of the oils, dust or other material deposited during the processes to which they have been subjected.

CR1.4 The photographs are compared to the original delivered by the customer or to the requirements of the order made, by using the appropriate light for his observation, checking his correspondence.

CR1.5 Non-printed digital images are subjected to computer checking to ensure that they have the required resolution, that the file format is correct and that the support is appropriate for viewing it on the client terminals.

CR1.6 The chromatism of the final digital images is compared to the original to verify that the color management has been correct and that it carries the embedded ICC profile and, if necessary, a copy of "certified" color to ensure quality in subsequent processes.

CR1.7 The contractually agreed interim validation processes are met with customer satisfaction by presenting the materials in the appropriate time and form, and documenting the corrections. which will return to the stage of the photographic process precisely for its application and effective rectification.

CR1.8 The OK or the suggestion of the most appropriate procedure to solve the problems of the photograph (retouching or reconstruction) is collected in a document indicating the need to repeat it or protect it with cardboard, glass, teflon, or other materials.

CR1.9 The final amount of photographs and the economic amount to be billed are checked to ensure their correspondence with the request and with the budget accepted.

RP2: Maintain and retain the photographic material under the most appropriate conditions to ensure its subsequent requirements.

CR2.1 The paspartus, bottoms, cardboard and other complementary material in contact with the photographs or films, are checked with a pH meter or with another procedure to rule out the presence of acidic substances and ensure their preservation.

CR2.2 The preservation of positive copies is done by interleaving fine sheets, in case of large format photographs, protecting them with suitable cuttings, protective sheets or packaging, if it is pictures made on thick or framed supports.

CR2.3 Copies are sorted and stored by placing the envelopes in a vertical position and grouping them according to the characteristics of the project documentation.

CR2.4 Negative and positive films are found, except for those that are to be framed, for preservation.

CR2.5 The light, temperature, and humidity conditions of the photographic material storage rooms are controlled by the use of luxometers, thermometers, and moisture-measuring cards.

CR2.6 The preservation of copies and films is guaranteed by the control of the ambient humidity with the appropriate systems, taking into account the volume and the characteristics of the local (generic containers), thus as well as the interior of the archives and packaging (specific elements).

CR2.7 The digital material is delivered to the client and a copy is saved as a security measure in the file with the consent of the client.

RP3: Archive and catalog the photographic material according to its type and format in order to guarantee its location and access.

CR3.1 The identification of the photographic material (films, papers and computer supports) is ensured by means of its labelling, the annotation of the most relevant data of its realization, the application of a system Coded alphanumeric and its consignment in a standard template.

CR3.2 The slides are framed and arranged in boxes or in transparent sheets of DIN A4 size with products that do not damage sensitive material, identifying and classifying them by means of albums or metal filers.

CR3.3 The data for each photograph is recorded in a coded computer database, if possible with thumbnail images, assigning a default code (or keywords) to ensure their location and access.

CR3.4 Digital images are saved in the default formats (TIFF, JPEG, or other).

Professional Context

Production media

Computer. Specialized software. Gloves. Magnification magnifiers. Light boxes. PH control pen. 'Sprays'. Brushes. Solvents. Cardboard, glass, teflon or other tubes. Paspartus, bottoms, cardboard. Cuttings, protective sheets, packaging, envelopes. Luxometre. Thermometer. Moisture indicator cards. Moisture control systems. Metal albums and archives.

Products and results

Final copy finish. Negatives, slides and digital files delivered and/or archived. Certified copies of color. Billing for the product. Films, papers and computer media labelled. Standard file templates. Movie archives. Files on digital support.

Information used or generated

Project technical documentation. Documentation of the intermediate validation processes. Budget. Table of rates. Alphanumeric file systems.

III. TRAINING OF THE CERTIFICATE OF PROFESSIONALISM

FORMATIVE MODULE 1

Naming: PHOTOGRAPHIC PROJECTS

Code: MF1417_3

Professional qualification level: 3

Associated with the Competition Unit:

UC1417_3 Design, organize, and manage photo projects

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Analyze the different genres and photographic products in relation to the processes, media and characteristics of the photographic industry.

CE1.1 Differ, in the main genres and photographic applications (architecture, landscape, nature, fashion, advertising, boodeons, reportage, portrait, social photography, aerial photography, scientific, reproduction, between other):

-The specific products.

-The characteristic styles.

-The application fields.

-The most common technologies used.

-The techniques of fetching.

-The expressive and aesthetic functions.

-The associated typologies of photographic companies.

CE1.2 Interpret a photographic project (fashion, advertising, industrial or reportage) applying the techniques necessary for the understanding of communicative intentionality and formal structure and aesthetics.

CE1.3 Different professionals, companies and services involved in the photographic industry (companies of photographic production, auxiliary services of support to photography, etc.) professional associations, laboratories, photographic agencies, suppliers of material, among others) explaining their activity and function in the processes.

CE1.4 Distinguished the main characteristics of the different markets of the photographic industry, the methods of selling and promoting photographic products as well as the types of demand and the most common type of the customers of the most characteristic products.

CE1.5 Different artistic styles (photographic and pictorial) used in photographic projects of fashion, social reporting, advertising, among others, relating them to different set of decoration.

C2: Design the staging, and the expressive characteristics of the image taking into account the technical, aesthetic, communicative and budgetary aspects of the photographic projects.

CE2.1 From the analysis of certain sketches of images to photograph belonging to different photographic genres (advertising, fashion) to reflect in a document the conclusions drawn related to the applied staged solutions:

-Decoration (setting and daring).

-Disposition of elements.

-Lighting Style.

-Special effects to be used.

-Costume style.

-Hairdressing style.

-Style of makeup or characterization.

CE2.2 From a predefined photo project, design the most appropriate staging taking into account the expressive needs and budget available.

CE2.3 Design lighting schemes in line with the requirements of different photographic projects, based on the interpretation of their technical, aesthetic and budgetary aspects.

CE2.4 Describe the position and functionality of the light points in a given lighting scheme, relating the effects of the direction, quantity and quality of light with the appearance, texture, colour and contrast of the light. result image.

CE2.5 From an advertising photography sketch, work out a document in which it is broken down:

-The visual composition of the images to be performed.

-The lighting design in the specified decoration.

-The elements and resources that should be involved.

CE2.6 Relate, from the analysis of different photographs with different lighting styles, the effects of the chromatic characteristics of the light with respect to the sensations that the chromatic variations can produce in the viewer.

CE2.7 From a practical case of production of a photographic project of scope, duly characterized by the documentation of needs of possible locations:

-Query locations and location databases.

-Analyze the infrastructure characteristics of the locations.

-Analyze the logistics capabilities of the locations.

-Check your suitability for aesthetic and production needs.

-Document localization selection.

CE2.8 Describe the most common typology of special effects (physical, chemical, digital or mechanical transformations) applicable to photography by valuing the achievement of expressive results and their economic cost.

CE2.9 Schedule, from a project and its requirements, a casting test with precise timing and schedule, drawing up reports of data and artistic conclusions of suitability.

CE2.10 From a photographic project, in which certain digital images have to be generated, define the processes to be performed for the alternative capture of the image according to criteria of:

-Need to fetch separately from subject and background.

-Picture Union in Panoramic Image

-Need to combine several images of different luminosity and in perfect record.

-Correction of converging lines.

-Optimizing resources.

CE2.11 Describe the needs and process of permit and authorization management to be able to carry out photographic production at locations.

CE2.12 Identify the different genres, styles and compositional variations according to the final destination of the image, size and medium of reproduction by valuing the different photographic applications, their possibilities and the distinguishing features that determine their production.

CE2.13 Value the visual elements of the image composition related to the visual traits of the subject, the scene and its framing for its effective application in the collection and photographic recording: silhouette, shape, volume, tone, color, texture, framing organization, perspective, graphic effects, influence of light, interpretation of motion and abstraction.

CE2.14 From the project of an advertising photograph, apply the principles of the visual narrative and the rules of composition taking into consideration:

-The morphological elements: point, line, shape, color, texture, and light.

-The aurea section: balance and geometry.

-The frame and space.

-The rule of the thirds.

-The linear and atmospheric perspective.

-The determination of the center or centers of interest and visual travel in the composition.

C3: Plan the production process on photo projects based on quality criteria and resource optimization.

CE3.1 To differentiate the technical characteristics of the different systems of capturing and/or treating the image by analogue or digital means for their selection and application to specific projects

CE3.2 Relate the technical characteristics of the different camera formats and their accessories for selection and application to specific projects.

CE3.3 Differentiate the technical and operational characteristics of the optical systems and accessories used in capturing the image applied to characterized projects.

CE3.4 Analyze the technical documentation of photographic projects to identify the human (artistic and technical), technical, material and logistical resources needed for their implementation.

CE3.5 Develop production sheets with the resources involved in a photographic project of scope detailing the phases, the necessary processes (preparation, testing, taking), specific and technical characteristics, and deadlines.

CE3.6 Identify technical, expressive and administrative difficulties (taking permits, authorizations, among others) for the implementation of a duly characterized photographic project in order to estimate the times needed for imaging.

CE3.7 Develop a work plan for the realization of a photographic project of fashion, advertising or reportage, among others, that collects the temporal interrelation of the human, material and logistic resources for the collection of the image by determining:

-The available time and budget.

-The conditions of the takeover (study or exterior).

-The technical and human teams to perform it.

-Displacements and logistics.

-The selection of models and their hiring.

-Managing permissions and authorizations.

-The design of the lighting and determination of the resources.

-The design of the scenery and the construction of decoration or funds.

-Performing the tests and taking it.

-The processed in the lab.

-The digital treatment of the image.

-Finishes and forms of presentation.

-The intermediate validation processes by the client and the final delivery.

C4: Analyze the forms of hiring of technical, artistic, service and equipment personnel most used in the photographic industry.

CE4.1 Identify and analyze the different formats of current and most common labor contracts in the photographic industry, establishing their most significant differences, requirements, justification, duration and procedures formalization.

CE4.2 Identify and justify the most appropriate service and equipment contracts to the characteristics and budget of a specific project.

CE4.3 Identify and justify copyright and image contracts that are more appropriate to the characteristics and budget of a specific project.

CE4.4 In a photo project, develop a contractual color test for final validation by the client.

CE4.5 From a photo project, work out various permit and authorization contracts to perform the work.

CE4.6 From a photographic project and its conditions to write several contracts of varied typology (labor, services and equipment) that collect:

-The identification of the parts.

-The object of the contract with its relevant clauses.

-Copyright.

-Image rights.

-The agreed remuneration and the form of payment.

-The duration and operation of the same.

CE4.7 To differentiate the most standardized typology of service companies, advertising agencies, model agencies and suppliers related to the photographic industry.

CE4.8 Describe the different techniques and stages of a process of negotiation of conditions of purchase sale or rental of services and materials applied to the photographic industry.

CE4.9 Distinguished the criteria that apply in the selection of offers from suppliers of materials, equipment or services in the photographic industry, taking into account the factors that determine them (qualities, transport, discounts, payment terms and guarantees, among others).

CE4.10 From three supplier offers or service contracts in which purchase conditions, guarantees and level of service are expressed and objectives set for the realization of a photographic project scope, select the one that offers better conditions and meets the objectives of the order, detecting possible points to negotiate or review.

C5: Develop photo project budgets by analyzing and valuing budget items and integrating their technical and economic variables.

CE5.1 Identify the type of budget chapters, standardized in the photographic production processes, describing their headings

CE5.2 Apply rated quote models extracted from enterprise catalogs and photo services to different predefined job assignments.

CE5.3 Design and apply budget models that are adapted to the specific characteristics of the different photographic modalities and genres.

CE5.4 Differentiate, in a given scenario, the company's general expenses and the specific expenses generated for the order resolution.

CE5.5 Identify the main sources of information that enable you to obtain the updated prices of the resources, services and benefits of the market.

CE5.6 From the documentation and the determination of all the human and material needs of a photographic project of scope, as well as of the exploitation of the work:

-Query catalogs and databases to obtain updated prices for resources, services, and services according to market rates.

-Develop the budget, collecting the economic valuation of the budget items that make up the budget.

-Prepare the budget summary.

-Perform the calculations and properly elaborate the documents, with the appropriate techniques and codes, using the computer tools properly.

CE5.7 From a photographic project characterized, prepare the budget for its realization taking into consideration:

-Technical and artistic human resources.

-Material resources (types of media formats, optical, decorated, or other elements)

-The time limits available.

-The use of the worker/s.

C6: Design and plan photographic projects of different genres with criteria for quality achievement and optimization of resources.

CE6.1 Identify and describe the main aspects that a photo project should include.

CE6.2 Elaborate for different genres (advertising photography, reportage photography, nature photography and fashion photography) a production project that contemplates:

-The definition of their communicative intentionality and formal and aesthetic structure.

-The stage and lighting design.

-Study of location or location conditions

-The breakdown of human, technical and material needs.

-The required permissions and authorizations forecast.

-The job plan.

-The realization costs from the usual market rates.

-The process of validating the end product.

-Copyright and image rights.

Contents

1. Photographic industry

-Photo processing:

▫ Phases.

-Companies and services of photographic production.

▫ Photo Business Typology.

-Associated companies in photographic production processes:

▫ Service companies.

▫ Advertising agencies.

▫ Model agencies.

▫ Providers.

-Professionals.

-Promotion of photographic products:

▫ Market Types.

▫ Client types.

▫ Demand types.

▫ Sales methods.

▫ Image Bank and Gallery.

-Legal framework of the profession:

▫ Legal rules.

▫ Copyright and intellectual property rights.

▫ Rights-in-use.

▫ Right to Privacy.

2. Photographic genres and styles

-Generos and photographic applications:

▫ Nature.

▫ Portrait.

▫▫ .

▫ social media.

▫ Fashion.

▫ Advertising photography.

▫ Scientific photography.

▫ Other genres.

-Styles and photo criteria.

-expressive and aesthetic functions of each gender.

-Technical media and their relationship to genders.

3. Applied photography technical systems

-Photo capture systems:

▫ Analog and digital media.

▫ Basic features.

▫ Camera formats.

▫ Capabilities and limitations.

-Photographic optical systems and accessories:

▫ Features and applications.

-Photo study:

▫ Types.

▫ Distribution.

▫ Installations.

▫ Teams.

▫ Functionality.

-Analog and digital photo processing and processing:

▫ Standardized systems.

▫ Basic features.

▫ Capabilities and limitations.

-End Processes:

▫ Processed.

▫ Finished.

▫ Photo presentation forms.

4. Narrative and composition of the photographic image

-Photo composition and image processing.

-Intentionality in photography:

▫ Objective and subjective reading of the photographic image.

-expressive functionality and uses of photographic technology:

▫ Field depth.

▫ Contrast.

▫ Perspective.

▫ Captation of the movement.

5. Scenery and photographic setting

-Defining the staging:

▫ Express features.

▫ Location selection.

-Photo lighting styles.

-Technical documentation and lighting schemes:

▫ Making and interpreting a schema.

-Planning the special effects for the takeover.

-Techniques and types of lighting:

▫ Main Light.

▫ Fill.

▫ Contraluz.

-Lighting techniques and auxiliary elements:

▫ Profiling.

▫ Eye light.

▫ Background.

▫ Environment.

-Combination of different types of light.

-Special subject lighting techniques:

▫ Reproduction.

▫ Macrophotography.

▫ Transparent and translucent subjects.

▫ Metal and shiny subjects.

6. Planning the photographic project

-Preparing and managing photo projects:

▫ Documentation techniques.

-Management and planning procedures for photographic order.

-Project information (briefing)

-Defining formal aspects and visual style.

-Techniques for determining human, technical and artistic resources involved in photographic production.

-Making a job plan.

-Managing insurance, permissions, and authorizations.

-Documentation on project resolution.

7. Budgeting

-Budget-making techniques:

▫ Chapters and budget items.

-Photo project billing systems.

-Customer offering realization techniques.

-Computer tools for budgeting.

-Payment and collection forms.

8. Recruitment of human and material resources

-Purchase, manufacture or hire of equipment and decoration.

-Selection of the technical team.

-Selection of the artistic team:

▫ Agencies and representatives of models and artists.

▫ casting tests.

-Shopping in the European Union.

-Hiring services and equipment:

▫ Supplier selection.

▫ Procedures and documentation.

-Job Recruitment:

▫ Types and formats in the photographic industry.

▫ Procedures and documentation.

-Managing contracts and rights in the profession:

▫ Permissions and authorizations.

▫ Copyright and Image Rights.

▫ Validation of tests and acceptance by the client.

Methodological guidelines

Distance training:

80

Formative Module

Number of total hours of the module

Maximum hours

80

80

80

80 Normal_wrd_1"> 50

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 2

Denomination: REALIZATION OF THE PHOTOGRAPHIC TAKE

Code: MF1418_3

Professional qualification level: 3

Associated with the Competition Unit:

UC1418_3 Monitor and/or perform the staging, lighting, capturing, recording, and rating of the quality of the photographic images

Duration: 200 hours

FORMATIVE UNIT 1

Denomination: SCENERY AND LIGHTING IN PHOTOGRAPHIC

Code: UF1206

Duration: 70 hours

Competition reference: This training unit corresponds to RP2 except for occupational risk prevention and RP1.

Assessment Capabilities and Criteria

C1: Prepare the staging of photographic projects according to the defined technical-expressive characteristics.

CE1.1 Describe the typology and characteristics of the human, technical and artistic resources necessary to carry out the staging of a photographic project based on the analysis of the technical documentation.

CE1.2 To analyze the possible problems posed by the scenery to be performed in the decoration or location available to carry out the type of frames and composition, established in a duly photographic project characterized.

CE1.3 From a photographic production of scope, and of all the necessities for its staging:

-Perform the process of stage adaptation of a natural exterior or interior to perform the staging and subsequent uptake.

-Organize the arrangement of mounting and dismantling of the decorated in optimal safety conditions.

-Identify the elements of the decoration that can be subjected to post-capture digital treatment.

-Monitor the realization of styling (dressing room, makeup, characterization, hairdressing) in line with the lighting and with the predefined requirements in the project documentation.

-Perform the process of integrating the special effects in staging for the achievement of the required technical-expressive requirements in the project.

C2: Illuminate photographic projects with a view to the achievement of specific technical-expressive characteristics in their documentation.

CE2.1 Describe the differential characteristics of different light types from various light sources (incandescent photolamparas, halogen, cold light and electronic flash) as well as their composition Spectral and consistency.

CE2.2 Different types of projectors, reflectors, and accessories used in the control of photographic lighting explaining their use and their essential characteristics.

CE2.3 Identify, from the technical documentation of a project, the quality and quantity of light sources that make up a complete lighting scheme according to predetermined conditions, considering the characteristics of the recording material and the adjustment of the camera parameters.

CE2.4 Differentiate and recognize the various systems of assembly of the projectors (supports, fasteners and orientation controls) as well as their standards of use and safety.

CE2.5 Describe and apply light measurement techniques and processes for an optimal result in their application at the time of the takeover.

CE2.6 Relate the effects of light with its forms of projection and the distances between the projector, the subject and the background, in the illumination of objects of different materials (crests and metal among others), having in Account:

-The concentration of the light beam.

-The distance and angle of the projector to the subject.

-The modulation and distribution of light.

-The adaptation of light to shapes and their shadows.

-The adaptation of light to materials and control of reflection.

-The adaptation of light to the creative or pictorial project.

CE2.7 From a practical case properly characterized with photographic capture with continuous light and "flash" perform the measurement of the exhibition considering:

-The measurement and calculation of the exposure with "flash" light taking into account the guide number.

-The color influence and temperature of the ambient light.

-The employment of fill-in light continues.

-The movement of the subject.

-The log material to use.

CE2.8 From the lighting design of a photographic project of advertising, fashion or social reporting to be done in a decoration or dish:

-Interpret the readings of the different light measuring devices (photometer, flashmeter, termocolorimeter and luxometre) and their effects on the image to achieve a certain expressive effect.

-Adjust the filters, diffusers, light cuts and other necessary accessories according to the project, to achieve the desired luminous effects and environment.

-Perform the precise power calculations for execution.

-Perform the electrical connection.

-Mount and remove lighting equipment and its accessories under optimal security conditions.

CE2.9 Implement a paper-based lighting scheme, identifying, placing, and adjusting:

-The sources and projectors of light.

-The power supplies.

-The required support structures.

-The location and directionality of the projectors.

-The intensity of the beam, filtering and/or cuts.

CE2.10 Specify the basic characteristics of electrical equipment and systems of light intensity control, their connections and operating methods.

CE2.11 From a practical assumption, properly characterized with mounting of the lighting characterized, to solve basic electrical calculations applied to the needs of the photographic illumination: sources of food alternate and continuous,

load, distribution, cabling, and connection calculations.

CE2.12 Specify labor risk prevention rules, applicable to lighting operations.

Contents

1. Scenography and artistic direction applied to photographic taking

-Resources for staging:

▫ Human.

▫ Technicians.

▫ Artistic.

-Scenic elements:

▫ Assembly processes and disassembly of decorations.

▫ Elements capable of digital treatment

-Localizations:

▫ Permissions or accreditations.

▫ Scenographic adaptation of a natural exterior or interior.

-Characterization process:

▫ Make-up.

▫ Locker Room.

▫ Barber.

-Special effects applied to the takeover:

▫ Integration of special effects on staging.

2. Optical applied to photography

-Training of the photographic image.

-Field depth and focal distance:

▫ Focus.

▫ Focus depth.

▫ Visual field.

▫ Image size.

▫ Confusion circles.

-Targets for photography:

▫ Types.

▫ Features.

▫ Functionality.

-Aberrations, luminosity, coverage.

-Optical Accessories:

▫ Parasols.

▫ Approach Lentes.

▫ Talks.

3. Photographic lighting equipment

-Continuous photo light sources:

▫ Fotolamparas of incandescent, halogen, cold light.

▫ Spectral Composition.

-"Flash" electronic:

▫ Types, features, and operation.

-Control of photographic lighting:

▫ Projectors.

▫ Reflectors.

▫ Accessories.

-Light control elements and accessories:

▫ Fotometers.

▫ Flashimeters.

▫ Termoolorimeters.

▫ Luxometers.

-Media for light sources.

-Assembly and disassembly of lighting equipment.

-Electricity applied to photographic lighting

▫ Conexion.

▫ Load calculations.

▫ Power.

▫ Distribution.

4. Photographic lighting techniques

-Direction of light:

▫ Hard light.

▫ Soft light.

-Lighting scheme:

▫ directional, front, and 45-degree light

▫ directional, front, and 45-degree light with effect light.

▫ directional, front, and 45 degrees light with effect light and background light.

▫ Soft light, front and 45 degrees

▫ Soft light, front and 45 degrees with effect light.

▫ Soft light, front and 45 degrees with effect light and background light.

-External lighting techniques.

-Environment light:

▫ Intensity.

▫ Quality.

▫ Address.

-Application of color temperature control to photo-taking.

-Effects and light environment:

▫ Filters, diffusers, and light cuts.

-Photo filters:

▫ Types, features, and filtering techniques.

-Flash lighting techniques.

-Lighting techniques for crystal, metal, and other materials.

-Model lighting techniques.

FORMATIVE UNIT 2

Naming: PHOTOGRAPHIC FETCH

Code: UF1207

Duration: 90 hours

Competition reference: This training unit corresponds to RP3 and RP4 except for occupational risk prevention.

Assessment Capabilities and Criteria

C1: Prepare photo capture by adjusting the different technical elements.

CE1.1 Classify the types and formats of commercial films used in color and black and white photography describing their characteristics (rapidity, grain, latitude, resolutive power, chromatic response, contrast, among others) and its functionality.

CE1.2 Describe the components, controls and the common and differentiated characteristics of the analogue and digital cameras and their functionality: lens system, optical viewfinder, diaphragm and shutter, adjustment system focus, exposure control system, film and sensor, LCD monitor and color control, among others.

C2: Perform photographic collection by applying photographic composition techniques that guarantee the achievement of proposed communicative objectives.

CE2.1 From a practical case duly characterized from the subject in motion, perform the taking by valuing the effects that produce in the image the use of different times of obturation, in relation to the opening diagram and its influence on the depth of the field.

CE2.2 Apply in different lighting conditions control procedures and color balance by performing the white balance through a blank card and using filters (balance or chromatic compensation of the color temperature of the film or digital capture device).

CE2.3 Differentiate the factors that influence the photographic collection, which are characteristic of the digital image: resolution, photosensitivity, file format, compression, contrast control and sharpness, among others.

CE2.4 Describe and apply the different synchronization systems between the flash lighting equipment and the camera (wired or wireless).

CE2.5 In the practical implementation of a supposed advertising photo characterized by the technical documentation of the project and registered by digital and analog techniques:

-Check the work plan for proper coordination of technical and artistic personnel and introduce corrective elements if necessary.

-Adjust and check the operability of special effects.

-Mounting, adjusting and checking the optics, camera, camera support, and accessories

-Configure the digital photo capture device and specific computer equipment to ensure proper operability.

-Check the frame, composition and focus of the image to be photographed through the viewer or computer monitor.

-Perform the technical exposure adjustment tests related to the lighting scheme, capture element sensitivity (analog or digital), desired effects and depth of field.

-Perform the takeover.

-Evaluate the intake, annotate its technical characteristics and determine its validity, according to pre-set criteria

-Acondition camera equipment, accessories, photochemical emulsions, digital image storage devices and backups, to prevent accidental loss of data and ensure a few optimal conditions of conservation and transport.

-Meet the appropriate codes and terminology for a digital processing or processing order for the lab.

CE2.6 From a complex photographic take with models or interpreters:

-To direct the tests of the models or interpreters for the achievement of the predefined communicative objectives.

-Adjust and check the operability of special effects.

-Perform the technical exposure adjustment tests related to the lighting scheme, capture element sensitivity (analog or digital), desired effects and depth of field.

-Perform the takeover.

-Evaluate the intake, annotate its technical characteristics and determine its validity, according to pre-set criteria.

-Meet the appropriate codes and terminology for a digital processing or processing order for the lab.

Contents

1. Camera photo

-Formats.

-Types.

-Prstations.

-Features.

-Components:

▫ Lens system.

▫ Diaphragm.

▫ Obturator.

-Add-ons.

-Accessories.

-Controls:

▫ Control of sensor exposure through the histogram.

▫ LCD Display.

▫ Color control.

-Handling.

-Applications.

-Functions and operational controls of the camera.

-Synchronisms between camera and lighting equipment:

▫ Cable connection.

▫ Wireless.

-Equipment and auxiliary fetch elements.

2. Photographic film

-Movie types.

-Formats.

-Technical composition.

-Features:

▫ Rapidity.

▫ Grano.

▫ Latitude.

▫ Dynamic range.

▫ Resolutive Power.

▫ chromatic response.

▫ Contrast.

-Standards for the preservation and manipulation of photographic emulsions.

-Movie processing:

▫ Characteristics and process according to the type of emulsion.

-Positivate processing and expansion of photosensitive materials.

-Quality control techniques for films and photographic copies.

3. Recording the photographic image

-Scanning the image:

▫ Image sensor (types, features, format).

▫ Digital fetch processing by camera.

-Technical features of the digital image:

▫ Dimensions.

▫ Resolution.

▫ Tonal Gama.

▫ Balance of blanks.

▫ File format.

-Analog image log processing.

4. Techniques for capturing by means of the photographic camera

-Field depth control and focus technique.

-Framing, tracking, and focus on motion technique.

▫ Setting up camera controls and menus.

-Technical Chamber:

▫ Image control applications and operations.

▫ Control of the perspective.

▫ Scheinflug Law.

▫ Assembly and disassembly of the camera equipment and the auxiliary collection elements.

-Managing sensitive material and digital image log media.

5. Measurement of the photographic exhibition

-Measurement of light in the photo-taking:

▫ Parameters.

▫ Measurement Techniques.

-Systems and equipment for measuring the intensity and quality of light:

▫ Fotometer.

▫ Flashimeter.

▫ Termocolorimeter.

-Interval of luminance in the shot.

▫ Zone System.

▫ Letter gray.

-White balance:

▫ Letter of Banks.

▫ Control and incidence of color temperature according to the fetch technology.

-The sensitivity and latitude of the emulsion exposure.

-Control and calculation of the exposure:

▫ Obturator.

▫ Diaphragm.

▫ Sensitivity.

▫ Histogram.

▫ Exposimeter.

FORMATIVE UNIT 3

Naming: PHOTOGRAPHIC TAKE QUALITY CONTROL

Code: UF1208

Duration: 40 hours

Competition reference: This training unit corresponds to the RP5.

Assessment Capabilities and Criteria

C1: Rate the final results of the film and photographic copies process by applying product quality control techniques.

CE1.1 Describe the different phases of film processing (in black and white, and in color) by relating them to:

-Input and output products.

-The operations performed in each phase.

-The processing equipment.

-The chemicals used.

CE1.2 Describe the characteristics and functionality of the main chemical baths used in the processing of different types of films and photographic copies and the appropriate preparation conditions (temperature, agitation, sequence).

CE1.3 Describe and sequence the different phases and processes of the positivation and expansion of photosensitive materials (in black and white, and in color) and relate them to the input products, output products, operations made at each stage and technical equipment required.

CE1.4 Describe the various methods and modes of production with automatic and semi-automatic systems of chemical processing of photosensitive media.

CE1.5 Describe the finishing processes of the copies and extensions according to the final destination and their relationship to the correction of defects caused during processing.

CE1.6 Analyze copies from the original that you are part of:

-Analyze copies, extensions, and duplicates of black and white and color to detect chemical, enlargement, positivate, and manipulation errors relating to the originals.

-Perform the measurement of the parameters that determine the quality of the positive (density, contrast, granularity, veil, and color balance).

-Determine the need for correction of contrast defects, degree of enlargement, tonal ranges, densities, sharpness, and color.

CE1.7 Rate the different shots of the same image to select the most suitable according to their technical quality and match the predefined formal and expressive characteristics in a given photographic project:

-To verify the adequacy of the framing, the absence of unwanted elements in the table and the fulfilment of the aesthetic, formal and communicative criteria established in the proposal of the project.

-Verify the approach, the exposure and its effect on the resulting image, determining the adequacy of the intensity, direction and contrast of the light and aspect of the image.

-Propose possible corrections or modifications through digital treatment, in order to improve a certain formal or technical aspect.

-Develop a memory document of the images where the technical and formal characteristics of the shots are collected with their corresponding validation, possible errors and their correction proposal.

Contents

1. Processing of films and copies

-Analysis of the film:

▫ Exposition.

▫ Status.

▫ Revealed Defects.

▫ Contrast.

▫ Other aspects.

-Movie processing:

▫ General features.

▫ Preparation conditions.

▫ Process by type of emulsion.

▫ Automatic and semi-automatic systems.

-Positivate process:

▫ Phases.

▫ Process features.

-Process of extending photosensitive materials.

2. Quality control of films and copies

-Analysis of the treated image.

-Control image and color card.

-Senalization of defects.

-Defining corrective measures and modifications.

-Feature documentation for the takes and validation.

FORMATIVE UNIT 4

Denomination: PREVENTION OF OCCUPATIONAL AND ENVIRONMENTAL RISKS IN PHOTOGRAPHIC PRODUCTION

Code: UF1209

Duration: 30 hours

Competition reference: This training unit corresponds to RP2, RP3, and RP4 for occupational and environmental risk prevention.

Assessment Capabilities and Criteria

C1: Analyze prevention and safety measures regarding the actions of the handling of installations and equipment, contained in the safety plans of companies in the sector.

CE1.1 Specify the aspects of prevention and safety regulations related to the risks arising from the handling of installations and equipment.

CE1.2 Identify and evaluate risk factors and associated risks.

CE1.3 Identify environmental protection requirements derived from actions with polluting products.

CE1.4 Describe the requirements of the work areas and the procedures for their preparation, determining the specific occupational risks and their corrective actions.

CE1.5 Verify the correct installation and adjustment of special supports, scaffolding and electric power generators by reviewing their stability, voltage and electrical intensity.

CE1.6 Analyze first aid requirements in different accident scenarios.

CE1.7 Define the rights and duties of the employee and the company in terms of prevention and safety.

C2: Apply the security plan by analyzing the company's prevention, safety, and environmental protection measures.

CE2.1 Apply preventive and corrective measures to the identified risks, including selection, conservation and correct use of individual and collective protective equipment.

CE2.2 Apply the action protocols to possible emergencies, such as:

-Identify people in charge of specific tasks.

-Report the disfunctions and the observed dangerous cases.

-Proceed to the evacuation of buildings according to established procedures, in case of emergency.

CE2.3 Adopt the basic sanitary measures, first aid techniques and the transfer of accidents in different accident scenarios.

Contents

1. Occupational safety and health at work

-Basic concepts about health and safety at work.

▫ Work and health.

▫ Professional risks.

▫ Risk Factors.

▫ Consequences and damages derived from the job.

▫ Basic regulatory framework for occupational risk prevention.

-General risks and their prevention.

▫ Risks linked to security conditions.

▫ Risks linked to the workbench.

▫ Risks derived from the workload.

▫ Elementary risk control systems.

▫ Collective and individual protection.

▫ Health control of workers.

-Basic risk prevention management elements.

▫ Public agencies related to health and safety at work.

▫ Organization of preventive work: "basic routines"

▫ Documentation: collection, processing, and file.

-Emergency and evacuation actuations:

▫ Accident types.

▫ Primary accident assessment.

▫ First aid.

▫ Socorism.

▫ Emergency situations.

▫ Emergency and evacuation plans.

▫ Emergency support information.

2. Specific risks of photographic production

-Risk factors:

▫ Risk perception.

-Prevention and protection measures:

▫ Security Equipment.

▫ Caution with the material.

-Secure organization of the job.

-Rules and recommendations for risk prevention:

▫ Applied to Scenography and Photo Taking

▫ Applied to the lighting operations.

-Standards and recommendations for environmental risk prevention:

▫ Waste treatment methods and procedures.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Nº
				70	70	70	Normal_wrd_1"> 30
Formative Unit 2-UF1207	90	30
Formative Unit 3-UF1208	40	20
Formative Unit 4-UF1209	30	20

Sequence:

The training units 1, 2, and 3 of this module must be scheduled following the set sequence.

The formative unit 4 can be programmed independently.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 3

Naming: TREATMENT OF DIGITAL IMAGES

Code: MF0928_2

Professional qualification level: 2

Associated with the Competition Unit:

UC0928_2 Digitalize and perform image processing using computer applications

Duration: 190 hours

FORMATIVE UNIT 1

Naming: COLOR MANAGEMENT IN THE PHOTO PROCESS

Code: UF1210

Duration: 60 hours

Competition reference: This training unit corresponds to RP2 and RP7.

Assessment Capabilities and Criteria

C1: Apply maintenance procedures and color management assurance in image scanning and treatment programs, simulating different production environments.

CE1.1 Describe the fundamentals of color and its perception and limitations regarding physical devices for capturing, viewing, and reproducing.

CE1.2 Know the UNE and ISO recommendations regarding color reproduction in the production process.

CE1.3 Prepare imaging and imaging equipment, bringing them to the optimal operating conditions according to the manufacturers ' recommendations and a technical color management procedure in the Devices given:

-Calibrate and characterize imaging and imaging devices using the available target methods, by means of appropriate instruments.

-Generate device print profiles using the appropriate applications.

-Configure your computer applications to properly manage profiles for different graphical environments.

CE1.4 Perform instrumental control measurements using colorimeters and spectrophotometers on equipment and materials provided and following given procedural instructions.

CE1.5 Configure color management of computer applications, taking into account the color flow set in a given production order.

C2: Develop intermediate and final images of the images, using the appropriate output devices and verifying their quality and accuracy.

CE2.1 Describe the fundamentals of color and its perception and limitations with respect to physical reproduction devices.

CE2.2 Know the UNE and ISO recommendations regarding color reproduction in the production process.

CE2.3 Identify the calibration process for test devices.

CE2.4 Detailed the elements and instruments required for the quality control of the tests.

CE2.5 Calibrate test-generating devices so that stability is achieved in the response of the test device and ensures the repeatability of the results obtained for each configuration.

CE2.6 Perform quality control over the test device by properly employing the wedges (patterns) and the required measuring instrument (densitometer or spectrophotometer).

CE2.7 Interpret production orders properly characterized by identifying the final print process and its characteristics.

CE2.8 Perform tests, applying the appropriate guidelines to obtain the most faithful emulations possible to the final reproduction conditions.

CE2.9 Perform tests, using the optimal testing device based on the type, quality, and objective of the test specified in the given production order.

CE2.10 Cotejar digital files with evidence obtained, valuing their agreement and accuracy.

CE2.11 Value tests by checking that they lack failures and that they meet the minimum quality guidelines set for the device.

CE2.12 Check the quality of evidence obtained by means of the recording elements and the required measuring instrument (densitometer or spectrophotometer).

CE2.13 Check the characteristics and quality of the raw materials used, valuing their use according to the type of test to be obtained.

Contents

1. Color reproduction

-Human visual system:

▫ Color Perception Phenomena.

-Interpretation of color.

-Chromatic spaces and color models.

-Color sorting systems:

▫ Letters.

▫ Color libraries.

-Color reproduction techniques:

▫ Lineature.

▫ Angulation.

▫ point-ups.

▫ Frame point training.

▫ Trapper techniques.

2. Color management maintenance procedures

-Color management:

▫ Systems.

▫ Operation.

▫ Components.

▫ Configuration in computer applications.

-Administering color on operating systems and on different applications.

-Workflows for color management.

-Quality control and measurement instruments:

▫ Densitometers.

▫ Colorimeters.

▫ Spectrophotometers.

-Calibration and generation of monitor profiles:

▫ Luminance.

▫ Brillo.

▫ Contrast.

▫ Color temperature.

▫ Gamma.

▫ Values ΔE

▫ Validation of the profile.

-Quality measurements of chromatic values in color management procedures.

-Recommendations for color specification and management:

▫ UNE and ISO standards.

-normalized light:

▫ UNE and ISO standards.

▫ Temperature.

▫ Quality of Light.

▫ Light Intensity.

▫ Environment.

3. Testing in preprint

-Test Types:

▫ Position.

▫ Correction.

▫ Color.

▫ Taxation.

-Test systems:

▫ Types and features.

-Screen color tests:

▫ Display conditions.

▫ Colors out of range reproducible.

▫ Setting the colors according to their preview.

▫ Comparison between printed image and screen image.

-Calibration and profiling of test systems.

-Test quality control in preprint:

▫ Control elements.

▫ Tiras and control patches.

▫ Log items.

▫ Escalations.

-Densitometric and colorimetric measurements.

-Rules and recommendations for getting tests (UNE and ISO).

-Print systems.

-Trapper characteristics:

▫ Lineature.

▫ Plot Angles.

▫ Frame point training.

▫ Percentage.

-Trapper techniques:

▫ Conventional.

▫ Irrational.

▫ Stocastics.

▫ Hybrid.

FORMATIVE UNIT 2

Naming: SCANNING AND CAPTURING PHOTOGRAPHIC IMAGES

Code: UF1211

Duration: 40 hours

Competition reference: This training unit corresponds to RP1 and RP3.

Assessment Capabilities and Criteria

C1: Perform pre-digital treatment preparation operations, classifying them by adapting them according to their characteristics, and considering the instructions for a production order.

CE1.1 Recognize the signs and terminology used in a given production order.

CE1.2 From a production order that is made easier to recognize the printing system, the printer-like system, and the workflow.

CE1.3 From a photo project and a production order, in some originals on different media:

-Check the good status of the originals.

-Rate the viability of digital reproduction or treatment.

-Classify the originals according to the media: transparent, opaque, and printed originals.

CE1.4 Given digital originals and taking into account instructions given in relation to the production process, test kits and corresponding profiles, adapt the following characteristics:

-Color mode.

-Resolution.

-Color depth.

-File format type: tiff, jpg, raw, dng, pdf, eps among others.

-Digital image dimensions.

C2: Operate with computers and computer applications in digital imaging and digital imaging processes.

CE2.1 Relating and sequencing the different phases of imaging and imaging processes in particular graphical projects.

CE2.2 Recognize and describe the characteristics and operation of different imaging and imaging equipment.

CE2.3 Identify and describe the characteristics and capabilities of the different imaging and imaging applications.

CE2.4 Determine the necessary imaging and imaging equipment and imaging applications, based on the given technical specifications.

CE2.5 From a Photo Project and Customer Specifications:

-Operate with imaging and imaging equipment with skill and skill.

-Handle the IT applications of scanning and imaging with sufficiency and agility

CE2.6 Describe the options and parameters of scanning programs.

C3: Digitalize images by applying the technical criteria according to the needs of different products provided and the reproduction processes thereof.

CE3.1 Identify different types of originals by describing their characteristics.

CE3.2 Explain the reproduction needs of the different types of originals: original line, grayscale, color, and vector.

CE3.3 Describe the characteristics of digital images.

CE3.4 Explain the characteristics of file formats used for the export and storage of digital data in the scanning and imaging processes.

CE3.5 Recognize and determine defects and anomalies in the original provided.

CE3.6 From technical specifications and original given:

-Review the quality of images to be digitized.

-Identify and separate the originals based on analog (opaque or transparent) and digital support.

-Identify and separate the originals based on their subsequent playback, by file format (bitmap or vector) and mode (line, grayscale, or color).

-Determine the originals that will require treatment for quality reasons or job specifications.

-Specify/Identify the originals that will conform to the photo mounts.

-Determine the necessary computers and computer applications.

CE3.7 From technical specifications and given originals:

-Clean and dispose of the originals on scanning support.

-Calculate the size and resolution of digitalization based on the reproduction and the technologies of obtaining the printer form.

-Configure the scanning program parameters, considering the characteristics of the original and the final product you want to obtain.

-Select the color profiles set in the technical specifications.

-Perform the appropriate framing to the technical specifications.

-Set the parameters for color correction in the scanning process by improving the color of the original images.

-Digitalize the images.

-Store images using the appropriate file format depending on the output media set.

Contents

1. Preparing photo originals

-Original types:

▫ Classification.

▫ Features.

-Image libraries.

-Technical evaluation of the image.

-Image marking techniques.

-Digital file settings:

▫ Color mode.

▫ Dimensions.

▫ Resolution.

▫ Color depth.

▫ Extension.

▫ Size.

2. Image scanning

-Image capture principles:

▫ Fotomultiplier.

▫ Bayer Mask.

▫ CMOS.

▫ CCD.

▫ Other sensors.

-Image capture features:

▫ Threshold.

▫ Optical Density.

▫ Dynamic range.

▫ Color depth.

▫ Interpolation.

-Resolution:

▫ Concept.

▫ Needs.

▫ Calculation.

▫ Application.

-Types of scanners and operation.

-Principles, features and handling of scanning applications.

-Configuring color management in scanning applications.

-Image correction and adjustment techniques in capture and scanning.

-Image quality:

▫ Color depth.

▫ White tuning.

▫ Color Gama.

▫ Contrast in high lights and shadows.

▫ Media tones.

FORMATIVE UNIT 3

Naming: DIGITAL PHOTO PROCESSING

Code: UF1212

Duration: 90 hours

Competition reference: This training unit corresponds to RP4, RP5, and RP6.

Assessment Capabilities and Criteria

C1: digitally treat images using computer applications, optimizing them based on the end product, the medium or established support, and given technical instructions.

CE1.1 Describe the features and limitations of the images provided based on the characteristics of their format.

CE1.2 From technical specifications and digital originals given:

-Modify resolution/size using image processing applications while maintaining the required quality based on the end product.

-Perform the frames indicated in the technical specifications by using image processing applications.

-Perform image profiling by following the criteria set in the technical specifications.

-Store digital images in file format suitable for production processing.

CE1.3 From digital photographic originals provided, detect and specify chromatic errors: dominant, gray balance, or others.

CE1.4 From technical specifications and given digital originals, perform color correction of images using image processing applications:

-Checking the range of tones.

-Adjusting the light and shadow settings.

-Adjusting the tone media.

-Removing color dominant.

-Balance the colors.

-Adjusting the dimensions and resolution for the output.

-Focusing the images as they require it.

-Administering color according to output.

CE1.5 From the technical specifications and the digital originals provided, perform the retouching of the images using image processing applications:

-Removing the impurities of the scanning process.

-Replaying the damaged parts of the images.

-Removing the items indicated in the technical specifications.

-Alarming or replacing funds.

C2: Perform image mounts using computer applications by getting soft and imperceptible merges.

CE2.1 Describe the color configuration process for photomontage applications.

CE2.2 Drill down digital imaging techniques.

CE2.3 From a given image characterized by its balance of color, harmony and naturalness, and according to the previous indications and sketches provided, the assembly of the same taking into account the next

operations:

-Select the most appropriate images to use in the mount.

-Prepare the selected images by calculating the dimensions, resolutions, and frames required for the photomontage.

-Adjust the color profiles and modes of the selected images to the given color flow.

-Choose the appropriate file format by keeping the maximum information for the subsequent mount.

-Perform the necessary retouches on the chosen images, considering the final assembly.

-Make masks and cuts on the selected images, taking into account the final assembly.

-Mounting the images according to the previous indications and sketches provided.

-Perform the adjustment of lights and shadows required to obtain an imperceptible merge.

-Adjust the color of images to achieve uniform photomontage chromaticity.

-Archive it in the format most appropriate to the job features.

CE2.4 From a sketch, perform the overlap/merge of two images:

-Perform the required frames to fit the sketch.

-Adjust the size and resolution of the images, adapting them to the final mount.

-Rate the optimal layout of the images to achieve a soft and imperceptible melt.

-Generate the required masks to merge the images.

-Merge the images using the appropriate tools to hide the photomontage.

-Match the lights and shadows of the images.

-Adjust the color of the images in the mount.

C3: Perform and modify vector graphics using computer applications, adapting them to the final product and the production process.

CE3.1 Describe the characteristics of vector graphics.

CE3.2 Define the features and limitations of file formats for vector graphics.

CE3.3 Perform vector graphics using vector drawing applications, based on provided sketches.

CE3.4 Play vector graphics using vector drawing applications, starting with bitmap originals.

CE3.5 Modify vector graphics by optimizing them for playback based on the technical specifications of properly characterized graphical projects.

CE3.6 Rate the adequacy of vector graphics, checking that the color definition is adapted to the color specifications defined in the technical specifications provided.

CE3.7 Value vector graphics functionality, checking the existence and accuracy of all component elements, following the technical specifications and sketches provided.

CE3.8 Store vector drawings in the appropriate file format for a defined production flow.

Contents

1. Retouching images using computer applications

-Features of the digital image.

-Resolution and interpolation limitations.

-Adjustments:

▫ Contrast.

▫ Balance of gray.

▫ Color balancing.

▫ Brillo.

▫ Saturation.

-Filters:

▫ Destrated.

▫ Approaching/blur.

-Effects:

▫ Retouches.

▫ Degraded.

▫ Fundidos.

▫ Calates.

-Image file formats:

▫ Features and application.

▫ Compression principles and algorithms.

-Image digital treatment applications:

▫ Principles.

▫ Features.

▫ Handling.

-Configuring color management in digital image processing applications.

-Selection and masking techniques.

-Color correction techniques and tools.

-Photo retouching methods and tools.

2. Digital image assembly

-Preparing images:

▫ Selection of images.

▫ Dimensions, resolution, and frame calculations.

▫ Settings for color modes and profiles.

-Image digital mount techniques:

▫ Masks and Cuts.

▫ Image merge.

▫ Lights and Shades.

▫ Final color adjustment.

3. Vector graphics

-Characteristics of vector charts.

-Curves Beziers:

▫ Features.

▫ Behavior.

-Procedures for vector drawing:

▫ Realization of charts.

-Vector drawing applications:

▫ Principles.

▫ Features.

▫ Handling.

-Configuring color management in vector drawing applications:

▫ Configuration settings.

-Color conversion to vector graphics.

-Vector file formats:

▫ Features and application.

-Quality verification:

▫ Intermediate color tests.

▫ Screen tests.

▫ Color tests.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	N.
		60	60	60	60	Normal_wrd_1"> 30
Formative Unit 2-UF1211	40	20
Formative Unit 3-UF1212	90	30

Sequence:

The formative units in this module must be scheduled following the set sequence.

Access criteria for pupils

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 4

Naming: FINAL PROCESSES OF FINISHING AND PRESERVING PHOTOGRAPHIC IMAGES

Code: MF1419_3

Professional qualification level: 3

Associated with the Competition Unit:

UC1419_3 Ensuring the processes of delivery, archiving and preservation of images and photographic materials

Duration: 50 hours

Assessment Capabilities and Criteria

C1: Use the precise procedures for intermediate validation or final delivery of the photographic products.

CE1.1 Recognize and describe the different types and uses of photo media used in the presentation of copies and extensions according to their final destination.

CE1.2 Detect any physical imperfection in a copy (stripes, dust, oils, or material deposited during the previous processes) and proceed to repair using the appropriate materials (sprays, brushes, solvents or ultrasounds) to the completion of the perfect finish.

CE1.3 Verify exposure, focus, grain, possible dominant, contrast, and physical state of photographs by viewing them in light table or in ideal lighting conditions.

CE1.4 Set the ideal observation and lighting conditions to compare an original (paper, negative or slide) with a copy obtained from it, and then diagnose the degree of fidelity obtained.

CE1.5 Evaluate, based on predetermined requirements, completed images to determine whether they conform to the required quality parameters and where appropriate to determine the corrective measures for their rectification or repetition.

CE1.6 From a photo project, check the requested parameters for given digital images, determining if they fit the project parameters and identifying:

-Color mode: RGB, CMYK, LAB, or others.

-Color depth: 8 or 16 bits per channel.

-Image size (correct setting for printing).

-Resolution on different units: DPI and PPI.

-Color profile: sRGB, Adobe 1998, or others.

-File format: JPEG, RAW, TIFF, among others.

CE1.7 Describe the different available certified color test types that ensure quality in subsequent processes and the file formats, file size, and color mode required to generate it.

CE1.8 Describe the various finishing and photo protection procedures: framed (metal, plastic, anti-reflective glass), paspartus, foam assembly, Teflon laminar layer, packaging and others.

CE1.9 Differentiating the technical particularities, utility and convenience of digital image media used in photography: CD, DVD, external hard disk, removable pocket unit, Internet shipping, among others.

C2: Analyze maintenance and conservation techniques required by photo materials.

EC2.1 Carry out, in practical cases, checks on the effect of certain materials (paspartus, bottoms, cardboard, among others) placed in contact with photographs or films to rule out the presence of acid substances to compromise their conservation.

CE2.2 Rate the most appropriate photochemical emulsions storage systems to ensure conservation and accessibility.

CE2.3 Apply the appropriate procedure to perform the classification, protection, display and storage of different types of originals (slides, large format photographs, photographs in thick supports, between other).

CE2.4 From photographic materials, apply the necessary techniques for proper conservation:

-Identify ambient conditions of light, temperature, and humidity among others.

-Perform the corresponding instrument readings and check the parameters to be modified.

-Adjust the control equipment for proper storage.

CE2.5 Describe the methods of using the resources used to correct the inadequate environmental conditions in the conservation of photographic material: indirect light, visors, dry ball, cooling apparatus, Silica gel, among others.

C3: Analyze the existing systems of archiving and cataloging of the photographic material by applying criteria of technical organization of files, photo-tecs and banks of images.

CE3.1 Apply, in default cases, the most appropriate system for identifying photographic material (films, paper and computer media) by using techniques such as labeling, data logging in standard templates and the design and application of alphanumeric systems.

CE3.2 Use the standardized classification and archiving systems of the photographic material from transparent sheets introduced in hanging sheet archives, ring albums, metal archives, between other.

CE3.3 Make copies of digital files, in practical scenarios characterized by the protocols and precise storage procedures with criteria that allow their location and subsequent use.

CE3.4 Organize a computer database to ensure the localization, access, and thumbnail display of any image by using keywords, codes, and other required data.

CE3.5 Relate and describe the qualities of standardized file formats to save digital images and suggest the most appropriate for each case considering compression, quality, size and future uses.

CE3.6 Select the appropriate digital file storage media for different images considering the durability, security, and space occupied or available.

Contents

1. Techniques for evaluating the quality of the finished photo product

-Features and types of photographic (conventional and digital) media used in the finishing and delivery phases of photographic projects.

-Detect detection procedures and changes to photo media.

-Photo copy defect cleaning and repair techniques:

▫ Sprays.

▫ Paintbrushes.

▫ Solvents.

▫ Jabons.

▫ Ultrasounds.

▫ Other.

-Color assessment procedures and photo quality on any media.

-Elements used in the assessment of photographic materials:

▫ Foci.

▫ Messes of Light.

▫ Optical elements.

-Digital Image End Delivery Features:

▫ Color mode.

▫ Image size.

▫ Resolution.

▫ Color profile.

▫ File format.

-Control of digital image parameters according to the final sizes of the extension.

-End color fidelity control procedures for an image from capture to print.

-Standardized photo-finishing systems and procedures on different media.

-Packaging techniques applied to the delivery of photographic products.

2. Preservation of photographic material

-Effects of acidic or corrosive substances on photographic supports or accessories.

-Substances detection systems that shorten the duration of materials.

-Photo media protection and storage techniques.

-Control for the preservation of photographic material:

▫ Conditions of Light,

▫ Temperature.

▫ Humidity.

-Instruments used in the control of the conditions for the preservation of photographic materials:

▫ Luxometers.

▫ Fotometers.

▫ Psychometers.

▫ Higrometers.

▫ Termometers.

3. Photo-material file systems

-Photo identification procedures printed using various techniques:

▫ Label.

▫ Envelopes

▫ Marquis.

-Digital photo identification procedures on computer support.

-Print systems:

▫ Chemical copy.

▫ Giclee Copy.

▫ Media.

▫ Durability.

-Standardized classification and file systems of photographic materials in physical media.

-Principles, features, configuration, and management of digital databases.

-File formats:

▫ Application types.

▫ Compression procedures.

▫ Limits.

Methodological guidelines

Distance training:

Formative Module

Number of total hours of the module	Maximum number of hours susceptible distance
Formative Module-MF1419_3	50	20

Access criteria for pupils

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

PHOTOGRAPHIC PRODUCTION NON-WORK PROFESSIONAL PRACTICE MODULE

Code: MP0254

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Digitalize and treat images by using computer applications.

CE1.1 Configure the scanning program parameters.

CE1.2 Select the color profiles.

CE1.3 Perform appropriate framing.

CE1.4 Store images using the appropriate file format.

CE1.5 Correct image color and retouching using image processing applications.

CE1.6 Perform quality control over the test device.

C2: Perform vector graphics and image mounts using computer applications.

CE2.1 Preparing the selected images for the photomontage.

CE2.2 Perform the necessary retouches on the selected images.

CE2.3 Mount the images according to the provided indications and sketches.

CE2.4 Make the settings for lights, shadows, and color.

CE2.5 Archive the mount in the most appropriate format.

CE2.6 Modify vector graphics by optimizing them for playback.

C3: Design and plan a photo project, preparing the staging, planning the production process and the budget.

CE3.1 Design a lighting scheme, according to the requirements of the photographic project.

CE3.2 Find and select locations.

CE3.3 Develop a job plan.

CE3.4 Attend in the search for suppliers and in the hiring of the necessary resources for the photographic project.

CE3.5 Collaborate on budgeting.

C4: To prepare the staging of the photographic project and to make photographic collection, applying photographic composition techniques that guarantee the achievement of proposed communicative objectives.

CE4.1 Perform the stage adaptation process to perform the staging and subsequent uptake.

CE4.2 Perform the process of integrating special effects into staging.

CE4.3 Perform assembly, adjustment, and checking of optics, camera, media, and accessories.

CE4.4 Configure digital capture devices and specific computer equipment.

CE4.5 Verify the framing, composition, and focus of the image.

CE4.6 Perform the exposure adjustment tests.

CE4.7 Perform the photographic take.

CE4.8 Evaluate the intake, annotate its technical characteristics, and determine its validity.

C5: Perform the final process of finishing and preserving photographic images.

CE5.1 Evaluate the finished images.

CE5.2 Classify, protect, and store the originals.

CE5.3 Identify the photographic material.

C6: Participate in the company's work processes, following the rules and instructions set forth in the job center.

CE6.1 Behave responsibly in both human relationships and the jobs to be performed.

CE6.2 Respect the procedures and rules of the work center.

CE6.3 Diligently undertake tasks according to the instructions received, trying to bring them into line with the company's work rate.

CE6.4 Integrate into the production processes of the job center.

CE6.5 Use the established communication channels.

CE6.6 To respect at all times the measures of risk prevention, occupational health and environmental protection.

Contents

1. Digital image scanning and treatment.

-Configuring color administration.

-Capture and digitalization.

-Correction and adjustment of the image.

-Managing image digital treatment applications.

-Application of photo retouching methods and tools.

-Quality verification tests.

2. Image assembly and vector graphics realization.

-Fit image size and resolution.

-Application of digital image mount techniques.

-Fusion and image mount.

-Adjustment of lights and shadows.

-Final color adjustment.

-Realization of vector graphics.

-Color transformations in vector graphics.

3. Planning the production process.

-Managing and planning the photographic order.

-Making a job plan.

-Hiring of human and material services and resources.

-Making production sheets.

-Managing permissions and authorizations for locations.

-Application of techniques for budgeting.

-Getting updated pricing of services and capabilities.

-Using computer tools in budgeting.

4. Design of staging and setting.

-Selection of locations.

-Planning for special effects for the takeover.

-Design of lighting schemes.

-Application of lighting techniques and types.

-Monitoring the characterization and styling process.

-Application of special effects applied to photographic taking.

-Funds adequation to the defined visual style.

-External stage adaptation.

5. Realization of the photographic take.

-Focus and control of the depth of field.

-Moving and tracking patterns in motion.

-Configuring camera controls and menus.

-Adjustment and checking for special effects.

-Digital capture processing by camera.

-Visioning and checking images.

-Annotation of the characteristics of the shots.

6. Finishing and preservation of the photographic material.

-Performing quality control tests.

-Determination of corrective measures.

-Original classification, protection, and display systems.

-Control of light, temperature, and humidity conditions.

-Identification of digital photographs in computer support.

-Classification and file of photographic materials on physical media.

7. Integration and communication in the workplace

-Responsible behavior in the job center.

-Respect to the procedures and rules of the work center.

-Interpreting and diligently performing the instructions received.

-Recognition of the organization's production process.

-Using the communication channels set in the job center.

-Adequation to the company's work rate.

-Tracking the regulations for risk prevention, occupational health and environmental protection.

IV. PRESCRIPTIONS OF TRAINERS

Modules	Required Accreditation	Professional experience required in the scope of the competency
		If credited	If you do not have accreditation
MF1417_3: Projects photographic	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree or other equivalent degrees • Higher Technical Family of Image and Sound. • Professional Area Level 3 Professional Certificates Image and sound professional family photo production.	2 years	4 years
MF1418_3: Realization of the photographic take	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree or other degree Equivalent titles • Superior technician of the professional image and sound family. • Level 3 professionalism certificates from the professional photographic production area of the professional image and sound family	2 years	4 years
MF0928 _2: Digital image processing	• Licensed, engineer, architect, or corresponding degree degree or other equivalent titles. • Diplomat, engineer technical architect, technical architect or corresponding degree degree or other equivalent titles • Higher Technical Family of Image and Sound. • Certificates of professionalism Level 3 of the professional photographic production area of the professional image and sound family.	2 years	4
MF1419_3: End-of-end processes and preservation of photographic images	• Licensed, engineer, architect or degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or the corresponding degree of degree or other equivalent qualifications • Higher Technician of the Professional Image and Sound family. • Level 3 professionalism certificates in the area Image and Sound Professional Family Photo Production Professional	2 years	4 years

V. MINIMUM SPACES, FACILITIES AND EQUIPMENT REQUIREMENTS

Forming Space	Surface m2 15 pupils	Surface m2 25 pupils
		45	60
Workshop	30	45
Studio	80	100

Formative Space	M1	M2	M3
	X	X	X	X
Workshop printing			X
Photography Studio	X	X		X

Forming Space
Classroom	audio-visual equipment -network installed PCs, projection canon and internet -Specialty specific software -Rotuder-write Pizarras -Rotafolios -Classroom Material -Table and chair for trainer -Messes and chairs for pupils
workshop	-Capture devices. -Digitizer devices. -Color measurement and control devices. - Printing devices. -normalized light.
Photography Studio	-Scenographic elements and accessories. -Continuous and flash light sources. -Projectors. -Light windows. -Reflection screens. -Masks. -Light Tamizers .. -Filters. -Electrogens. -Fotometers. -Flashmeters. -Termocolorimeters. -Luxometers. -Photo cameras in different formats. -Accessories (parasols, viewers). -Tripods. -Supports. -Cranes. -Camera Cleaning Equipment. -Monitoring Systems of the image via computer. -Movies. -Memory cards. -Storage drives

It should not be interpreted that the various identified learning spaces should necessarily be differentiated by closure.

The facilities and equipment must comply with the relevant industrial and sanitary sanitary regulations and respond to the universal accessibility and safety measures of the participants.

The number of units that must be available for the tools, machines and tools specified in the training space equipment, will be sufficient for a minimum of 15 students and must increase, if any, to attend to the higher number.

In the event that the training is addressed to persons with disabilities, the adaptations and reasonable adjustments will be made to ensure their participation in equal conditions.

ANNEX III

I. Identification of the certificate of professionalism

Denomination: Film, video and television camera

Code: IMSV0308

Professional Family: Image and Sound

Professional area: Audiovisual production

Professional qualification level: 3

Professional reference qualification:

IMS294_3 Film, video and television camera (RD 1200/2007 of September 14)

Relationship of competency units that configure the certificate of professionalism:

UC0939_3: Collaborating on the development of the audiovisual project collection and registration plan

UC0940_3: Verify the technical adequacy and operability of the fetch and log resources

UC0941_3: Collaborating on the design and execution of audiovisual production lighting

UC0942_3: Get images according to the technical, artistic, and communicative criteria of the audiovisual project

General competition:

Capturing and recording images and sounds in all types of audiovisual productions, managing the camera, recording the sound in ENG productions, and collaborating in the planning of the process and in the lighting, attending to the achievement of the highest technical, artistic and aesthetic quality of the shots according to the direction of the direction of photography and/or direction/realization, providing own criteria.

Professional Environment:

Professional scope:

Develops its professional activity in the field of the collection, recording of images and lighting in film and video producers, in television stations, of any size, public and private, of reduced coverage or wide, whatever your broadcast system. Works for an employed or self-employed person ("freelance") .

Productive Sectors:

Audiovisual sector: film, video and television producers at international, national, regional and local levels, regardless of their broadcasting system, television stations, production companies in alive.

Occupations or related jobs:

3832.1030 Motion Picture Projection Cabin Operator

3831.1073 Camera operator (Film, TV, and/or video).

Movie camera operator.

Video camera operator.

Television camera operator.

3831.1028 Film Shooting Fog

Fog

Movie camera helper.

ENG Chamber (Electronics News Gathering).

Specialized Chamber.

Lighting helper.

Duration of the associated training: 630 hours

Relationship of training modules and training units:

MF0939_3: Developing the camera record and fetch plan (120 hours)

• UF0659: Valuation and determination of the resources required for the capture and recording of camera (80 hours)

• UF0660: Camera capture and registration planning (40 hours)

MF0940_3: Camera technical media (80 hours)

MF0941_3: Lighting for audio-visual productions (150 hours)

• UF0661: Lighting resources for audiovisual projects (50 hours)

• UF0662: Audiovisual lighting project design (60 hours)

• UF0663: Lighting control during image recording in audiovisual projects (40 hours)

MF0942_3: Audiovisual image captation (160 hours)

• UF0664: Camera operations for film and video capture (60 hours)

• UF0665: TV Captation with light equipment (60 hours)

• UF0666: Prevention of occupational risks in camera uptake (40 hours)

MP0137: Film, video, and television non-working professional practice module (120 hours)

Linking with professional trainings:

The training established in UF0666 "Prevention of occupational risks in the capture of the camera" of the training module MF0942_3 "Captation of audiovisual image" of this certificate of professionalism, guarantees the level of knowledge necessary to obtain the performance of the basic level of occupational risk prevention functions, according to Annex IV of the prevention services regulation, approved by the Royal Decree 39/1997, January 17.

II. PROFESSIONAL PROFILE OF THE CERTIFICATE OF PROFESSIONALISM

Competition Unit 1

Designation: COLLABORATE IN THE DEVELOPMENT OF THE PLAN TO CAPTURE AND REGISTER AUDIOVISUAL PROJECTS

Level: 3

Code: UC0939_3

Professional realizations and realization criteria

RP1: Study the features of the audiovisual project to obtain the data to allow for the capture or registration.

CR1.1 Analysis and interpretation of project information enable you to identify:

-The genre of the work, its communicative intentionality and its purpose.

-The formal, expressive and aesthetic aspects.

-The type of technology, photochemistry or electronics, the necessary techniques and processes.

-Human resources.

-Technical and material resources.

-The need for external or internal recording, in natural or decorated "set".

CR1.2 The visual style of the product is determined with the rest of the team, to identify the project characteristics that affect the image.

CR1.3 The technical feasibility of the project is studied and proposed modifications, if necessary, in technical and artistic aspects.

CR1.4 The technical possibilities and needs and their characteristics are valued from the analysis of the decorations and elements to be captured by camera.

CR1.5 The compositional style of the shots is defined under the supervision of the director/performer, taking into account the narrative considerations and the constraints of the framing.

RP2: Determine and manage the technical and human resources of the camera team, interpreting project information and direction/realization and production instructions, to optimize resources.

CR2.1 The format of camera, optical, type of recording support, fixed and mobile camera supports, machinist material and accessories, are selected from the study of the technical requirements of the project.

CR2.2 The professional number and profile of camera personnel such as foquists, auxiliaries, machinist among others, and the distribution of the tasks to be performed, are proposed, according to the needs of the project.

CR2.3 The choice of equipment and camera material is proposed, if applicable, to the direction of photography/lighting and/or production.

CR 2.4 The record formats and the typology of time codes used, are proposed based on their compatibility and functionality.

CR2.5 The definitive list of material needed for production is made, next to the steering/realization equipment, the photo/lighting and production direction equipment, according to the "set" and the characteristics of the shoot/write.

CR2.6 The availability of the requested material and equipment is ensured, in order to count on the set terms, conditions and terms.

CR2.7 The replacement technical equipment is anticipated to be available quickly and effectively.

CR2.8 The needs that may arise in the filming/recording are foreseen to ensure the disposition and adequacy of the recording material.

RP3: Develop the fetch and record plan by contrasting the shoot/write plan to optimize your application.

CR 3.1 The work plan allocated by production, as regards the collection and/or the filming/recording, is in contrast to its compliance, respecting the expected temporary and budgetary criteria.

CR3.2 The record order set is checked to meet the filming/write plan without conflicting with other production constraints.

CR3.3 The operation of machines and supports in the "set" is studied in order to avoid conflicts with the activities to be developed in front of the camera and with the operation of other technical and human teams involved in the shooting/recording.

CR3.4 The synchronization of all the necessary elements at the time of the shooting/recording is ensured with the correct organization of the technical and human equipment.

CR3.5 The adequacy of the calls is in line with the defined working modes, to achieve the optimization of the resources.

CR3.6 The technical configuration provided in the "set" is checked, in order to meet the work requirements.

CR3.7 The catch/record plan that contains the timing of the jobs, and the technical and human resources among others, is in line with the shoot/write plan.

RP4: Suggest alternatives to address/realization to set the breakdown of the plans, depending on the desired results.

CR4.1 The effectiveness of visual narrative and aesthetic impact, is valued by the study of planning to present, where appropriate, alternative proposals.

CR4.2 The achievement of the aesthetics marked in the project is ensured by checking the operativity of the fetch/record.

CR4.3 The continuity of the work is contrasted by the verification of the technical script, scale or storyboard proposing and the entry into the field of other cameras and propose, if necessary, alternatives.

CR4.4 The camera positions and movements, in the multicamara realization, are studied to avoid the discapacity and entry into the field of other cameras and propose, if necessary, alternatives.

CR4.5 The intervention of the special chambers in the subsequent registration is valued by the determination of the input feet and the "timing" for the alternative proposal.

Professional Context

Production media

Computer Media. Means of telephone communication. Internet. Office material.

Products and results

Human needs listings and techniques for capturing and recording planning. Recruitment and registration plans. Camera positioning schemes.

Information used or generated

Audiovisual projects. Dashes. "Storyboard." Scalets. Decorated plants. Listings of companies to support the collection and registration. Calls for staff. Time diagrams.

Competition Unit 2

Naming: VERIFY THE TECHNICAL ADEQUACY AND OPERABILITY OF THE FETCH AND LOG RESOURCES.

Level: 3

Code: UC0940_3

Professional realizations and realization criteria

RP1: Perform the appropriate camera checks, to ensure correct mechanical behavior and operability, by performing the necessary tests

CR1.1 The camera equipment available for filming/recording, such as wiring, accessories, media, cameras and recording material, is checked and guaranteed to match the previously set.

CR1.2 The possible failures of the technical elements are detected, identifying their causes and taking appropriate measures for their solution, by performing routine tests.

CR1.3 The various media and machinery for the camera are examined and ensured their adequacy and correct operation.

CR1.4 The functionality of the parasol and the focus controls with all the selected targets, filters and other accessories is checked, installed and driven.

CR1.5 The synchrony between shutter and garfios and the functioning of the fixed or variable shutter, it is checked by acting on the devices of synchronous speed control or variable of the camera, foreseeing the Circumstances of filming, such as the lighting of fluctuating sources or the recording of video monitors.

CR1.6 The tightness, the operation of its mechanical elements and the correct anchorage of the chassis in the body of the camera are checked, examined and tested with film.

CR1.7 The supply and collection of film and its drag through the window are checked, threading the negative into the drive mechanism and driving the engine.

CR1.8 The components of the chosen camera equipment are listed with their serial numbers, identifying the contents in each transport case.

RP2: Perform the appropriate camera checks, to ensure proper electronic and logging behavior, by performing the necessary tests.

CR2.1 The good condition of the batteries, their chargers, power cords and other camera accessories, is checked by the connection of all electrical elements.

CR2.2 The electronic viewer is adjusted, checking that it provides a reliable representation of the image that is captured and that allows accurate information to be displayed correctly.

CR2.3 The behavior of the camera is checked by making the electronic camera's own settings, providing the best options for recording.

CR2.4 The operation of the magnetoscope is checked, if applicable, by performing and viewing a test recording, adjusting the time codes and operating in conditions similar to those of the recording.

CR2.5 The recording of the sound in the camera's magnetoscope is verified, if applicable, by checking the audio inputs, levels, and monitoring their results.

CR2.6 The accuracy of the film's record is checked from the recording of test letters of record.

CR2.7 The video system incorporated into the film camera, is checked with the corresponding monitor and magnetoscope, connecting the equipment to each other and adjusting their controls.

CR2.8 The verification of the recording media is performed by assessing its suitability for production in type, quantity, size and capacity, and controlling the conditions of transport and storage.

CR2.9 The correct density of the film image is checked at each of the diaphragm points of the optics, carrying out the necessary exposure and revealed tests.

RP3: Perform the checks on the optical components required to ensure the quality of the shots, by applying standardized criteria.

CR3.1 The technical parameters of the optics are checked, to ensure their correct operation and their suitability to the request of the director of photography/illuminator by means of their physical observation, the visualization of test letters through the viewer and the observation of registered evidence.

CR3.2 The window format that appears in the unpolished glass observed through the viewfinder, is checked to secure your correspondence with the print window.

CR3.3 The mobile parts of the optics are checked to ensure their operation.

CR3.4 The focus points of the optics and their field depths at different distances are verified by the relevant tests and the use of reference guides.

CR3.5 The clean and unobstructed frame for all types of optics is guaranteed by placing the parasol, portafilters, filters and other accessories of the optics in the chamber and observing by the viewfinder.

CR3.6 The optics, focus and zoom controls are verified by checking their fluidity and fixing.

CR3.7 The operation of the focus on the viewfinder in all its positions is noted, observing the proper display of the framing and other marks on the frosted glass and/or viewfinder.

CR3.8 The chromatic transmission is checked by recording a color card.

CR3.9 The absence of optical aberrations and focus uniformity, are verified by recording adjustment letters.

CR3.10 The filters and their status of cleaning and preservation are checked to observe their effect, through various records.

Professional Context

Production media

Film and video cameras. Camera accessories. Supports. Magnetoscopes. Video tapes. Film film. Optics and accessories. Video and audio monitors. Filters.

Products and results

Verification of image and sound equipment. Camera and magnetoscopes settings.

Information used or generated

Technical material needs listings. Listings of companies to support the collection and registration. Technical catalogues. Equipment listings with serial numbers. Technical conclusions based on tests carried out. Proof of registration letters. Letters of color. Adjustment letters.

Competition Unit 3

denomination: COLLABORATE IN THE DESIGN AND EXECUTION OF THE LIGHTING OF AUDIOVISUAL PRODUCTIONS.

Level: 3

Code: UC0941_3

Professional realizations and realization criteria

RP1: Make lighting design proposals to get the right record of the images, solving the technical, aesthetic and narrative aspects of the project.

CR1.1 The expressive characteristics of the illumination, according to the intentionality of the audiovisual product, are defined in collaboration with direction/realization, based on the analysis of the technical documentation and Project art.

CR1.2 The technical and operational solutions of the lighting process are determined from the analysis of the project in collaboration with direction/realization.

CR1.3 The technical lighting resources and the technical resources of the collection and their appropriate adjustments to the plan of registration, are determined from the analysis of the project: forced, gain, color balance, between other.

CR1.4 The relationship of lighting, contrast ratio, effects and light types are defined in order to adapt them to the style and intentionality of the project and to the characteristics of the medium, the support and the visual style defined.

CR1.5 The forms, equipment listings, energy forecast, among others, are completed and adapted to the production and management/realization criteria.

CR1.6 The lighting plan is elaborated according to the technical solutions and the visual style of the project, considering the technical and operational differences existing in the work of drawing/flat registration, with a single chamber, or in blocks for the case of multicamara.

RP2: Prepare the illumination, in each sequence, for the recording of the images provided in the project, depending on the continuity of the previous design.

CR2.1 The required resources are determined, depending on the layout of the intended illumination for each sequence.

CR2.2 The illumination of each sequence is distributed, adapting it to the planned schedule in the fetch/record plan.

CR2.3 The color and intensity temperature of each light source is checked, by means of the thermocolimeter, luxometer and display, to fit the type of the film or image sensor used and the criteria These are established, proceeding with their modification, if necessary.

CR2.4 The color and intensity temperature is adjusted and modified, if necessary, by corrective, polarizing, or neutral density filters placed on the target or light sources.

CR2.5 The illumination contrast provided in the lighting scheme is adjusted to match the type of film/image sensor to be used and the established aesthetic criteria.

CR2.6 The operation of the lighting console is performed, if necessary, in order to obtain and value the expected luminous atmosphere.

CR2.7 The exposure data and the technical instructions for regulating the camera and obtaining the intended results are recorded for application at the time of the taking and subsequent treatment of the recording material. of the image.

RP3: Participate in the control of the evolution of the illumination during the recording, to achieve the intended result.

CR3.1 The light quality and intensity of the light sources is adjusted and modified, if necessary, by means of correction filters, polarizers, neutral density, reflectors, diffusers, regulators and limiters. light, to adjust to the scenic space, the development of the action and the light style conceived.

CR3.2 The color and intensity temperature of each light source are adjusted to the specific record situation, by checking with the display, luxometre, and thermocolimeter.

CR3.3 The quantitative and qualitative luminous parameters such as direction, filter modes, position of light sources, cut and reflection, among others, are checked and modified, if necessary, adapting them to the scene, environment, action, actors and camera movements, achieving the nuances of the light style defined for each scene.

CR3.4 The optical and camera accessories are chosen from the measurement and checking of the scene's luminous parameters according to the style, effect and quality intended for each shot.

CR3.5 The camera parameters are determined and adjusted to the specified medium, depending on the characteristics of the intake, the variations proposed by the equipment and the requirements of the project.

CR3.6 The recorded shots are checked immediately, to assess whether the adopted luminaire and log parameters correspond to the expected result.

CR3.7 The processes to be followed with the recorded material are agreed, if necessary, with the laboratory and the post-production management, to obtain the expected results.

CR3.8 Final materials are checked, through their viewing, in the different possible finishes of the product, to ensure their quality or to suggest adjustments of the density and color.

Professional Context

Production media

Exhibition. Luxometre. Termocolorimeter. Lighting sources. Lighting fittings. Lighting console. Filters. Optical. Film and video cameras. Camera accessories. CCU. Image monitors.

Products and results

Lighting plan and schemas. List of technical lighting resources. Energy forecasting form. Exposure data. Shots with different lights.

Information used or generated

Technical and artistic documentation of projects. Catch/record plan. Lists of lighting resources. Lighting schemes. Forms.

Competition Unit 4

denomination: OBTAINING IMAGES ACCORDING TO THE TECHNICAL, ARTISTIC AND COMMUNICATIVE CRITERIA OF THE AUDIOVISUAL PROJECT

Level: 3

Code: UC0942_3

Professional realizations and realization criteria

RP1: Set the camera equipment at the site of the takeover, according to the requirements of each plane, to ensure its registration.

CR1.1 The cleaning and grease state of the camera and its perfect operation are reviewed, as well as the good state of the optics and the absence of dirt or condensation on them.

CR1.2 The installation of the camera on the pedestal, tripod or intended support is monitored or performed, so that the shot and the camera height are adapted to the planning and staging.

CR1.3 The placement and positioning of platforms, paths, or boards required for displacements is indicated to the drivers, applying the set schedule.

CR1.4 The parasol, portafilters and other necessary accessories are installed in the camera and are checked not to enter the picture, looking through the viewfinder.

CR1.5 The fixed or variable focal point that will be used in the plane, is chosen autonomously or, if necessary, according to the direction of photography, it is installed in the camera and it is found that they do not have an impact on it susceptible lights

of producing pearls or optical veil.

CR1.6 The distances from the focal plane to the subject or object, in their various positions, are measured if applicable, according to the type of production or camera, they are contrasted with the depth of field available, and are marked on the ring or the focus wheel.

CR1.7 Camera movements and focus changes, run and corrected, during rehearsals, adjusting them to staging.

CR1.8 The equipment is protected from the atmospheric elements with the appropriate accessories and facilities to the weather conditions, following the safety standards established for the materials and the human equipment.

CR1.9 The negative material is threaded and the film is verified to run through the channels and rollers, without interruptions or failures.

CR1.10 Video tapes or recording media are set to a point, it is verified that it works, they are labeled, and if necessary, an initial space with bars or blacks is left.

CR1.11 The diaphragm aperture is adjusted according to the criterion of the photo direction or, where applicable, is calculated according to the recording material, the speed, the shutter, the filter, the focal distance and the light conditions.

RP2: Run the camera operations during the filming/recording, following the staging approaches indicated by direction/realization, and modifying the parameters required to achieve the Technical and expressive adequacy.

CR2.1 The positions of actors and atrezzo are modified, if the framing and composition are to be improved, according to the directions of direction/realization or direction of photography.

CR2.2 Claqueta, traditional or electronic, is framed, ensuring its correct display and that of its moving parts, and is recorded in a coordinated manner with the sound equipment.

CR2.3 The panoramic head controls are operated during the plane registration, to obtain the appropriate composition at each moment and the fluidity of the camera movements.

CR2.4 The scene approach is performed by acting on the focus control of the target, directly or by remote control, following the evolution of the staging by the marks obtained in the tests.

CR2.5 The focal distance in the variable focal lenses is modified, acting directly on the control or by remote control, according to the criteria established during the tests.

CR2.6 The operation of the camera during imaging is permanently observed through the signaling pilot or the display indicator.

CR2.7 The framing field of view is checked and prevented from interfering with unwanted people or objects.

CR2.8 The field of vision is corrected during the taking, if necessary, maintaining an adequate composition to the internal movements of the framing, the stability of the image and the aesthetic criteria of the project.

CR2.9 Camera displacement techniques such as cranes, dollies, remote control, steadycam, shoulder camera, among others, are precisely applied taking into account the visual style criteria. address/realization.

CR2.10 The recorded tapes and memory cards are protected by their security tab, as well as other storage systems, tagged, controlled by written parts, and arranged for their storage or transport.

CR2.11 The correction of valid takes is verified after registration by accessing the window, observing the absence of particles, dirt or stripes on the negative, and proceeding to the cleaning of the area printing and surrounding.

CR2.12 The exposed film is removed from the chassis under conditions of light tightness; it is introduced into the corresponding black bags and cans; each of these is pretape, labelled, attached to the parts of the camera and control its storage, transport and delivery conditions to the laboratory.

RP3: Perform image capture on TV dishes, by means of telecamaras and following the instructions of the realization equipment, so that they can be recorded in the control room of realization.

CR3.1 Problems detected during camera testing such as composition failures, focus mismatches, player alignment, lighting or sound interactions or lack of time to complete movements, among others, communicate to the performing team and are solvated.

CR3.2 The horizontal and vertical motion of the camera head is released during the tests and the recording, and is blocked during breaks and breaks, following safety standards for the camera and the human equipment.

CR3.3 The support wheels are controlled to prevent them from turning sharply when changing direction and to ensure the necessary softness in the displacements.

CR3.4 The approach and framing are performed during the take acting on the camera head, focus and zoom, following the evolutions of the interveners and according to the direction/realization indications.

CR3.5 Relevant optical settings, such as the choice of duplicator or camera filters, are performed according to their own technical or performance criteria.

CR3.6 The operation of cameras with special elements such as "steadycam", "bodycam", crane, "hot head", rails and others, is carried out on the basis of the criteria for direction/performance and Team-specific security rules.

CR3.7 The continuity of the recording is pursued at all times, keeping the attention and anticipating unexpected circumstances that demand to respond quickly.

CR3.8 The indications of realization are addressed, in coordination with the rest of the camera equipment, without interfering with the recording with noises or outtakes.

CR3.9 The chamber and the auxiliary material are arranged in optimum technical conditions, so that the technical service will proceed to disassembly and/or storage, ensuring the correct anchorage of the wa/s in the support used to prevent possible damage.

RP4: Operate with light recording equipment, following the indications of the journalist or production manager, to obtain the images and, where appropriate, the intended sound.

CR4.1 The placement of the ENG camera equipment and material, lighting and sound, is determined from a quick visual examination of the location.

CR4.2 The use of tripod, "steadycam" or other camera supports is valued and determined, depending on the characteristics of the report or news.

CR4.3 The persons or characters that will be the object of the recording are previously selected according to the features of the report or news, and it is noted that they will be recognizable at the time of the recording.

CR4.4 The most appropriate frames are determined, autonomously or in collaboration with the journalist or production manager.

CR4.5 The technical camera settings are made quickly and effectively, depending on the lighting conditions and the monitoring of European quality standards.

CR4.6 The ENG and environment camera microphone connections are checked and adjusted, if necessary.

CR4.7 The connections of the lighting equipment such as the connection of the torch to the battery and the camera, or from the lights to the electrical grid, are made according to the required illumination.

CR4.8 The approach and diaphragm are adjusted to the conditions of each shot, accurately and quickly.

CR4.9 The recording is carried out, in each case, according to the script, the information objectives and the criteria for production, forecasting the needs of editing, and in accordance with the quality standards professional.

CR4.10 The technical and formal quality of the image, the lighting and the sound of each take are verified, and the necessary adjustments are made, first, if necessary, the speed of execution in the circumstances of the premurs information.

CR4.11 The tape is referred, properly identified and with maximum speed and safety, to the production center, by hand delivery or other forms of shipment.

RP5: Set the validity of the shots, checking that they meet the desired technical and artistic requirements, so that the recorded material can move to the final processes.

CR5.1 The possible technical failures of the takeover are monitored by their revision on the monitor or viewfinder and their repetition is requested, if necessary.

CR5.2 The achievement of the established aesthetic and expressive objectives is verified by observation of the intake and, if necessary, appropriate corrections are determined.

CR5.3 The quality of the work itself is checked, along with direction/realization during the viewing of the original recorded video or copy or telecipado, and guidelines are extracted for the subsequent work.

CR5.4 The technical quality of the image and the time of the intake are reported to the performing equipment, for annotation on the parts of the chamber intended for the treatment of the material in the laboratory and in the assembly or editing.

CR5.5 The disclosed instructions provided by the photo direction are communicated to the performing equipment for transcription in the camera part and its subsequent use in the processing of the film.

CR5.6 The audio channels used and the sound equipment used are recorded on the camera part or on the label of the video tape, to inform assembly and address/realization.

CR5.7 The result of the processing of laboratory, pre-assembled material, or copiones, is considered and valued, in order to match the result to the instructions of the direction of photography and direction/realization.

RP6: Perform the disassembly of the camera equipment, after the recording/filming has been completed, following techniques and procedures established for its transport, subsequent use or storage.

CR6.1 Unmount tasks are performed under security conditions.

CR6.2 The status of the camera equipment and material is reviewed and reported in its state and operation.

CR6.3 Packaging and transport conditions of the material are controlled by applying the mandatory safety standards.

CR6.4 The storage of the material is performed under the appropriate environmental and safety and hygiene conditions.

CR6.5 The loading and unloading of the material and the camera equipment are performed without abrupt, taking into account their fragility and cost.

CR6.6 The malfunction, damage, or loss of material is communicated to the maintenance officer or the production manager.

Professional Context

Production media

Cameras, video and accessories. ENG cameras. Tripods, pedestals, supports and machinist material. Batteries. Television studio in multicamara. Remote control equipment. Radio communication equipment. Virgin film, video and audio material. Black bags. Cans. Claquetas. Microphones and basic lighting for ENG.

Products and results

Video and audio recording master tape. Film film exposed. Memory cards and/or hard drives. Camera parts.

Information used or generated

Lighting plan and schemas. Scale and dash. Orders of realization. Sensitometric characteristics of the emulsions. Previous information on reasons to be caught for ENG. Camera parts. Log for the lab. Reports from the viewing of the video tape or the copy or telecipado, in cinema. List of incidents of technical material.

III. TRAINING OF THE CERTIFICATE OF PROFESSIONALISM

FORMATIVE MODULE 1

Naming: DEVELOPMENT OF THE CAMERA CAPTURE AND REGISTRATION PLAN

Code: MF0939_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0939_3. Collaborate in the development of the plan for the collection and registration of audiovisual projects.

Duration: 120 hours

FORMATIVE UNIT 1

Denomination: ASSESSMENT AND DETERMINATION OF THE RESOURCES REQUIRED FOR THE CAPTURE AND RECORDING OF THE CAMERA

Code: UF0659

Duration: 80 hours

Competition reference: This training unit corresponds to RP1 and RP2

Assessment Capabilities and Criteria

C1: Analyse the technical documentation of the audiovisual projects, identifying the technical and human resources necessary to carry out their collection and/or registration.

CE1.1 Describe and relate, in functional organizational charts, the professional functions and the job positions characteristic of audiovisual productions.

CE1.2 Distinguished and describe the typology of companies and the different types of audiovisual products.

CE1.3 Relating the different genres of audiovisual works or programmes and their distinctive features.

CE1.4 Describe the different phases of the production process of an audiovisual work by identifying the technologies used in each of them according to the recording technology.

CE1.5 To differentiate the main characteristics of the technical documents such as script, scale, decoration plant and work plan, among others, common in the audiovisual production interpreting its structure, its codes and the symbology used.

CE1.6 Determine, from the analysis of the documentation of a particular project, the needs of camera material and camera human equipment accurate for the performance of a particular program.

CE1.7 Interpret plants and raised scenic spaces with the location information of technical and scenic elements, identifying codes and graphical symbology.

CE1.8 From the technical documentation (technical script, scale, decoration plant) of an audiovisual production, deduce:

-The type and gender of the work or program.

-The visual style.

-The staging.

-The number of planes and their characteristics.

-The audiovisual processes and techniques involved.

-The location, direction, and camera moves on the decoration floor.

-The conditions of execution and quality, by estimating possible difficulties of technical or narrative origin, and the contribution of solutions that facilitate the collection and registration.

C2: Valoring the technical characteristics of the systems for capturing, recording, treating and projecting image by mechanical means and the photographic photochemical processes used in the production of works audiovisual.

CE2.1 Describe the elements of different types of cinematographic cameras and their differential characteristics according to the work format.

CE2.2 Differentiate the types of emulsion used for imaging, explaining the formation of the latent image on black and white photochemical supports and color.

CE2.3 List the various existing film formats for image collection and projection, identifying their differential characteristics.

CE2.4 Explain the characteristics of black and white and color films such as speed, grain, latitude, resolutive power, chromatic response and contrast, among others, as well as the criteria that determine their choice for a particular film work.

CE2.5 Interpret the information of the packaging and the technical documentation provided by the manufacturer of the emulsions, deducing the response of the films in sensitivity and color balance and the possibilities of improvement in the face of critical situations that are obtained by altering their exposure index or their processing.

CE2.6 Describe the auxiliary elements of the cinematographic cameras: pedestals, tripods, stands, video outputs, among others.

CE2.7 Specify the capabilities of the auxiliary equipment used in image capture: cranes, "travelling", "camera car", "steadycam", "hot heads", among others.

CE2.8 Interpret the characteristics of the pietage systems and the modes of identification of the cinematographic frames.

CE2.9 Explain the processing systems of photochemical supports used in film productions.

CE2.10 Specify the processes, equipment, and materials used in the assembly of film films.

CE2.11 Describe the types of treatment and manipulation of the cinematographic image using analog or digital procedures.

CE2.12 Detailed the technologies involved in the film projection.

C3: To differentiate the technical characteristics of the systems of capture, recording, reproduction, treatment and monitoring of sound, used in the production of audiovisual programmes.

CE3.1 Explain the basic principles of sound, their fundamental magnitudes and the relationship with their perception by the human being.

CE3.2 Describe the physiological fundamentals of human sound perception.

CE3.3 Determine the basic differences between analog and digital sound.

CE3.4 List audio collection, signal processing equipment and acoustic screens, devices, cables and standard connectors used in a sound system, indicating the typology, function and characteristics of each of them and their interrelationship.

CE3.5 To differentiate the fundamentals of audio, analog and digital recording, and to classify recording formats and sound media, indicating the technology used and the main features of each them.

CE3.6 Relate the basic processing and processing software in the post-production of sound.

C4: Valoring the technical characteristics of the systems for capturing, treating, recording and reproducing image by electronic means and electromagnetic processes and electrooptics used in the production of audiovisual programmes.

CE4.1 Describe the process of transforming the light into electrical signal and the most relevant characteristics of the video signal indicating what their standard levels are.

CE4.2 Define the fundamental concepts of analog and digital video and television.

CE4.3 List the various international television standards, explain their characteristics and differences.

CE4.4 Identify and define the component elements and features of the video and television cameras.

CE4.5 Explain the main existing video signal processing systems: composed, separated, by analog and digital components.

CE4.6 Describe the fundamentals of magnetic video recording and classify recording formats, indicating the technology used and the main features of each.

CE4.7 Recognize existing systems of video time codes.

CE4.8 Specify the technologies and equipment of the multicamara realization control, the mobile units and the television set.

CE4.9 Identify the configuration, equipment, processing and processing of the video signal in the postproduction of images on linear and nonlinear systems.

CE4.10 Relate basic application computer treatments to post-production of video programs and synthetic imaging.

CE4.11 Different computer-based multimedia technologies.

CE4.12 Expose the fundamentals of receivers, monitors, and video projection systems used in the home, industrial, and entertainment domains.

C5: Value the elements, theories and resources of the audiovisual language, for their application in the collection and recording of images and sounds.

CE5.1 Explain the characteristics of perception, its theories and conditioning in the effectiveness of communication.

CE5.2 Describe the characteristics of emitters and media, as well as the social influence of their messages.

CE5.3 Identify and differentiate specific narrative techniques used in each expression media.

CE5.4 Recognize and define the narrative elements, expressive and descriptive of the audiovisual language: plans and their typology, taking, scene, sequence, field and off-field, camera movements, among others.

CE5.5 Identify the typology of plans, movements, special effects, transitions and their representation codes from the analysis of audiovisual documents.

CE5.6 Describe the fundamentals, characteristics, and composition classes of the audio-visual framing.

CE5.7 Define the ellipsis and image transitions types, and their corresponding functions.

CE5.8 Identify the elements that guarantee the continuity and the correct fragmentation of the scenic space in the audiovisual productions.

CE5.9 Apply the basic principles of narrative and audiovisual language to projects based on multicamara realization.

CE5.10 Describe the functions of the soundtrack in audiovisual storytelling.

CE5.11 From different audiovisual projections, analyze visual and sound messages assessing their communicative effectiveness and deducting the objective of communication and the nature and structure of the message.

CE5.12 Expose the process of creating and adapting a literary work, idea or event to a technical script, listing the steps and documents generated.

C6: To differentiate the physical principles of the optical systems used in capturing images.

CE61 Specify the elements and materials that make up the objectives, their characteristics and influence on sharpness and resolution power.

CE6.2 Refer to the most common optical system types used in image capture.

C6.3 Describe the determinants that influence the formation of the image in the different objectives: focal distance, nodal points, confusion circles, depth of focus, depth of field, size of the image, between other.

CE6.4 Classify the targets for cinematography and video according to their focal distance and image format, describing their characteristics: angle of coverage, effect on the perspective, deformation or distortion of the image.

CE6.5 Detailed the different optical accessories used in capturing images, explaining their operation and usefulness.

CE6.6 Describe the most common aberrations of the goals and their corrections.

CE6.7 Determine in practical cases, properly characterized, by appropriate optical calculations, image size, focal depth, diameter of the circle of confusion, the coefficient of enlargement or optical reduction, among others.

Contents

1. Audiovisual industry and production process

-Enterprise Tipology.

-Organizational structures.

-Product types.

-Production process phases:

-Technology used.

-Professional teams involved: functions.

-Camera team interaction with other equipment.

2. Analysis of the technical documentation of an audiovisual project

-Characteristics of the technical documents:

-Guion.

-Escalation.

-Floor decorated.

-Job Plan.

-Human equipment forecast required.

-Identification of technical equipment and required material.

-Spare Equipment Forecast:

-Fungibles.

-Services.

3. Film technology

-Historical review from drawing to cinema:

-Types and features of film formats and picture frames (cinemascope, 2.44, 1.85, 16:9, etc.).

-Camera:

-Types.

-Prstations.

-Features.

-Elements.

-Accessories.

-Characteristics of the auxiliary elements of the cameras:

-Pedestals.

-Tripods.

-Stations

-Video and ASist video outputs.

-Combo.

-Auxiliary Equipment Prstations:

-Gruas.

-Travelling.

-Camera car.

-Steadycam.

-Hot head.

-Submersible Chamber.

-Crash.

-Special camera operation.

-Characteristics of black and white materials and color:

-Choice criteria.

-Techniques and methods of filming.

-Processed from Film Material:

-Phases.

-Materials.

-Teams.

-Significant parameters.

-Audio synchronisms

-Motion picture and post-production techniques.

-Characteristics of the pietage systems.

-Techniques and methods of projection.

-New technologies in film production.

-Write environments:

-Decorated.

-Natural set.

-Foreign.

-Indoors.

4. Video and television technology

-Historical review:

-Foton wave Duality

-Technical media and technological evolution.

-Video and television camera:

-Types.

-Features.

-Prstations.

-The CCD:

-Types.

-Features.

-Cmos:

-Types.

-Features.

-Camera accessories.

-Video signal:

-Types.

-Analog and digital signals.

-Quality parameters.

-Recording and its techniques.

-Log Systems

-Types, features, and capabilities of video systems and formats.

-Types and features of image and sound recording media.

-Elements and auxiliary fetch controls.

-Mount and post-production techniques:

-Types.

-Elements.

-Functions.

-Computer systems in post-production and synthetic imaging:

-3D.

-Ed.

-Flaying logo.

-Video monitors and projectors:

-Types.

-Features.

-Functions.

-Domestic, industrial and show environments.

-Emission and image transmission systems.

-Characteristics and differences in international television standards.

5. Sound recording and collection systems

-Nature of sound:

-Acoustics.

-Units.

-Perception of sound by the human being.

-Analog and digital sound.

-Sound Captation:

-Microphones.

-Types.

-Features.

-Recording of analog and digital sound.

-Sound equipment for film, video and television capture:

-Features.

-Magnetic and electrooptical recording systems.

-Features, capabilities, and types of sound reproduction and postproduction equipment:

-Amplifiers

-Mix tables

-MIDI System

-Computer Systems

-Acoustic screens.

-Sound postproduction techniques.

6. Film and TV image training

-Simple Lentes and Optical Systems.

-Field depth and focal distance:

-Optical calculations.

-Focus depth and confusion circles.

-Objectives: types and characteristics.

-Manufacturing and designing objectives:

-Aberrations.

-Luminosity.

-Coverage.

-Targets for photography, film and TV.

-Optical accessories.

7. Sensitive emulsions

-Movie.

-Emulsion.

-The printing process of the film.

-Sensitivity or speed.

-Contrast of the film.

-Color movie.

-Printing process of a color film.

-Reversible emulsions and professional uses.

-Negative Emulsions and Professional Uses.

-Choosing an emulsion.

-Standards for the preservation of photographic materials

8. Language and narrative of the audiovisual image

-Film, videographic and television genera.

-Building visual messages:

-Communicative effectiveness of visual and sound messages.

-Compositional style and framing conditions.

-Frame types.

-Camera movements.

-Continuity and fragmentation of the scenic space.

-Space/time ratio.

-Mount theory based on narrative language.

-Expressions of the soundtrack.

-Technical, scale, or "storyboard":

-Process creating and adapting a work to a hyphen.

FORMATIVE UNIT 2

Naming: PLANNING FOR THE CAPTURE AND RECORDING OF THE CAMERA

Code: UF0660

Duration: 40 hours

Competition reference: This training unit corresponds to RP3, and RP4.

Assessment Capabilities and Criteria

C1: Plan the process of capturing/recording images in audiovisual productions, based on criteria for achieving quality and optimization of resources.

CE1.1 Defer the characteristics of different models of shoot/write plans, according to the expressive media and gender.

CE1.2 From the analysis of an audiovisual project, prepare the planning of the cameras, their location, angulation and the assigned plans, numbering them and specifying the type of framing and the characteristics of the camera moves if any, suggesting alternatives to address/realization.

CE1.3 Calculate, from an audiovisual project, the possibilities of combining all technical and artistic resources to generate a plan to capture or write for optimal sequences in performance and costs.

CE1.4 From the study of an audiovisual project, reflect on a plan of filming/recording ordered by days, all the needs and times foreseen for the capture/recording of the images.

CE1.5 Confect a recording scale from the viewing of informational, documentary, magazine, or dramatic programs, among others.

Contents

1. Fetch/Record Plan

-Interpretation of the production job plan:

-Types of filming plans according to the expressive medium and the genre of the work.

-The Flat Breakdown:

-Interpretation of the storyboard.

-Forms and organizational parts of the audiovisual production process:

-Camera parts.

-Parts of work.

-Citations.

-Arrival or access maps.

-Permissions.

-Security.

-Weather forecast.

-Planning techniques.

2. Camera equipment functions:

-Professional team profiles (First Operator, Second Operator, Camera Technician, Assistant, Assistant)

-Coordination of camera equipment with other equipment.

-Synchronizing tasks: (briefings, meetings, chain of command).

3. Criteria for evaluating the fetch plan

-Temporary and budgetary criteria and their impact on the write plan:

-Possible incidents and their resolution.

-Time Forecast.

-Procedures for optimizing resources.

-Final balance of production.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	N. 80
			80		80	50
Formative Unit 2-UF0660	40	30

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 2

Naming: CAMERA TECHNICIANS

Code: MF0940_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0940_3 Verify the technical adequacy and operability of the fetch and log resources

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Verify the mechanical operation of cinema, video and television cameras and their operability, through the necessary tests to ensure correct behavior, during the recruitment/registration of a project determined.

CE1.1 Identify, in front of a collection sample, film and video formats and media relating to their corresponding cameras.

CE1.2 From the analysis of different samples, recognize the conservation status of different emulsions and supports by means of sight, touch and smell.

CE1.3 Unmount and mount properly the mechanical parts of a camera:

-Movie Chassis.

-Optical.

-Viewer and long magnifying glass.

-Base and accessory bars.

-Parasol, visors, and portafilters.

-Focus command.

-Zoom and other target remotes.

CE1.4 Make the mechanical adjustments of the operation of a movie camera:

-Fixed and variable obturation.

-Attack on perforations ("Pitch") .

-Engrase and fluency of window, garfio, and contragarfio.

-Speed and crank step.

-Failure detection.

-Sound of the camera.

-Camera test tests.

-Angle and speed adjustment.

-Cleaning powder and hair.

-Distance from the focal plane to the mount.

-Engrase and cleaning of moving parts.

-Safety boards.

CE1.5 Make the settings for a digital cinematography camera:

-CCD cleanup or ruse.

-Signal/noise ratio.

-Bayonet adjustment.

-Back focus check.

-Lens collimation.

-Checking dump items to information (hard drives, cards, etc.)

CE1.6 Successfully manipulate different types of cables and power connectors, video signal, "synchros", audio signal, and remote mechanisms.

CE1.6 Load with correction different types of film chassis in black sack or load room, with proper loops.

CE1.7 Enhance the film by respecting the loops and checking their correct displacement.

CE1.8 Describe the optimal conditions for the conservation and transportation of mechanical equipment.

C2: Verify the electronic operation of the cinema, video and television cameras and their recording systems, by means of the necessary tests to ensure correct behaviour during the recruitment/registration of a project.

CE2.1 Check the status of cables, connections, and power types and signals, using polymeters.

CE2.2 In an image capture scenario, configure and connect different video and audio equipment by sending the signal to the default sites with the required quality using vectroscope or waveform monitor.

CE2.3 From previously determined conditions of image capture, manipulate, on a known camera or from its CCU, brightness, gamma and contrast adjustments with reference signals.

CE2.4 In an image record assumption, control the recording and output level of the video signal in the magnetoscope by diagnosing possible problems.

CE2.5 Describe the optimal conditions for the conservation and transportation of electronic equipment.

C3: Verify the correct operation of the cameras ' optics, using the necessary tests to ensure the quality of the shots in a given project.

CE3.1 Clean various types of optics, place them in their rings or mounts, and adjust the back focus ("back focus") with appropriate reference letters or by using a collimator.

CE3.2 Describe the different standard and non-standard window formats and, where appropriate, the optical compression that the anamorphic goals perform.

CE3.3 Handle Kelly-type guides or tables and the precise electronic devices for the calculation of angulation, visual field, depth of field, and hyperfocal distance.

CE3.4 Demonstrate criteria when considering focused and unfocused objects, in a practical application, according to the narrative considerations given.

CE3.5 Describe the optimal conditions for the conservation and transportation of optical equipment, and the alterations to which they may be subjected to inappropriate shipments.

Contents

1. Checking and tuning of the mechanical system of the cinema cameras

-Adjustment of continuous drag mechanisms.

-Checking the intermittent drag mechanisms.

-Frame print channel check:

-Platina and counter-placatin.

-Installing or changing the window.

-shutter adjustment procedures:

-Aberture.

-Close and open cast controls.

-Chassis handling:

-Installing and loading the film.

-Adjust camera controls:

-Totalizer.

-Tachometer.

-Telemeter.

-Metsuit and frame counter.

-Tuning the viewer.

-Installation on tripods, pedestals, cranes, and special supports.

-Techniques for the conservation and transportation of mechanical equipment.

-Check routine tests.

2. Checking and setting up of the electronic system of cinema, video and television cameras

-Electronic system adjustment techniques in the cinema cameras.

-Configuring and routing video and audio signals.

-Communication from TC's and synchronisms with camera lines and DAT's

-Connectors:

-Typology.

-Applications.

-Cable status check procedures, connectors, power supplies, and video signals.

-Configuring and connecting video and audio equipment.

-Checking and adjusting the camera engine.

-Adjust camera controls:

-Exposition.

-White balance.

-Color bars.

-Gain.

-Focus.

-Digital effects.

-Catch and signal processing techniques for obtaining images with special characteristics:

-Optical block.

-Dicroic block.

-CCD's.

-Color matrix.

-Gamma.

-Processing

-B4 mounts.

-Bayonets (of 1/3 ", ½" or 2/3 ") .

-PL mounts of 16 or 35 millimeters.

-Camera control (CCU).

-Glint, gamma, and camera contrast techniques.

-Control techniques in the magnetoscope of recording and output levels in playback.

-Checking and adjusting sound collection systems.

-Technical maintenance of the electronic systems of the cinema, video and television cameras.

-Point-to-point and maintenance procedures for magnetoscopes.

3. Testing and tuning of the optical system in the cinema, video and television cameras

-Assembly and disassembly of optical systems in the camera.

-Optical adapters or converters

-Installing optical accessories:

-Parasol.

-Porthaph device.

-Filters.

-Visas.

-Cach.

-Diaphragm adjustment and control techniques:

-Wave monitor.

-Using photometer.

-Zebra.

-Focus tuning techniques:

-Using reference letters.

-Colimators.

-Back focus settings.

-Performing check operations for:

-Angulation.

-Visual field.

-Field depth.

-Hyperfocal distance.

-Anamorphic goals and optical compression.

-Test Letters.

-Color letters.

-Adjustment letters.

-Maintenance and transport procedures for optical equipment and systems.

Methodological guidelines

Distance training:

Formative Module	Number of total hours of the module	Maximum hours Distance-
Formative Module-MF0940_3	80	20

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 3

Naming: LIGHTING FOR AUDIOVISUAL PRODUCTION

Code: MF0941_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0941_3 Collaborate in the Design and Execution of Audiovisual Production Lighting

Duration: 150 hours

FORMATIVE UNIT 1

Naming: LIGHTING RESOURCES FOR AUDIOVISUAL PROJECTS

Code: UF0661

Duration: 50 hours

Competition reference: This training unit corresponds to the RP2 as referred to the required resources.

Assessment Capabilities and Criteria

C1: Relating the basic principles of physics and the perception of light and color for its application to the illumination of audiovisual productions.

CE1.1 Describe the phenomena related to the propagation of light, such as reflection, transmission and absorption, law of the inverse square, among others, relating their behavior to certain materials.

CE1.2 Relate the characteristics of human vision with the quantity and quality of different lighting situations.

CE1.3 Relate photometric concepts relating to luminous flux, intensity, illumination, luminance and their units.

CE1.4 Analyze visual perception and the phenomena that determine it:

-The logarithmic perception of luminosity.

-The chromatic adaptation.

-Adaptation and constancy to brightness and color.

-The perception of space.

CE1.5 Describe the basics of color and attributes of tone, brightness, and saturation.

CE1.6 Describe color systems, additive and additive color synthesis, as well as the relationship between the spectral composition of light, the color temperature, and the properties of illuminated bodies.

CE1.7 Compare the characteristics and uses of the filters used in the audiovisual media to film and video based on the lighting.

CE1.8 Compare the different methods of color conversion and color balance and their relationship to light sources.

C2: Value the relationship between the collection and recording equipment and materials and the characteristics of the lighting to improve the quality of the image captured or recorded.

CE2.1 Relate the responses of different default image capture/record materials and media with a prefixed lighting scheme.

CE2.2 Compare the exposure control systems: iris or diaphragm, neutral density filters, gain, speed, shutter angle, and electronic shutter.

CE2.3 Compare the automatic and manual exposure control process on different collection teams.

CE2.4 Describe equipment and methods of measurement of the quantity and quality of lighting, brightness and contrast: incident and reflected light photometers (angular and punctual) and thermocolorimeter.

CE2.5 Relate the different methods, equipment and materials for control and color balance: white balance, filters and exposure compensation based on the type of projector.

CE2.6 From the lighting of a scene, operate the video signal monitoring equipment for the control of the quantity and chromatism of the lighting: adjustment of the camera monitor, the zebra pattern, the monitor of the waveform and vectorscope, performing the check of that signal or its final result

CE2.7 Relate the various adjustments of the recording materials such as sensitivity, gain, chromatic and forced balance, with the lighting parameters.

CE2.8 From the necessary post-production in an audiovisual project, determine the lighting requirements of a scene.

CE2.9 Relate the characteristics of the lighting in the shot with the back control and possible treatments of the image: etalonage, video image settings, color correction or luminance, among others.

C3: Relating the characteristics, functionality and capabilities of the various projectors and accessories used in the lighting of audiovisual productions.

CE3.1 Describe and classify the various types of projectors or luminaries according to their performance and their essential characteristics.

CE3.2 To differentiate the main accessories used in the control of the lighting: lens of projectors, modification of the beam of light, lens of fresnel, lens PC, parabolic and asymmetrical reflectors, among others.

CE3.3 Relate the effects of light with its projection shapes and the variable distances between the projector, the subject and the background.

CE3.4 Relate the level of illumination with the concentration of the beam of light, fresnel lenses, PC lens, parabolic and asymmetrical reflectors, among others.

CE3.5 To differentiate the ways of using the most used elements in the modification of the appearance, quality and quantity of light: cuts, gauzes, reflectors, flags, blacks, among others.

CE3.6 Differentiate and recognize the different assembly systems of the projectors such as supports, fasteners and orientation controls, as well as their standards of use and safety.

CE3.7 Describe the basic characteristics of electrical equipment and systems of light intensity control, their connections and operating methods.

CE3.8 Bind the fundamentals of electricity with the lighting of audiovisual productions: alternate and continuous power supplies, load calculations, distribution, wiring and connections.

CE3.9 Identify security rules, applicable to lighting operations.

Contents

1. Physics and the perception of light in audiovisual productions

-Transmission, reflection, dispersion and diffraction of light.

-Distance Square Reverse Act:

-Applications.

-Fundamentals of human vision:

-Perception false.

-Perception of light and adaptation.

2. Lighting and technology effects

-Basic lighting effects at the scene:

-Day.

-Night.

-American Night.

-Moon Light.

-Rain.

-Smoke.

-Niebla.

-Relays.

-Technology Effects.

-Color insertion (chroma key)

-Audiovisual psychological applications in the treatment of light.

3. Lighting sources in audiovisual productions

-Source types:

-Tunneling.

-HMI.

-Arches.

-Fluorescents.

-Xenon.

-Led's.

-Other sources.

-Light Projectors:

-Fresnel.

-Open.

-PAR lamps and PAR groups.

-Diffuse light.

-From cyclorama.

-Fluorescent units

-Portable Antorchas.

-Types of lamps and bushings.

-Accessories:

-Reflectors.

-Flags.

-Negros.

-Gases.

-Racks.

-Subjects.

-Adapters.

4. Fundamentals of electricity.

-Load and distribution calculations.

-Power supplies:

-Electrogen groups.

-Electrical network.

-Wiring and interconnection of electrical equipment.

-Lighting console operations.

-Projector mount systems:

-Supports, attachments, and guidance controls.

-Security and usage measures.

FORMATIVE UNIT 2

Naming: AUDIOVISUAL LIGHTING PROJECT DESIGN

Code: UF0662

Duration: 60 hours

Competition reference: This training unit corresponds to RP1

Assessment Capabilities and Criteria

C1: Relating the lighting quality factors applied to audiovisual production to achieve the desired expressive, aesthetic and communicative effects.

CE1.1 Relate the functionality and position of the lights in a basic lighting scheme.

CE1.2 Describe the functionality of other complementary lighting elements in a given scheme: outline or outline light, eye light, effect, secondary, among others.

CE1.3 Relate the effects of the direction and quality of light on the subject's appearance, texture, color, and contrast.

CE1.4 Distinguished the most appropriate lighting techniques to favor, disfavor or modify certain traits of a subject: face, human figure and costume.

CE1.5 Relate the effects of the chromatic characteristics of light with the sensations they can produce in the viewer.

CE1.6 Describe the technical and expressive characteristics of the high key or low key, contrasted or surround key lighting.

CE1.7 Rate the possible influence that in the lighting of the shot can produce the movements of the characters and the placement of the camera.

CE1.8 Identify the problems in the lighting of the multi-camera capture/record.

CE1.9 Describe the basic lighting effects at the scene: day effect, night effect, American night, moonlight, rain, smoke, fog, and lightning, among others.

CE1.10 Describe the characteristics that lighting must meet for basic technological effects such as color insertion ("chroma key").

C2: Define precise lighting needs, in a project, for startup.

CE2.1 From the technical documentation of an audiovisual project, realize in relation to the needs of lighting the forecasts:

-Equipment.

-Expressions.

-From human team components and functions.

-From the job stream.

CE2.2 Deduct, from certain examples, the effects that the scenography may pose or the location by absorption or reflection of the lights and the possibilities it offers for the location and attachment of the light sources.

CE2.3 Valor, in an audiovisual project, the budgetary impact of the possible alternatives in the lighting processes.

CE2.4 From an audiovisual project, and considering its artistic characteristics, make equipment listings for the development of lighting.

CE2.5 Recognize the most significant methods of design and planning of lighting schemes: scenario plans, specific design and simulation software, among others.

CE2.6 Design lighting schemes according to the requirements of different audiovisual projects, based on the identification of their technical, aesthetic, narrative and budgetary aspects.

Contents

1. Lighting applications

-Basic elements of the basic lighting scheme:

-Main light.

-Fill.

-Contraluz.

-Lighting auxiliary elements:

-Lost.

-Eye light.

-Background.

-Environment.

-Quality factors:

-Dura.

-Soft.

-Directionality and beam angle.

-Express lighting features:

-Dramatic Intent.

-Creation of atmosphere.

-Lighting techniques.

-Problems of the collection/registration in multicamara in the lighting.

2. Planning of resources in audiovisual productions

-Lighting companies:

-Types.

-Structures.

-Lighting processes for audiovisual productions.

-Lighting scheme.

-Technical documents:

-Forms.

-Equipment listings.

-Energy forecast.

-Human equipment in the lighting.

-Lighting budget.

-Interpretation of the dash in the lighting processes.

-Forms and organizational parts of audiovisual lighting processes.

-Designing and adapting locations:

-Control of luminosities.

-Projector location.

-Planning techniques tailored to the lighting processes.

-Specific design and simulation software.

FORMATIVE UNIT 3

Naming: LIGHTING CONTROL DURING IMAGE RECORDING IN AUDIOVISUAL PROJECTS

Code: UF0663

Duration: 40 hours

Competition reference: This formative unit corresponds to RP3 and RP2 as referred to lighting preparation.

Assessment Capabilities and Criteria

C1: Lighting audiovisual productions in audiovisual production projects.

CE1.1 Determine the quality and quantity of the lights that make up a complete lighting scheme according to predetermined conditions, considering the characteristics of the recording material and the adjustment of the parameters of the camera.

CE1.2 Adjust the filters, diffusers, light cuts and other necessary accessories according to the project, to achieve the desired effects and environment.

CE1.3 Perform, in a given lighting project, electrical connection, wiring, allocation of light sources to the lighting table and accurate power calculations for execution.

CE1.4 From an audiovisual project, determine the necessary lighting according to narrative, dramatic, aesthetic, staging, organizational and budgetary considerations.

CE1.5 To illuminate in practice an audiovisual project applying the technical parameters and the previously defined schemas.

CE1.6 From an audiovisual project, which will have to be put into practice (illuminated) determine:

-The sources and projectors of light.

-The power supplies.

-The required support structures.

-The location and directionality of the projectors.

-The intensity of the beam, filtering and/or cuts.

-The required lighting and connections console (number of channels, functions, among others).

-Apply the adopted lighting schemes in practice.

Contents

1. Control of the exhibition in audiovisual productions

-Level of light in the scene.

-Exposure control systems.

-Exposure control:

-Automatic.

-Manual.

-Elxposimeter:

-Types.

-Measurement methods.

-Image luminosity controls.

-Aberture.

-Nºf and nºT.

-shutter speed, camera and electronics.

-Shutter angle

-ND filters.

-Latitude of exposure of the log material.

-The contrast of lighting and the scene.

-Lighting settings appropriate to the agreed light style.

-Characteristics of the illumination in the intake and its incidence in the subsequent treatment of the image.

-Captar for post-production and/or etalar.

2. Colour control in audiovisual productions

-Color parameters.

-Color matrix.

-Emulsion types.

-Color systems.

-White balance.

-Reproduction of the color.

-Color temperature.

-Color balance.

-Chromatic sensitivity.

-Termocolorimeter.

-Vectorscope.

-Wave monitors.

-Color conversion and correction filters.

-Effects.

-The Gamma:

-Applications.

-Types.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	N.
20				50	50
Unit 2-UF0662	60	20
Formative Unit 3-UF0663	40	10

Sequence:

Unable to access a formative drive without exceeding the previous one.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 4

Naming: AUDIOVISUAL IMAGE CAPTURE

Code: MF0942_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0942_3 Get images based on the project's technical, artistic, and communicative criteria

Duration: 160 hours

FORMATIVE UNIT 1

Naming: CAMERA OPERATIONS FOR FILM AND VIDEO CAPTURE

Code: UF0664

Duration: 60 hours

Competition reference: This training unit corresponds to RP1, RP2, RP3, RP5, and RP6.

Assessment Capabilities and Criteria

C1: Capturing and recording images in audiovisual productions, following the staging approaches to achieve the desired technical and expressive adequacy.

CE1.1 Adjust different types of media such as pedestals, tripods and heads, for various types of camera.

CE1.2 Operate friction, crank, and three-axis heads, adjusting their frictions and driving their locks when necessary.

CE1.3 Operate different special camera supports such as camera in hand, stales, "steadycam", "travelling", "dollies", cranes and "hot heads", car mounts, "car" and rails, among others their skills with aesthetic and expressive criteria.

CE1.4 Operate a video assist system ("Video Assist") by installing it over a movie camera.

CE1.5 Rate different proposals for making images with variation of the diaphragm opening and focal distance of various objectives:

-Focus on different distances. With focus letter, at marked distances. To subjects or moving objects, parallel to the camera and perpendicular to the camera.

-Variate focus during takeover.

-Determine the depth of the field and its variations during the intake.

-Calculate the hyperfocal distance.

-Direct relationship to the diaphragm value.

-Circle of confusion.

CE1.6 From the storyboard of an audiovisual project, identify the demands of continuity of all the planes within the sequence, and apply in a practical exercise the procedures that assure it:

-Action axes.

-Correspondence of looks.

-Continuity of internal movements between consecutive planes.

-Fluidity in cuts between planes with external movements.

-Progression of plane sizes.

-Avoid the proportional jumps or with little variation in the angle of take.

-Regulation of panoramic and travellings speeds with plane sizes.

CE1.7 In capturing/recording a sequence, and taking into account creative development, apply the principles of visual narrative related to moving image-taking:

-morphological elements: point, line, shape, color, texture, and light.

-Aurea, balance, and geometry section.

-Tamanos and plane values.

-Find and space.

-Rule of the thirds.

-Linear and atmospheric perspective.

-Points of interest and visual travel in the composition.

CE1.8 Describe the camera disassembly processes, material collection and management of the exposed film, video tapes or the support involved by taking care of their correct identification, protection, storage, and their conditions of carriage and delivery, facilitating the previously agreed part or form.

C2: Verify the operability of the imaging equipment in multi-camera performance and operate the cameras, following instructions for realization and ensuring the quality of the images.

CE2.1 Identify the modes of television production with multicamara realization and its peculiarities: recording in studio with control of realization, recording or retransmission with mobile units in external recording or retransmission with light mobile units (type PEL).

CE2.2 Describe the basic procedures of multi-camera performance, linking them to the principles of the audiovisual narrative and to television genres and formats.

CE2.3 Identify the human equipment of the multicamara realization and describe the needs of collaboration: director, performance helpers, regidor, operator of camera control units, assembly technicians Study, sound operators, lighting operators, illuminators, scenography, and others.

CE2.4 Describe the camera equipment of the multicamara realization and its operation: telecamara, common objectives, connection with the camera control unit (CCU), intercom and media equipment.

CE2.5 From a multicamara realization recording project:

-Interpret your own documents of this type of production: technical script or planning, scale, decoration floor, and floor-by-camera breakdown.

-Suggest the improvement of the schedule by specifying variations in views, plane sizes, or movements.

-Coordinate the cameras, foreseeing aphorments, positions susceptible to meddling in the frame of other cameras and inadequacies of time to reach the expected frames.

-Check the status of the camera, its lens, its support, and its accessories by collaborating with other study technicians.

-Facilitate the equalization of the images of the various cameras, collaborating in the operations of white balance, adjustment of diaphragm and others with the operator/a of CCU and with illumination.

-Operate the camera using the approach, zoom and other settings, and its support by performing horizontal and vertical panoramic, frictions and locks, taking into account the instructions for conducting the tests and during the recording.

-Preview offsets by monitoring the position of the wheels and the remote cable.

-Constant at which times the camera itself is in the air and when it is not, to proceed, respectively, to execute the plane with correction or to prepare the next plane.

-Display program return or output, when accurate, through the viewer of the camera itself.

C3: Evaluate image sockets and determine their validity, according to pre-set criteria to achieve the desired technical and expressive adequacy.

CE3.1 Rate the correction of the intake as it develops, based on criteria of direction/realization, direction of photography and its own, such as the adequacy of the framing, the stability of the image, the absence of unwanted elements in the picture, the aesthetics of the composition and the continuity in the sequence set.

CE3.2 Verify the correction of the approach throughout the intake and as it is carried out, determining whether the subjects or objects to focus remain within the depth of field available at each moment.

CE3.3 Check, in the case of film-taking, its validity, by accessing the window of the film camera to observe the possible presence of dirt or scratches.

CE3.4 Propose the repetition of the takeover when the intended objectives are not met, adopting corrective measures to achieve them.

Contents

1. Camera operation techniques

-Light: basic concepts.

-White balance.

-Camera Morphology:

-Optical block.

-Electronics.

-Magnetoscope/hard disk/storage.

-Focus:

-Minimum distance.

-Hyperfocal distance.

-Field depth control.

-Control of the focus depth.

-Focal plane.

-Focus-modifying Optics and Accessories:

-Approach Lents.

-Great Angular.

-Multiplicators.

-Accessories for focus on movie cameras or high definition:

-Focus Mands.

-Remote.

-Rings.

-Film approach technique.

-Movie camera operations:

-Movements and settings of the camera and pedestal head.

-Frame and follow-up techniques applied to cinematography:

-Scenic space.

-Video equipment applied to film taking.

-Video Assist system.

-Camera and lighting operation:

-CCD's and cmos.

-Internal camera circuits.

-Detail circuit.

-Gamma Curve.

-Color array and multimatrix.

-Machinist material.

-Managing sensitive material and recording media:

-Tags.

-Parties.

-Reports.

-Databases.

2. Narrative and rules of image composition

-Audiovisual narrative:

-Time and space.

-Flat settings.

-Action axes.

-Point of view.

-Subjetivity.

-Continuity and the types of "raccord".

-Aesthetic and image composition:

-Space and framing.

-Balance.

-Expressive values of the objectives.

-Camera Angulations.

-Formats and aspect ratios.

-morphological elements.

-Rule of the thirds.

-Air.

-Duration of the planes.

-Duration of the frames.

-Fixed Planes.

-Planes with camera movement.

-Points of interest and visual travel in the composition.

-Linear and atmospheric perspective.

-Valuation of the takes and validity during their development.

-Processed from the lab shots. Copies.

3. Take on TV

-Television Generals:

-Production methodologies on television.

-Multi-camera realization:

-Multi-camera realization techniques and methods.

-Visual narrative and multi-camera continuity.

-Composition in 4: 3 and 16:9.

-Functions on the multi-camera human equipment:

-Production phases.

-Communication protocols between the team.

-TV camera:

-Targets for telecamaras.

-Camera Control Unit (CCU).

-Media for telecamaras.

-The technical equipment of the dish, the control of the production and the mobile units.

-Intercom. Communication with realization:

-Utilization.

-Rules.

-Nomenclatures/tokens.

-Television camera operation:

-Movements and settings of the camera and pedestal head.

-Focus and zoom.

-Multiplicators.

-Frame and follow-up techniques.

-Space and scenery.

-Camera techniques in retransmissions:

-Techniques for cameras on special media.

-Technical Guion:

-Escalation.

-Block breakdown.

-Ready by camera.

4. Disassembly of camera equipment

-Review of equipment and material and consignment of incidents.

-Packaging and transport:

-Load and unload.

-Store.

-Environmental, safety and hygiene conditions.

FORMATIVE UNIT 2

Naming: FETCH FOR TELEVISION WITH LIGHT EQUIPMENT

Code: UF0665

Duration: 60 hours

Competition reference: This training unit corresponds to the RP4

Assessment Capabilities and Criteria

C1: Register, in controlled projects, images and sounds with light recording equipment, autonomously, or according to given indications.

CE1.1 Identify image capture strategies in graphic reporting (ENG/DNG) and related genres and relate them to the cameras, targets, supports, and the appropriate accessory material.

CE1.2 Describe the appropriate media to capture images with light equipment and the camera's clamping techniques.

CE1.3 Identify the own sound equipment of ENG/DNG, differentiating the types of microphones and describing the process of connection to the audio inputs of the camera, the monitoring of the sound and the adjustment of the levels.

CE1.4 Identify the appropriate light lighting equipment for ENG/DNG and describe the lighting process of basic situations: statements, entrapments, interviews, photomontages, exhibitions, and others.

CE1.5 Identify the specific goals of the ENG/DNG recording, describing their protocols and the usual approach and framing techniques.

CE1.6 In various image capture projects with autonomous camera:

-Choose from the recording space the most appropriate camera positions to record the event, based on informative and expressive criteria.

-Dispose the camera on the relevant media or hold it in the most appropriate way to capture the intended plane.

-Prepare log support by looking at rules such as black and bar recording, time code generation and recording, tape identification, and, where appropriate, the markup of good or instant shots significant.

-Prepare sound recording, connecting microphones or lines to the camera, monitoring and adjusting their levels.

-Dispose the necessary lighting, on the camera (torch) or on its own supports, adapting it, if necessary, to the natural lighting or available at the place.

-Adjust the camera viewer with the bar reference generated by it itself and, if necessary, adjust the field monitor previously connected.

-Choose the appropriate filtering to the lighting and proceed to the white balance.

-Select the gain settings, electronic shutter, elbow and slope correction, and others that are relevant to the desired image.

-Coordinate the positions of the interveners in the space to register when it is possible to intervene in the event.

-Evaluate the lighting circumstances through the viewfinder and determine the appropriate diaphragm.

-Operate the camera by framing and focusing the subjects, the objects and the space to be recorded, attending to their evolutions and foreseeing all kinds of unexpected actions.

-Register, if any, the sound of environment and the sound of the interveners, controlling their levels and anticipating possible changes of sound volume.

-Control the battery charge level, foreseeing possible exhaustion at important times of the event, proceeding, if any, to the load of depleted batteries.

-Verify the correction of the takes as they are done and decide the repetition of the incorrect ones whenever possible.

CE1.7 From a particular project, disassemble the equipment and manage the tapes or the support involved by taking care of their correct identification, protection, storage, and conditions of transport and delivery, facilitating the previously agreed part or form.

Contents

1. Preparing to write to ENG/DNG

-Stand-alone camera production:

-Informational television generates.

-Interview.

-News.

-Reporting.

-Documentary.

-Chambers and technical material for productions with autonomous camera and ENG/DNG.

-Recording media and analog and digital video formats.

-ENG/DNG write-specific goals:

-Own protocols.

-Forms.

2. Write processes with ENG/DNG equipment

-ENG/DNG human team configuration:

-Operator.

-Redactor.

-Sound Technician

-Focus and framing techniques.

-Write techniques on ENG/DNG.

-Recording the sound.

-Microphones.

-Mix tables.

-Monitoring and cabling.

-The audio tracks.

-Audio parameters.

-Analog and digital audio recording standards.

-Lighting techniques in informational genres.

-Unmounting thin equipment and tape management:

-Protection.

-Storage.

-Transport conditions.

-Delivery.

3. Basic video editing

-Basic video and audio editing in informational genres:

-Structure of the news.

-Entradillas.

-Audio and Voiceover

-Documentation:

-File images.

FORMATIVE UNIT 3

Naming: PREVENTION OF WORK RISKS IN CAMERA UPTAKE

Code: UF0666

Duration: 40 hours

Competition reference: This training unit corresponds to RP1, RP3, and RP6 as referred to risk prevention.

Assessment Capabilities and Criteria

C1: Propose preventive and/or protective actions in the audiovisual production, minimizing the risk factors and the consequences for the health and the environment they produce.

CE1.1 Identify the most common risk situations in your field of work, associating the general techniques of action according to them.

CE1.2 Relate the main paragraphs reflected in the Law on the Prevention of Labor Risks that affect the activities of the audiovisual sector.

CE1.3 Classify damage to health and the environment based on the consequences and the most common risk factors that generate them.

CE1.4 Define the rights and duties of the employee and the company in terms of prevention and safety.

CE1.5 Promote preventive and/or protective actions corresponding to the most common risks, which will reduce the consequences.

CE1.6 Apply the action protocols to possible emergencies, such as:

-Identify people in charge of specific tasks.

-Report the disfunctions and the observed dangerous cases.

-Proceed to the evacuation of buildings according to established procedures, in case of emergency.

C2: Apply immediate basic sanitary measures at the site of the accident in simulated situations.

CE2.1 Identify the priority of intervention in the case of several injured or multiple injured persons, in accordance with the criterion of the highest intrinsic risk of injury.

CE2.2 Identify the sequence of measures that must be applied based on the existing lesions in the previous assumption.

CE2.3 Perform health techniques (CPR, quiesce, move, etc.), applying established protocols.

Contents

1. Security and occupational health in audiovisual production

-Basic concepts about health and safety at work.

-Professional risks.

-Damage from work.

-Basic regulatory framework for the prevention of occupational risks.

-General risks and their prevention.

-Risks linked to security conditions.

-Risks linked to the work environment.

-Workload, fatigue, and job dissatisfaction.

-Elementary risk control systems. Collective and individual protection.

-Emergency and evacuation plans.

-Health control of workers.

-Specific risks and their prevention in the audiovisual sector.

-Risk factors.

-Prevention and protection measures.

-Secure organization of the job.

-Basic risk prevention management elements.

-Public bodies related to health and safety at work.

-Organization of preventive work: "basic routines"

-Documentation: collection, processing, and file.

-First aid.

2. Risks inherent to the camera work

-Perception of risk:

-Assessment of risk exposure to images to be achieved.

-Preview and risk evolution.

-Security Equipment:

-Use of security elements depending on the place (helicopters, ships, mines, roads, etc.).

-Caution with the material:

-Own damages and third parties.

-Camera displacements, tripod, suspended weights.

-Hygiene of common elements to prevent contagions:

-Camera viewer, monitor visors, and audio helmets.

-Transport of equipment and weights.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	N.
			60	10
Formative Unit 2-UF0665	60	10
Formative Unit 3-UF0666	40	40

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

The formative unit 3 can be programmed independently.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

NON-WORKING PROFESSIONAL PRACTICE MODULE OF CINEMA, VIDEO AND TELEVISION

Code: MP0137

Duration: 120 hours

Assessment Capabilities and Criteria

C1: Participate in the planning of the process of capturing/recording images in an audiovisual production, based on criteria of quality achievement and optimization of resources.

CE1.1 Interpret the structure, codes, and symbology used in the technical documents.

CE1.2 Identify the needs of accurate camera and human camera material for project realization.

CE1.3 Describe the technical, expressive, artistic and administrative difficulties (taxiing permits, authorizations, among others) to consider within the project in order to estimate the necessary times to finish the filming or recording of each sequence.

CE1.4 Participate in the planning of the cameras, their location and the assigned planes, numbering them and specifying the type of framing and the characteristics of the camera movements if any.

CE1.5 Calculate the combination of all technical and artistic resources to contribute to generating an optimal performance and cost capture or capture plan.

CE1.6 Help to reflect on a schedule of filming/recording ordered by days, all the required needs and times for the capture/recording of the images.

CE2.7 Plasmar in a document annexed to the plan for the collection/registration, the relation of all human and material needs according to the requirements of the project, taking into account the optimization of resources.

C2: Verify the operation of the cameras, by means of the necessary tests, to ensure correct behavior during project capture/registration.

CE2.1 Check the status of cables, connections, power types, and tokens.

CE2.2 Verify the good status of the camera components.

CE2.3 Make the necessary camera settings to get the images in a proper way.

CE2.4 Manipulate on camera or from its CCU, brightness, gamma and contrast settings with reference signals, adjusting them to pre-determined conditions.

CE2.5 Identify and handle setup menus and signal processing and fetch settings to obtain a particular image type.

CE2.6 Control the recording and output level of the video signal by diagnosing possible problems.

CE2.7 Collaborate on cleaning the optics, placing on their rings or mounts and adjusting the back focus (back focus) with appropriate reference letters or by using a collimator.

CE2.8 Calculate angulation, field visual field, and depth of field.

CE2.9 Check the focus of the objects according to the project's narrative considerations.

CE2.10 Contribute to the optimal conservation and transportation of equipment.

C3: Participate in the Lighting of an Audiovisual Project.

CE3.1 Collaborate on the provision of equipment, components, and functions of the human team and the sequence of work, according to the lighting needs.

CE3.2 To deduce the effects that the scenography can pose or the location by absorption or reflection of the lights and the possibilities it offers for the location and attachment of the light sources.

CE3.3 Help assess the budgetary impact of possible alternatives in the lighting process.

CE3.4 Develop the equipment listing for lighting development.

CE3.5 Collaborate on the design of the lighting scheme considering the technical, aesthetic, narrative and budgetary aspects of the project.

CE3.6 Help determine the quality and quantity of the lights that make up the complete lighting scheme considering the characteristics of the recording material and the setting of the camera parameters.

CE3.7 Adjust the filters, diffusers, light cuts and other necessary accessories according to the project, to achieve the desired effects and environment.

CE3.8 Perform electrical connection, wiring, allocation of light sources to the lighting table, and precise power calculations for execution.

CE3.9 Contribute to determining the necessary lighting according to the project's narrative, dramatic, aesthetic, staging, organizational, and budget considerations.

CE3.10 Collaborate on the lighting by applying the technical parameters and the previously defined schemas.

C4: Operate the camera during image collection/recording by making modifications and adjustments, if applicable, following the staging approaches to achieve the desired technical and expressive adequacy.

CE4.1 Adjust different types of media such as pedestals, tripods, and heads.

CE4.2 Operate different camera special supports by relating their aptitudes to aesthetic and expressive criteria.

CE4.3 Perform image takes by varying the aperture of the diaphragm and the focal distance of the targets.

CE4.4 Apply the procedures that ensure the continuity of all planes within the sequence.

CE4.5 Contribute to applying the visual narrative principles related to moving image capture during image capture/recording.

CE4.6 Rate the correction of the intake as it develops, based on criteria of direction/realization, direction of photography and its own, such as the adequacy of the framing, the stability of the image, the absence of unwanted elements in the picture, the aesthetics of the composition and the continuity in the sequence set.

CE4.7 Verify the correction of the approach throughout the intake and as it is carried out, determining whether the subjects or objects to focus remain within the depth of field available at each moment.

CE4.8 Help check the validity of the takeover, and take the necessary corrective measures in case it does not reach the intended targets.

CE4.9 Participate in the processes of camera disassembly, collection of material and management of the exposed film, video tapes or the support involved taking care of their correct identification, their protection, their storage, and its conditions of carriage and delivery, facilitating the previously agreed part or form.

C5: Verify the operability of the imaging equipment in multi-camera performance and operate the cameras, following instructions for realization and ensuring the quality of the images.

CE5.1 Interpret your own documents of this type of production: technical script or planning, scale, decoration floor, and floor-by-camera breakdown.

CE5.2 Suggest planning improvement by specifying variations in views, plane sizes, or movements.

CE5.3 Collaborate in the coordination of the cameras, foreseeing aphorments, positions susceptible of meddling in the picture of other cameras and inadequacies of time to reach the expected frames.

CE5.4 Check the state of the camera, its lens, its support and its accessories by collaborating with other study technicians.

CE5.5 Collaborate on white balance, diaphragm adjustment, and other operations with CCU operator and lighting.

CE5.6 Operate the camera (focus, zoom, and other settings) and its support (horizontal and vertical panoramic, frictions, and locks), taking care of the instructions for realization.

CE5.7 Preview offsets by monitoring the position of the wheels and the remote cable.

CE5.8 Constant at which times the camera itself is in the air and when it is not, to proceed, respectively, to execute the plane with correction or to prepare the next plane.

CE5.9 Display program return or output, when accurate, through the viewer of the camera itself.

C6: Register images and sounds with light recording equipment (ENG/DNG), according to given indications.

CE6.1 Choose in the recording space the most appropriate camera positions to record the event, based on informative and expressive criteria.

CE6.2 Dispose the camera on the relevant media or hold it in the most appropriate way to capture the intended plane.

CE6.3 Prepare log support based on rules such as black and bar recording, time code generation and recording, identification of tapes, and, where appropriate, the marking of good or instant shots significant.

CE6.4 Prepare sound recording, connecting microphones or lines to the camera, monitoring and adjusting their levels.

CE6.5 Dispose the necessary lighting, on the camera (torch) or on its own supports, adapting it, if any, to natural lighting or available at the site.

CE6.6 Adjust the camera viewer with the bar reference generated by it itself and, if necessary, adjust the field monitor previously connected.

CE6.7 Choose the appropriate filtering to the lighting and proceed to the white balance.

CE6.8 Select the gain settings, electronic shutter, elbow and slope correction, and others that are relevant to the desired image.

CE6.9 Coordinate the positions of the interveners in the space to register when it is possible to intervene in the event.

CE6.10 Evaluate lighting circumstances through the viewfinder and determine the appropriate diaphragm.

CE6.11 Operate the camera by framing and focusing the subjects, the objects and the space to be recorded, attending to their evolutions and foreseeing all kinds of unexpected actions.

CE6.12 Register, where appropriate, the sound of environment and the sound of the interveners, controlling their levels and anticipating possible changes of sound volume.

CE6.13 Control the battery charge level, foreseeing possible exhaustion at important times of the event, proceeding, if any, to the load of depleted batteries.

CE6.14 Verify the correction of the takes as they are done and decide the repetition of the incorrect ones whenever possible.

CE6.15 Unassemble equipment and manage the tapes or support involved by taking care of their correct identification, protection, storage, transport and delivery conditions, facilitating the part or form previously agreed.

C7: Participate in the company's work processes, following the rules and instructions set out in the job center.

CE7.1 Behave responsibly in both human relationships and the jobs to be performed.

CE7.2 Respect the procedures and rules of the work center.

CE7.3 Diligently undertake the tasks according to the instructions received, trying to bring them into line with the work rate of the company.

CE7.4 Integrate into the production processes of the job center.

CE7.5 Use the established communication channels.

CE7.6 Respect at all times the measures of risk prevention, occupational health and environmental protection.

Contents

1. The shoot/write plan

-Interpretation of the production job plan.

-Technical documents: dash, scale, decoration floor, job plan, etc.).

-The breakdown of the planes.

-Interpretation of plants and raised.

-The human team.

-Technical and material equipment.

-Spare needs and equipment forecast.

-Coordination of camera equipment and other equipment.

-Synchronizing tasks.

-Temporary and budgetary criteria and their impact on the write plan.

-Possible incidents and their resolution. Forecasting of times.

-Optimizing resources.

2. Checking and tuning the camera

-Adjust camera controls.

-Checking the status of cables, connectors, power supplies, and video signals.

-Routine testing and tuning tests.

-Assembly and disassembly of optical systems in the camera.

-Installing optical accessories.

-Adjustment and control of the diaphragm.

-Tuning the focus.

-Check operations.

-Maintenance and transport of optical equipment and systems.

3. Lighting in audiovisual productions

-Lighting elements.

-The lighting scheme.

-The human team in the lighting.

-The equipment listing for lighting.

-The lighting budget.

-Forms and organizational parts of audiovisual lighting processes.

-luminosities control and projectors location.

-Specific design and simulation software.

-Basic effects.

-Technological effects. Color insertion (chroma key).

-Light exposure control systems.

-Image luminosity controls.

-Latitude of exposure of the log material.

-Color control.

-Types of fonts.

-Types of lamps and bushings.

-Accessories.

-Wiring and interconnection of electrical equipment.

-Lighting console operations.

-Project mounting systems. Security and usage measures.

4. Camera operation techniques

-The focus.

-Optics and approach-modifying accessories.

-Accessories for focus.

-Camera operations.

-Frame and follow-up techniques. The scenic space.

-Video Assist System.

-The management of sensitive material and write media.

-The continuity and types of "raccord".

-Aesthetics and image composition.

-Assessment of the takes and validity during their development.

-Review of equipment and material and consignment of incidents.

-Packaging and transport. Loading and unloading. Storage.

-Environmental, safety and hygiene conditions.

5. Image taking in multicamara realization

-Multi-camera realization techniques and methods.

-Functions of the human multicamara realization team.

-Camera operations.

-Techniques for cameras on special media.

-The technical script.

-The scale.

-Block breakdown.

-Ready by camera.

6. Recording on ENG/DNG

-Chambers and technical material for recording on ENG/DNG.

-Recording media and video formats.

-Own protocols. Forms.

-Recording techniques in ENG.

-Recording the sound.

-Lighting techniques in informational genres.

-Basic video and audio editing in informational genres.

-Unmounting the thin equipment and tape management.

7. Integration and communication in the workplace

-Responsible behavior in the job center.

-Respect to the procedures and rules of the work center.

-Interpreting and diligently performing the instructions received.

-Recognition of the organization's production process.

-Using the communication channels set in the job center.

-Adequation to the company's work rate.

-Tracking the regulations for risk prevention, occupational health and environmental protection.

IV. PRESCRIPTIONS OF TRAINERS

Modules	Required Accreditation	Professional experience required in the scope of the competency
		If credited	If you do not know Accrediting
MF0939_3: Development of the camera record and fetch plan	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree title or other equivalent titles. • Professional Image and Sound Family Senior Technician.	2 years	4 years
MF0940_3: Camera technical media	• Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree degree or other equivalent titles • Senior technical family of image and sound.	2 years	4 years
MF0941_3: Lighting for audiovisual productions	• Licensed, engineer, architect, or degree title or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree of degree or other equivalent titles. • Higher Technical professional image and sound family.	2 years	4 years
MF0942_3: Audiovisual image captation	• Licensed, engineer, architect or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree of degree or other equivalent titles. • Top Technician.	2 years		4 years

V. MINIMUM SPACES, FACILITIES AND EQUIPMENT REQUIREMENTS

Forming Space	Surface m2 15 pupils	Surface m2 25 pupils
45		45	60
Workshop for camera operations	125	225
and film equipment store	40	70

Formative Space	M1	M2	M3
	X	X	X	X
Workshop for camera operations		X	X	X
and film equipment store		X	X	X

Forming Space
Classroom	Audio-visual equipment network-installed PCs, projection canon, and internet Specialty-specific software Pizarras to write with pen Rotafolios Classroom Material Table and chair for trainer Messes and chairs for pupils
Workshop for camera operations	ENG/DNG Camera. Monitor. Tripod Remote control for focus and zoom Termocolorimeter. Display Monitor waveform Filters: polarizing, PL, ND 03, ND 06, and NDS03 and 85 Optical Cleaning Material Objectives. Focus Command Microphones. Sound Previous Video Mixer Video Editing Computer Connectors Camera Lighting Sources Audio and Video Cables. Camera batteries. Battery charger Zoom fluid ENG/DNG lighting kit. Replacement Lamps for the Kit Focus Pies CTO Gelatin and CTB Conversion Effects Filters 220 Cable Alongs Portrafilters for Camera Torch Camera sleeve Backpack Transport Backpack camera transport. Tripod transport bag Handball. Flap microphone Reflector Dolly Adjustment letters. Colorimetry and focus Camera cleaning material Wood paints Camera parts HMI pair fluorescent screen, HMI fresner-tustene 35 mm camera. HD camera. HD monitor. HD Edition Film Camera Repair and Adjustment Tools Magnetoscope
of camera and film equipment	Stancor Armen for auxiliary elements Transport

It should not be interpreted that the various identified learning spaces should necessarily be differentiated by closure.

The facilities and equipment must comply with the relevant industrial and sanitary sanitary regulations and respond to the universal accessibility and safety measures of the participants.

The number of units that must be available for the tools, machines and tools specified in the training space equipment, will be sufficient for a minimum of 15 students and must increase, if any, to attend to the higher number.

In the event that the training is addressed to persons with disabilities, the adaptations and reasonable adjustments will be made to ensure their participation in equal conditions.

ANNEX IV

I. IDENTIFICATION OF THE CERTIFICATE OF PROFESSIONALISM

Designation: AUDIO VISUAL ASSEMBLY AND POSTPRODUCTION

Code: IMSV0109

Professional Family: Image and Sound

Professional Area: Audiovisual Production

Professional qualification level: 3

Professional reference qualification:

iMS296_3 Audio-visual assembly and post-production (RD 1200/2007, September 14)

Relationship of competency units that configure the certificate of professionalism:

UC0947_3: Plan the process of mounting and postproduction of an audiovisual product

UC0948_3: Preparing materials and effects required for assembly and post-production

UC0949_3: Perform assembly by integrating post-production tools and materials from diverse sources

UC0919_3: Coordinate the final assembly and post-production processes to generate the final audio-visual product

General competition:

Plan and coordinate the complete assembly and post-production processes of film, video and television, controlling the state and availability of equipment and materials, assembling and integrating tools post-production, as directed by the director or director, providing own criteria.

Professional Environment:

Professional scope:

Develops its professional activity in the assembly or post-production room of the communication departments of large companies, in film and video producers, in television stations, of any size, public and private, limited or wide coverage, whatever their broadcasting system. Works for an employed or self-employed person (freelance).

Productive Sectors:

Audiovisual sector: film, video and television production at international, national, regional and local levels, whatever their broadcasting system.

Occupations or related jobs:

3831.1055 Video Monter

3831.1046 Filming Film Monter

3831.1019 Image Editor-Monter

Image Monter

Movie Monter

Monter Technical Assistant

Mount Helper

Video assembler editor

Post-production operator

Edit Operator

Duration of the associated training: 510 hours

Relationship of training modules and training units:

MF0947_3: Mount and post-production planning (110 hours)

• UF0811: Resources required for assembly and post-production (80 hours)

• UF0812: Design of the assembly and post-production work plan (30 hours)

MF0948_3: Preparing mount and postproduction (130 hours)

• UF0813: Organization of materials required for assembly or post-production (80 hours)

• UF0814: Preparation of image effects, graphics and tag out (50 hours)

MF0949_3: Mount and Post Production Operations (110 hours)

• UF0815: Realization of assembly and post-production (80 hours)

• UF0816: Results assessment and management of assembly and post-production materials (30 hours)

MF0919_3: End-mount and post-production processes (80 hours)

MP0166: Non-work professional practice module of Montaje and post-production of audio-visual (80 hours)

II. PROFESSIONAL PROFILE OF THE CERTIFICATE OF PROFESSIONALISM

Competition Unit 1

Naming: PLANNING THE PROCESS OF MOUNTING AND POSTPRODUCTION OF AN AUDIOVISUAL PRODUCT

Level: 3

Code: UC0947_3

Professional realizations and realization criteria

RP1: Identify the project characteristics to optimize the mounting process based on the specificity of the script or scale, part of "script" and/or minute;

CR1.1 Project documentation is analyzed to collect maximum information to identify the technical means, gender, and narrative and expressive intentionality of the program.

CR1.2 The detailed reading of the script and the meetings with the director/director make it possible to understand the objectives of the project to determine the technical characteristics, working formats, post-production, expressive elements, special effects and more advisable technical procedures for their realization.

CR1.3 Takes that require some specific mounting process are identified and communicated to the director/performer.

CR1.4 The technical effects of the definitive assembly that need specific conditions during the shoot are identified and reported according to the performer.

RP2: Determine the needs of equipment and technical facilities for the realization of the assembly or post-production and the application methodology, depending on the characteristics of the project and the budget.

CR2.1 Technical equipment and tools are determined considering those that, within the established budget, best satisfy the technical particularities and the narrative and expressive requirements of the product.

CR2.2 The technical characteristics and capabilities of the equipment and facilities are checked and adjusted to the needs of the project, taking into account the compatibility of systems and formats to be used.

CR2.3 The catalogue of media/audiovisual elements that make up the final assembly is established by ensuring its suitability to the requirements of the project.

CR2.4 The process catalog and technical means required for the final assembly is performed and its application methodology is designed.

RP3: Design the job plan to optimize the mount and post-production according to the time available.

CR3.1 The steps to be taken are planned considering the best adequacy of the equipment capabilities and the narrative and expressive intent of the product in order to optimize time and effort.

CR3.2 The assembly and post-production plan, which establishes the most appropriate mounting techniques for the equipment used, is made with the intention of optimizing time and effort.

CR3.3 The time chart to reconcile the work of different teams is designed to avoid overlapping of incompatible tasks and the existence of dead time, advising the production team for facilitate the coordination of the work plan with the whole project.

Professional Context

Production media

Computer Media. Programs to plan for assembly and post-production. Means of telephone communication. Office material.

Products and results

Technical needs listings. Mount and post-production plans.

Information used or generated

Audiovisual Projects, Guions. Scalets. Parts of "script". Minutets. Catalogues of assembly and post-production equipment. Lists of support companies for assembly and post-production. Post-production and finishing processes. Time diagrams.

Competition Unit 2

denomination: PREPARE THE NECESSARY MATERIALS AND EFFECTS FOR ASSEMBLY AND POST-PRODUCTION

Level: 3

Code: UC0948_3

Professional realizations and realization criteria

RP1: Check the disposition and technical quality of the materials required in the assembly or post-production to optimize the process according to the assembly and post-production plan.

CR1.1 The correspondence between the external identification of the physical, magnetic, optical or photosensitive media, of the media, and the content indicated in the program documentation, such as the script, the Step or parts of the camera, it is verified and, if necessary, rectified or the rectification of the identification of the supports and/or the accompanying documentation is sought.

CR1.2 Copies and/or format conversions of the physical, magnetic, optical or photosensitive media, of the media, are made to be compatible with the technical means and post-production tools. chosen.

CR1.3 The integrity of the time codes on the tapes is checked and, if applicable, rewritten when the codes present interrupts and/or discontinuity.

CR1.4 The matching of the time codes of sequences from simultaneous writes is checked and, on the telecins, the correspondence between the time codes and the original pietage is verified adopting the appropriate measures for your solution when problems occur.

CR1.5 On-screen time-code viewing copies are generated to facilitate the preparation of the material to be edited.

CR1.6 The availability of all images, audio, and graphic material detailed in the program documentation is checked and verified for technical quality.

CR1.7 The compliance with the necessary technical requirements is checked in the inlays intended to be combined by means of scale, or to which any other type of effect or treatment of the postproduction.

CR1.8 The particularities and incidences detected in the viewing that need to be taken into account in subsequent processes such as time code error, "drops", saturation or inversion of audio tracks, or Physical defects in the image, among others, are noted and appropriate measures are taken for your solution.

RP2: Store image, audio and infographic materials, to enable them to be further used from the selected mounting and post-production platform, with criteria for optimization of computer resources and storage.

CR2.1 The physical media containers are accurately identified in the system, according to the established protocols, to enable their location and, where appropriate, the reuptake of media.

CR2.2 Input parameters are adjusted so that audio and image correspond to the quality standard required by the media and/or broadcast media for which the program is produced.

CR2.3 The digital compression ratio of the images that allows storage is configured, if necessary, according to the availability of space and the purpose of the capture, taking care that, when made a first capture at "off-line" quality, the recapture to the final quality is verified.

RP3: Determine and prepare the effects to meet project requirements according to available image, audio and infographic materials.

CR3.1 The narrative requirements expressed in the script and available images are analyzed to select the most appropriate effects.

CR3.2 The procedure for making those effects that have to be introduced in the assembly phase and that because of their peculiarities or limitations of the system cannot be obtained directly, is designed and the additional software tool ("plug-in") is proposed more effective, the most appropriate platform and instructions for its realization.

CR3.3 Masks are generated for image composition that requires them.

CR3.4 The guidelines for the program's graphism and tag-out are indicated when these processes are to be performed on an external platform.

CR3.5 The capture and subsequent recording on an exchange medium and in the required format, is performed for those materials that have to be introduced into the assembly and have to be sent to a external platform for the application of effects or for any other specific treatment.

RP4: Select and organize image, audio, and infographic materials for use in the assembly session.

CR4.1 The "clips" corresponding to each shot are generated, its content is identified and the relevant comments are noted or, if necessary, the annotations contained in the camera or part of the system are transferred to the system. "script".

CR4.2 The entry and exit points of each "clip" are assigned for inclusion in the assembly, taking note of the entry and exit time codes or pietage according to the duration provided in the script, maintaining a coleo lies ahead and behind these points to allow for a more precise subsequent adjustment.

CR4.3 The "clips" are sorted and grouped by sequences, valid shots, and durations, depending on the criteria set, so that they are easily localizable in the assembly session.

CR4.4 The leftover materials and discards are sorted, sorted, and archived so that their subsequent recovery is performed easily and quickly.

CR4.5 The images and their corresponding audio are synchronized from the image and sound marks of the claquettes or any other reference.

CR4.6 The "takes" required for audio dubbing sessions are prepared, classified and provided in the appropriate support to the dubbing room in cases where the audio dubbing is necessary. of the mount.

Professional Context

Production media

Physical image and sound supports: magnetic, optical, photosensitive. Analogue and digital post-production platforms. Manuals and libraries of sound effects.

Products and results

Copies and format conversions. Time-code viewing copies on screen. Identified physical media. Masks. Recordings in exchange support for effects on external platforms. "Clips" of classified image and sound. Sorted discards, Images, and synchronized sounds. Classified audio "Takes".

Information used or generated

Technical needs listings. Plans for assembly and post-production. Diagrams of times. Dashes. Scalets. Parts of "script". Minutets. Lists of support companies for assembly and post-production and service catalogues. Lists of technical deficiencies of the shots. Effects listings with instructions for external platform realization. Guidelines for the graphics and tag out of the program made on external platform. Information about the generated "clips".

Competition Unit 3

Designation: PERFORM ASSEMBLY BY INTEGRATING POST-PRODUCTION TOOLS AND MATERIALS OF DIVERSE PROVENANCE

Level: 3

Code: UC0949_3

Professional realizations and realization criteria

RP1: Operate with the various mounting equipment based on production needs and resources.

CR1.1 The mechanical and/or electronic operation of the equipment to be used is checked and adjusted to the parameters required by the project.

CR1.2 The editions of the magnetoscope to magnetoscope, with or without remote, the video editions A/B Roll and multiple sources with intermediate effects, moviolas, numerals, winders, splices and Film material counters and non-linear editing computer equipment are configured and operated according to project needs.

CR1.3 The different image and sound shots are handled appropriately to prevent their deterioration.

CR1.4 Cutting points are precisely located and marked to ensure their suitability for assembly needs.

CR1.5 The cut is made by ensuring the narrative continuity and the expressive needs of the project and by introducing, if necessary, the appropriate transitions.

CR1.6 The result of the mount operation is visited and approved in case of agreement with the director/performer.

CR1.7 The sound mixture, when the sonorization, or construction of the soundtrack, is carried out by the video monger, is performed and the achievement of the narrative and aesthetic results is verified desired.

CR1.8 The sound mixture, when the sonorization, or construction of the soundtrack, has been performed in an external sound room, synchronizes and turns on the final image assembly and the adjustments are made. This is the case until the desired narrative and aesthetic results are achieved.

CR1.9 Maintenance operations of equipment and materials required for assembly are performed to ensure their operation and subsequent use.

RP2: Generate the effects with own tools to be introduced into the project, as well as those generated with external tools to the specific editing system.

CR2.1 The images and sounds to be used in the effect are selected following the guidelines established in the various parts and the technical premises and narratives according to the direction/realization.

CR2.2 The adequacy of the materials is checked according to the tools to be used.

CR2.3 The effect, optical, dynamic, or special, is generated and validated by the various phases of the execution process.

CR2.4 The result obtained is visited and its quality is checked and adapted to the requirements set by direction/realization.

CR2.5 The generated effect is introduced into the mount by checking that it conforms to the desired format, definition, and rhythm under the direction/realization monitoring.

CR2.6 The effects from external tools to the post-production system are introduced into the assembly and approved by direction/realization.

RP3: Check the results of the assembly and post-production, introducing corrections if needed, to ensure the achievement of the aesthetic and narrative integration according to project objectives.

CR3.1 The result of the first assembly that integrates the plan of plans and the effects generated in the postproduction system itself, or generated from external systems, is evaluated, checking the monitoring of the The "script" part log and the address/realization criteria.

CR3.2 The deficiencies, if any, are detected and the solutions are established with direction/realization, to ensure the technical and narrative adequacy of the assembly to the objectives of the project.

CR3.3 The overall rhythm of the narration is evaluated with direction/realization and possible changes or substitutions are foreseen.

CR3.4 The expected duration and the obtained duration is compared and, if necessary, the result of the assembly is adapted to the expected time.

CR3.5 The result of the final assembly is checked to verify that the aesthetic and narrative integration defined for the audiovisual product is achieved.

CR3.6 The result checked on the final mount is dumped on the target media, resulting in the master copy.

CR3.7 All image, sound, and infographic materials, used and generated in the post-production process, are verified, identified, and classified for your file.

CR3.8 The physical media is recycled, for later use, and the computer files are removed to free up storage drives.

CR3.9 The information and data generated during the mount process are ordered and archived for location and foreseeable use later.

RP4: Manage and manage data and materials on computer media to enable you to exchange in the mounting processes over other different editing or post-production systems.

CR4.1 The availability of all required materials and attachments is ensured to perform additional or complementary work on different edition and post-production platforms.

CR4.2 Documents based on the most standardized information exchange protocols are developed to facilitate work on external platforms.

CR4.3 The documents obtained are verified and stored in the various removable media for transport or are prepared for availability within a previously determined exchange network.

CR4.4 The import and conformed of the data and exchange materials is checked for approval.

CR4.5 The data that constitutes the mount project is saved to favor subsequent adjustments, updates, and follow-ups.

Professional Context

Production media

Physical image and sound supports: magnetic, optical, photosensitive. Analogue and digital post-production platforms. Film assembly equipment: moviolas, numerals, winders, splices and film material counters.

Products and results

Materials and intermediate products: image sequences mounted or edited, blocks mounted or edited, headers, graphics, text, labels, image sequences filmed or recorded, masters, magnetic bands of sound, of repon. Materials and final products: film, video and television programs, incorporation of special effects, graphics, headers.

Information used or generated

Mount and post-production plans. Dashes. Scalets. Parts of "script". Minutets. Classified lists of the image material sound or infographic, for their archive or recycling. Data generated during the assembly process. Documents based on standardized exchange protocols.

Competition Unit 4

denomination: COORDINATE THE FINAL ASSEMBLY AND POST-PRODUCTION PROCESSES TO GENERATE THE FINAL AUDIOVISUAL PRODUCT

Level: 3

Code: UC0919_3

Professional realizations and realization criteria

RP1: Draw up documents with instructions that include effects and tricks to be performed by laboratories or other complementary post-production rooms.

CR1.1 The location listings of the material of all media that are involved in the assembly are made and physically assembled, when it is part of a previous "off-line" edition.

CR1.2 The photochemical support planes that are involved in the assembly are selected and the laboratory is requested to be prepared and cleaned before they can be scanned.

CR1.3 The graphics needed to scan the photochemical are made and provided to the appropriate laboratory by monitoring the work.

CR1.4 The listings for the conformation of the original material, whether it is original photochemical or electronic, are made, leaving them ready to perform the conformation, including the effects of mounting and replacing new procedures for the special effects of post-production.

CR1.5 The conformation process is performed, or the information is provided and follow-up is carried out in the corresponding lab.

CR1.6 The listings that allow the localization of the original material, photochemical or electronic, for the realization of special effects of post-production, are elaborated and the necessary criteria are provided for the obtaining masks, image stabilization and for the composition and integration of images from different sources, when it is part of a previous edition "off-line".

CR1.7 The material for the realization of special effects of post-production meets and is provided to the corresponding laboratory, the necessary conversions of the image files are made, if necessary, and is delivered of all the material properly labelled.

CR1.8 The criteria for tracking the most favorable duplication process for the original photochemical or electronic, is adopted and applied in all the laboratory intermediate steps.

CR1.9 The result of the conformation process is verified with the "off-line" edition of provenance.

CR1.10 The information and materials required by each image and sound laboratory are supplied during the post-production process.

RP2: Adjust the final soundtrack produced with your own media or other resources to achieve the final product with the quality defined in the project documentation.

CR2.1 The criteria and method of image and sound synchronization are provided, taking into account the rules established in each of the processes and formats.

CR2.2 The listings for the conformation of the original sound material are elaborated, when it is part of a previous "off-line" edition.

CR2.3 The conversions of the sound files are prepared and performed to be used in the audio postproduction jobs.

CR2.4 The elaboration of sound bands, music, effects and dialogues, is verified in order to prepare the masters corresponding to versions and distribution material.

CR2.5 The quality and synchrony regulations and continuity of the different display and sound recording formats generated in the audio postproduction process, as well as the distribution material, are verify to ensure compliance.

CR2.6 The execution of dams and audio displacements is controlled in the case of photochemical processes.

RP3: Apply the specific technical requirements to deliver the final product to the customer.

CR3.1 The choice of the masterization format is made by choosing, from among the different photochemical and electronic formats available, the most suitable for the application of the project.

CR3.2 The most convenient postproduction methodology to obtain the target aspect ratio is proposed from the assessment of the different aspect ratios of the source material.

CR3.3 The duplication or tracking work of the same is done to obtain duplicate of masters and copies of emission/display.

CR3.4 The choice of the film and videographic display format is made by choosing, from the different photochemical and electronic formats available, the most suitable for the application of the project.

CR3.5 The application of the technical normalization criteria and the accompanying complementary documentation of masters and copies of emission/display, is performed and/or verified according to the requirements of the recipient.

CR3.6 The layout of audio tracks on the different media is performed or verified according to the requirements of the client or the broadcast chain.

CR3.7 The placement of the required location and information required by the customer or broadcast chain is performed or verified according to the different media.

CR3.8 The generation of copies on DVD or other exchange support is performed, for viewing and/or evaluation.

Professional Context

Production media

Analog and digital assembly and post-production platforms. Film assembly equipment: moviolas, numerals, winders, splices and film material counters. Platforms for the realization of special effects of image, sound and graphics.

Products and results

Material identification listings. DVD copies or on exchange media. Copies of broadcast or exhibition. Masters and duplicates. Sound file conversions. Soundtracks.

Information used or generated

Mount and post-production plans. Dashes. Scalets. Minutets. Standards of application to masters for television networks (ready for broadcast or broadcast). EDL and FCL listings. Instructions for image and sound laboratories and special effects.

III. TRAINING OF THE CERTIFICATE OF PROFESSIONALISM

FORMATIVE MODULE 1

Naming: SCHEDULING OF THE MOUNT AND THE POSTPRODUCTION

Code: MF0947_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0947_3 Schedule the process of mounting and postproduction of an audiovisual product

Duration: 110 hours

FORMATIVE UNIT 1

Naming: RESOURCES REQUIRED FOR MOUNT AND POSTPRODUCTION

Code: UF0811

Duration: 80 hours

Competition reference: This training unit corresponds to RP1 and RP2

Assessment Capabilities and Criteria

C1: To differentiate the main theories and techniques of the audiovisual assembly, identifying the characteristic elements that determine them, for their application in the construction of audiovisual accounts according to the various genres and styles.

CE1.1 Recognize and describe the narrative elements, expressive and descriptive of the audiovisual language:

-Planes and their typology.

-Take.

-Scene.

-Sequence.

-Field and off field.

-Fragmentation of the scenic space.

-Camera movements.

-Ritmo and internal and external movement.

CE1.2 From viewing an audiovisual sequence:

-Identify the typology of plans, movements, special effects, transitions and their representation codes from the analysis of audiovisual documents.

-Apply the basic rules of the composition to the analysis of the planes that make up the sequence.

-Identify the types of ellipsis and image transitions, and their corresponding functions.

-Rate the concept of continuity in your application to the sequence.

-Specify the contributions of the soundtrack to the audiovisual assembly.

CE1.3 Identify and define the technical documents, such as the script, scale, decorated plant or work plan, among others, interpreting its structure, codes and symbology used.

CE1.4 To deduct from the technical documentation, such as the technical script, the scale or the decoration plant, of audiovisual productions:

-The type and gender of the work or program.

-The visual language.

-The audiovisual processes and techniques involved.

-The conditions of execution and quality, estimating possible difficulties based on technical and narrative criteria, presenting and justifying alternative solutions that facilitate the assembly process.

CE1.5 Explain the narrative underpinnings of the assembly according to the treatment of time, space, and idea or content.

CE1.6 Compare the various classic theories of the assembly by identifying their fundamental elements and concepts.

CE1.7 Rate the concept of rhythm and internal and external movement of the audiovisual assembly.

C2: Relating the processes of assembly and post-production of audiovisual programs by identifying, describing and recognizing the companies, departments and professional teams involved in their different phases.

CE2.1 Identify the original production systems and formats of an audiovisual document.

CE2.2 Expose the process of mounting and postproduction of an audiovisual production.

CE2.3 Describe the methodology and equipment used in the assembly of an audiovisual product.

CE2.4 Determine the different special effects employed in a project and value their input to narrative intent.

CE2.5 Describe existing graphic and tag elements in an audiovisual work and identify the equipment used for its realization

CE2.6 Specify the contribution of each of the professionals involved in the different processes that converge in the assembly and post-production.

C3: Analyze the characteristics and performance of the technical materials and equipment used in the assembly/post-production of audiovisual products, through practical experimentation with equipment.

CE3.1 Describe the technological bases of the recording systems.

CE3.2 Explain the theoretical fundamentals of the resolution, quality, and colorimetry of the image.

CE3.3 Define and compare the features of editing processes:

-Linear and nonlinear editing.

-"on line" mount and "off line" mount.

-Function of edit lists ("EDL") .

-Composition of special effects.

-Postproduction of the sound.

CE3.4 Specify the performance and performance of the analog and digital equipment and tools used:

-In video editing.

-In the video image mixture.

-In the generation of video effects (analog and digital).

-In character generation.

-In the realization of graphism.

-To measure, control, adjust, and correct the video signal.

-On audio mount and postproduction.

CE3.5 Explain the performance and performance of equipment and materials used in the assembly of film films.

CE3.6 Describe the equipment of the realization control, such as monitors, magnetoscopes, titers or mixing tables, among others, relating them to their performance.

CE3.7 Detailed the processes and equipment used in the processing and treatment of film film.

CE3.8 To analyze the performance of the editing/postproduction and electronic imaging equipment by relating the basic computer treatments of application to the postproduction of video programs and the synthetic image generation.

C4: To value the characteristics of the different formats and systems of cinema, video and audio used in the production of audiovisual programs, to ensure their suitability to the requirements of the project.

CE4.1 Classify the different video formats, differentiating the technologies used and describing the functions and characteristics of their tracks.

CE4.2 Identify and relate the most relevant features of different film formats.

CE4.3 Describe the video compression systems used in recording and post-production.

CE4.4 Relating the different types of emulsions used, in color and in black and white, with their characteristics and their capabilities.

CE4.5 Relating to the recording characteristics of each format on magnetic or computer media.

CE4.6 Describe the multigeneration or signal degradation capabilities of the different video formats.

CE4.7 Identify and describe the different systems and formats for capturing, recording and reproducing sound used in cinematographic and video making.

CE4.8 Value the compatibility of different formats used in an audiovisual product.

Contents

1. Film, video and television industries

-Industry companies:

-Types.

-Functions.

-Organizational structures.

-Systems and production strategies.

-Production process phases:

-Professions and functions.

-Interrelation of departments.

-Business Interrelation.

-Interaction of the post-production team with the other professionals.

-Type of projects:

-Audiovisual Generals.

-Structure.

-Mount requirements.

-Associated documentation.

2. Audiovisual language and narrative

-Visual representation elements and their articulation.

-Composition rules.

-An expressive value of the plane:

-Types.

-Point of view in composition.

-Transition between planes.

-Camera movement.

-Space concept of the image:

-Field.

-Out of field.

-Internal and external movement of a plane.

-Visual and sound codes in the film narrative:

-The expressive and narrative value of the sound.

-Account Fragmentation:

-Take.

-Scene.

-Sequence.

-Block.

-Time and space in audiovisual storytelling:

-Time structure of the account.

-Space/time articulation (ellipsis, transitions, scope, flash back ...).

-Audiovisual continuity elements and principles.

-Moving.

-Action.

-Lighting.

-From costumes.

-De atrezzo.

-Movement and audiovisual rhythm.

-Internal Rhythm.

-External Rhythm.

3. Audiovisual assembly

-Top Mount Theories:

-Comparative analysis.

-Evolution.

-Post-production processes:

-Linear and nonlinear editing.

-Mount on line and off line.

-Function of edit lists (EDLs).

-Composition of special effects.

-Graphics and tag out elements.

-Contributions from the soundtrack.

-Mount narrative foundations:

-The mode of production.

-The time.

-Space.

-The idea or content.

4. Technological bases of cinema, video and television

-Theoretical foundations of the image:

-Resolution.

-Quality.

-Colorimetry.

-The movie camera:

-Targets.

-The movie:

-The image take.

-The revealed.

-Special effects in the lab.

-The projector.

-The television camera.

-Television studios.

-Television transmission:

-Signs.

-Formats.

-Digital television:

-Broadcast: terrestrial, satellite, and cable.

-Formats: standard definition and high definition.

-Recording video signals.

5. Technological bases of sound

-Sound characteristics:

-Tone, doorbell, intensity.

-Physical parameters.

-Analog and Digital Sound:

-Differences between analog and digital sound.

-Sample and resolution frequency.

-The fetch:

-Types of microphones.

-Features and applications.

-The recording:

-Formats and recording media.

-Postproduction.

-Sound for film, video and television:

-Making sound bands.

-International sound.

-Sonization.

-Sound effects.

-Musical Ambientation.

6. Materials and technical equipment used in post-production

-Operating and performance of equipment used:

-Video editing.

-Video image mixer.

-Video effects generator.

-Generation of characters.

-Realization of graphisms.

-Measurement, control, adjustment and correction of the video signal.

-Assembly and post production of audio.

-Processing and processing of film film.

-Monitors.

-Magnetoscopes and hard drives.

-Criteria for selecting materials and equipment.

7. Formats and systems

-Video formats:

-Types.

-Technologies used.

-Functions.

-Features of the tracks.

-Video understanding systems.

-Write characteristics of each format.

-Multigeneration of video formats.

-Systems and formats for capturing, recording, and playing sound.

-Format compatibility.

-Film formats.

-Types of emulsions:

-Features and capabilities of color emulsions.

-Features and capabilities of black and white emulsions.

8. Analysis of the technical documentation

-Determining equipment needs based on the project and budget.

-Interpretation of structures, codes, and symbology:

-Guion.

-Mount scale.

-Job Plan.

FORMATIVE UNIT 2

Naming: LAYOUT OF THE MOUNT AND POSTPRODUCTION JOB PLAN

Code: UF0812

Duration: 30 hours

Competition reference: This training unit corresponds to the RP3

Assessment Capabilities and Criteria

C1: Plan the processes of mounting/postproduction of a characterized project, preparing the corresponding technical documentation.

CE1.1 Express the different suitability criteria for different models of assembly rooms based on their capabilities and configuration.

CE1.2 Interpret the documents used in the audiovisual performance: scripts, escales, minuts.

CE1.3 Describe the necessary post-production phases and processes based on the type of mount.

CE1.4 Reflect on a standardized organizational plan for the activities of the assembly and/or post-production, and the necessary resources, within the time limits foreseen in the project.

CE1.5 From the script or scale of an audiovisual program:

-Define the narrative and expressive intentionality of the hyphen.

-Identify the technical mounting/postproduction media.

-Identify the documentary sources.

-Schedule the mount/postproduction, preparing the mount and post-production plan.

-Prepare a report by justifying the decisions made.

CE1.6 Develop the technical documentation of the mount/postproduction process from the job plan.

Contents

1. Equipment and assembly rooms

-Cinematic Assembly Rooms Types:

-Equipment.

-Functions.

-Selection criteria.

-Types of video editing and postproduction rooms:

-Equipment.

-Functions.

-Selection criteria.

-Types and configuration of audio, video, and television take and post production rooms:

-Equipment.

-Functions.

-Selection criteria.

2. Planning the mount

-Script technical analysis.

-Mount Guions:

-Types.

-Auxiliary documentation.

-Mount process:

-Phases.

-Mount types.

-Technical documentation.

-Human equipment.

-Mount planning techniques.

-Preparing the mount and post-production plan.

-Times chart.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum number of maximum capable hours of distance
Formative Unit 1-UF0811	80	40
Unit 2-UF0812	30	20

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 2

Naming: MOUNTING AND POSTING

Code: MF0948_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0948_3 Preparing materials and effects required for assembly and post-production

Duration: 130 hours

FORMATIVE UNIT 1

Naming: ORGANIZATION OF MATERIALS REQUIRED FOR ASSEMBLY OR POSTPRODUCTION

Code: UF0813

Duration: 80 hours

Competition reference: This training unit corresponds to RP1, RP2, and RP4.

Assessment Capabilities and Criteria

C1: Analyze and ensure the disposal of the necessary materials in the assembly/post production to ensure the identification, compatibility, technical quality and/or possible errors and optimize the assembly process audiovisual project.

CE1.1 Verify, in the technical documentation of an audiovisual project, the external identification of the physical, magnetic, optical or photosensitive media, as well as the means involved, and the correspondence of their content with the one indicated in the dash, the scale and the camera parts.

CE1.2 Perform compacted, display copies with screen time code, duplicates and/or format conversions of media physical media, magnetic, optical, or photosensitive.

CE1.3 Minute and describe the contents of a physical media, by recording the data in a document.

CE1.4 Check tape time codes and rectify, if applicable:

-Discontinuities or interruptions.

-Poor synchronization on tapes from simultaneous write.

-The lack of correspondence with the original pietage on the telecins.

CE1.5 Verify the availability and technical quality of all images, audio, and graphic material detailed in the documentation of a given program.

CE1.6 Check, in practical cases, compliance with the technical requirements in the sockets intended to be combined by means of scale, or to which any other type of effect or treatment of postproduction.

CE1.7 Detect and solve, in case of audiovisual projects, the particularities and incidents that need to be taken into account in the subsequent processes such as error of code of times, "drops", saturation or investment of audio tracks, physical defects in the image, among others.

C2: Determine and prepare, in an editing room, the configuration of the most common equipment and operating systems, and the connection of the peripherals, ensuring the operability of the system.

CE2.1 Enrule digital data streams and signals via "patch panels", arrays, distributors, switches, and computer networks.

CE2.2 Perform the connection and configuration of a nonlinear editing system by verifying the availability of all peripherals, the flow of signals from external devices, and access to storage systems remote, if any.

C3: Introduce media into the editing system by performing the required format conversions and applying proper digital compression.

CE3.1 accurately identify the physical media containers in the system, according to previously established protocols, to enable their location and, where appropriate, the media recapture.

CE3.2 Adjust input parameters in the capture system, such as signal type selection, compression ratio or sampling frequency, among others, depending on the quality standard required by the support and/or broadcast media for which the product is produced, or the availability of storage space, in the case of an "off-line" edition.

CE3.3 Perform media capture or recapture of an editing system from analog or digital video and audio sources or from digital files that involve or do not translate formatting.

C4: Organize selected image and sound materials based on their content for identification and use in the subsequent assembly process.

CE4.1 From the raw material of a recording or filming entered on the system:

-Select the fragments corresponding to each valid take, identifying its contents and noting the relevant comments or, if necessary, moving the system the annotations contained in the camera or "script".

-Mark entry and exit points for each video fragment by taking note of the entry and exit time codes or pietage according to the duration of the script, keeping a close up and behind them points to allow for more precise subsequent adjustment.

-Classify video segments by sequences, valid shots, and durations, depending on the criteria set, so that they are easily reachable in the assembly session.

CE4.2 Synchronize the raw data from different sources that have performed a concurrent record on the timeline.

CE4.3 Select, classify, and identify image, audio, graphics, masks, among others, that have to be used for effect processing.

CE4.4 Classify and identify previously elaborated materials for labeling and graphing.

CE4.5 Classify and identify audio materials generated in room or from pre-existing recordings.

CE4.6 Classify and identify third-party materials introduced into the system for possible use in assembly when they are not free of rights or when they are susceptible to declaration of use.

CE4.7 Prepare, classify, and make copies on a given support of the "takes" required for audio bending sessions.

CE4.8 Organize and archive leftover materials and discard them so that their subsequent recovery is performed easily and quickly.

Contents

1. Mount and Edit

-Magnetoscopes:

-Features.

-Prstations.

-TBC.

-Variable rate.

-Time codes and control track.

-Video signal:

-Monitoring.

-Adjustment.

-Synchronization.

-Equipment for adjusting and correcting the video signal.

-Remote equipment control.

-Audio treatment:

-Format types.

-Incident detection and solution:

-Times code error.

-Drops.

-Saturation of audio tracks.

-Investment of audio tracks.

-Physical effects of the image.

2. Configuring analog and digital systems

-Signal and compatibility management.

-Analog device conexion.

-Digital device conexion.

-Analog Editing

-Edit to the cut.

-Conexion.

-Work procedures.

-Sonization.

-A/B Roll Edition.

-A/B Roll room equipment.

-Design configuration and element integration.

-

3. Managing the flow of tokens and data

-Signals and Digital Data Flows:

-Patch panels.

-Matrices.

-Distributors.

-Switches.

-Computer networks.

-Edit Materials:

-Check.

-Preparation.

-Treatment.

-Media and material storage systems.

4. Operations on non-linear edit systems

-Video and audio scanning:

-Compression.

-Signal sampling.

-Codecs.

-Rendering:

-Render audio.

-Render interface.

-Frame render.

-Render formats.

5. Selection and classification of materials

-Construction of the mount on the timeline.

-Masterized.

-Vertical composition:

-Tools.

-Procedures.

-Output formats.

-Organization and file of leftover and discard materials.

FORMATIVE UNIT 2

Naming: PREPARATION OF IMAGE, GRAPHICS, AND TAG EFFECTS

Code: UF0814

Duration: 50 hours

Competition reference: This training unit corresponds to the RP3

Assessment Capabilities and Criteria

C1: Determine the effects of image, graphics and production labeling according to narrative criteria and availability of materials and resources.

CE1.1 Determine the most appropriate effects based on the narrative requirements expressed in the script and available images.

CE1.2 Select the most appropriate platform for obtaining a given effect.

CE1.3 Select additional software tools ("plug-ins") necessary for the elaboration of a given effect.

C2: Prepare the effects of image, graphics, and tag-out to perform them on an own-edition system or on an external platform by selecting and facilitating the shipment of the materials.

CE2.1 Plan the process of making an effect even when it involves the partial realization of certain elements or phases, on different platforms.

CE2.2 Describe mask generation processes for image composition.

CE2.3 Describe the process of generating patterns and models of graphics and tag out of the program.

CE2.4 Develop a report with the guidelines for the program's graffiti and labeling to be carried out on different platforms.

CE2.5 Perform the copy on an exchange medium and in the required format of materials that have to be sent to an external platform for the application of effects or for any other specific treatment.

CE2.6 From a basic assembly to cut, apply graphics, tag out, and masks.

Contents

1. Image effects, graphics and tag-out

-Types of effects.

-Adaptation of the effects to the narrative of the audiovisual project.

-Criteria for selecting effects.

-Resources for generating effects:

-Platform types and features.

-Criteria for selecting the platform.

-Computer tools.

2. Techniques for generating effects on different platforms

-Composition in 2D and 3D.

-Generation of masks.

-Grafism.

-Tag Out.

-Capture and recording effects:

-Exchange Media.

-Formats.

3. Effects on non-linear editing systems

-Color effects:

-Correction of levels.

-Etalonado:

-Level curves.

-Motion Effects:

-Transitions.

-Dynamic video and DVE effects.

-Titling tools.

4. Audio mount

-Application of effects:

-Equalization.

-Buyers/expanders.

-Gain.

-Track mix.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum number of maximum capable hours of distance
Formative Unit 1-UF0813	80	30
Unit 2-UF0814	50	10

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 3

Naming: MOUNT AND POST-PRODUCTION OPERATIONS

Code: MF0949_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0949_3 Perform the assembly by integrating post-production tools and materials of diverse provenance

Duration: 110 hours

FORMATIVE UNIT 1

Naming: MOUNTING AND POSTPRODUCTION

Code: UF0815

Duration: 80 hours

Competition reference: This training unit corresponds to RP1 and RP2.

Assessment Capabilities and Criteria

C1: Perform, in an editing room, the tuning of equipment required for assembly/post-production.

CE1.1 Verify the complete assembly system operation by checking the peripherals, signal flow, and storage system and the recording system, if any.

CE1.2 Perform, or monitor, the regular maintenance operations of the magnetoscopes and diagnose possible dysfunctions requiring specialized intervention.

C2: Perform the assembly/post-production of audiovisual products, operating the equipment with dexterity and applying the theories, codes and assembly techniques.

CE2.1 Properly apply a time code "offset" in an edition.

CE2.2 From a given project, interleave sequentially and alternate, fragments of images and sound of a given duration.

CE2.3 From a given project, edit its contents to obtain a mount of a given exact duration.

CE2.4 Operate a standardized nonlinear editing software.

CE2.5 Perform an off line mount from a recording scale by generating the corresponding EDLs.

CE2.6 Operate moviolas, numerals, winders, splices, and film material counters.

CE2.7 Regarding audio of a given program:

-Synchronize images with their corresponding audio from image and sound marks of the clamps or any other reference.

-Incorporate a soundtrack to certain sequences, based on the visual rhythm of the sequences.

-Incorporate a soundtrack to certain images, using the time code "offsets".

-Perform a sequence editing with multiple audio channels maintaining a certain level of quality and generating the international band in the master.

-Successfully Mount two streams with previous and later audio queues.

CE2.8 Make a copy for issue, following certain PPD rules (prepared for broadcast or broadcast).

CE2.9 From the corresponding materials of an audiovisual project, perform the assembly/editing, valuing that, in the final assembly:

-The proper pace and structure of narrative intentionality.

-Times correspond to those set.

-Selected drawings are suitable and suitable for narrative intentionality.

-The synchronization between the image and the sound is perfect.

C3: Generate and/or introduce into assembly processes the optical, dynamic and special effects using the most appropriate software programs and technologies at any time.

CE3.1 Determine the necessary phases and tools for the elaboration of a particular effect.

CE3.2 Set the precise external keys to perform luminance substitution over a given image.

CE3.3 Determine and generate the keys required for the realization of an effect and decide the type (luminance, chrominance, "matte", by difference) and processed more suitable for each case.

CE3.4 Integrate and adapt effects from external platforms to mount.

CE3.5 Generate image speed variation effects, such as frozen, idle, and accelerated, determining the appropriate type of processing for each case.

CE3.6 Generate a range of basic effects through the domain of specialized software programs.

CE3.7 Generate and insert required tag-out in a mount sequence from additional software or character-generating equipment.

CE3.8 Perform a particular perspective effect on an effect generator by matching certain criteria.

CE3.9 Generate and adapt audio effects to narrative intent.

CE3.10 Save certain effects on a computer storage system by ensuring the ability to locate them with maximum speed and security.

CE3.11 Adjust and match the visual quality of the image by determining the parameters to be modified and the image processing level, using either own tools or with additional equipment and software.

CE3.12 From the script and the recordings of different audiovisual accounts:

-Perform image transitions by means of shackles and cortinillas, adjusting their parameters according to the narrative and expressive intentionality of the audiovisual narrative.

-Perform a color and luminance scale.

-Apply a variety of special effects through the domain of different specialized software programs.

-Generate different key types and adapt them to the effect.

-Import and integrate effects and graphic elements from other work environments.

-Correct and match the quality of the images used.

Contents

1. Configuration and optimization of film and video assembly rooms

-Room types:

-Cinematic mount rooms.

-Edit Rooms.

-Video postproduction rooms.

-Audio postproduction and takeover rooms.

-Maintenance of the mount and post-production equipment:

-Fault and fault detection methods.

-Corrective actions.

-Preventive maintenance operations.

2. Assembly structure and process

-Narrative intentionality.

-Assembly and expressiveness.

-Transition between planes and their expressive and narrative value:

-Encadados.

-Cortinillas.

-Plan selection criteria and time adjustment.

-Maintenance of continuity.

-The expressive value of punctuation and transition signs.

3. Operations with mounting equipment

-Moviolas.

-Numerators.

-Bobinators.

-Empalmators.

-Film material counters.

4. Assembly techniques

-Operations with non-linear editing software.

-EDL generation.

5. Music Assembly

-Spatial distribution.

-Sound Planes.

-Sound language.

-Construction of the soundtrack.

-Synchronism of the visual and sound planes.

6. Generation of effects on the mount

-Criteria for determining phases and tools.

-Generation of overlay/embedding keys:

-HUE.

-CLIP.

-Integrating and adapting effects from external platforms.

-Effect processors.

-Types.

-Criteria for selecting processors.

-Generation of image speed variation effects:

-Frozen.

-Encouraged.

-Accelerated.

-Generating and inserting the tag out into a mount sequence.

-Effects Memories.

-Setting the visual quality of the image:

-Parameters.

-Processing level.

-Computer tools.

FORMATIVE UNIT 2

Naming: ASSESSMENT OF RESULTS AND MATERIALS MANAGEMENT OF ASSEMBLY AND POSTPRODUCTION

Code: UF0816

Duration: 30 hours

Competition reference: This training unit corresponds to RP3 and RP4.

Assessment Capabilities and Criteria

C1: Evaluate the results of a particular mount to detect the gaps and perform the final rhythm and duration settings.

CE1.1 Contrasting the achievement of the program's communicative objectives with the project's communicative objectives.

CE1.2 Value the achievement of the narrative rhythm through the selection and combination of plans and the existence of an adequate structure to the program's narrative intentionality.

CE1.3 Control the achievement of partial and total program times against those defined in the project.

CE1.4 Verify the maintenance of image and sound continuity between planes.

CE1.5 Rate the narrative and expressive functionality of the effects as well as their technical correction.

CE1.6 Control synchrony between image and sound bands.

CE1.7 Propose the necessary adjustments and changes to rectify the anomalies detected in the evaluation process.

C2: Apply standardized information exchange protocols to materials that require post-production treatment on external platforms.

CE2.1 Describe the processes that guarantee the availability of all the materials and attachments needed to carry out additional or complementary work on different editing platforms and postproduction.

CE2.2 Check the import and conformed of data and exchange materials.

CE2.3 Develop documents based on the most standardized information exchange protocols to facilitate work on other platforms.

C3: Classify the materials used during assembly for storage and subsequent use.

CE3.1 Describe the organizational and archival techniques of sound, image and infographic materials used during assembly.

CE3.2 Organize and save the data that constitutes the assembly project, to favor subsequent adjustments, updates, and follow-ups.

CE3.3 Verify and store the generated documents, on the various removable media, for transport or their availability on external platforms.

C4: Manage the computer storage units used in a particular project, optimizing their capacity and configuration.

CE4.1 Rate the need for recycling of the physical supports used in the assembly and post-production processes for later use.

CE4.2 Release space on storage drives by removing files.

CE4.3 Perform the maintenance and testing of computer storage systems for optimization.

Contents

1. Quality control in assembly, editing, and post-production

-Evaluation of the results of the mount in relation to the achievement of:

-The communicative goals.

-The narrative rhythm.

-Partial and total times.

-Image and sound continuity.

-Correction and functionality of the effects.

-The synchrony of image and sound bands.

-Procedures to rectify detected failures.

-Protection, classification, and documentation of the generated product.

-Material exchange systems and protocols.

2. Classification and storage of materials

-Material classification techniques between different platforms:

-Organization and file.

-Post-update and follow-up.

-Availability on external platforms.

-Material recycling and management:

-Recycling of physical media.

-Criteria for removing files.

-Maintenance of storage systems.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	Maximum distance training capable of distance
Formative Unit 1-UF0815	80	30
Formative Unit 2-UF0816	30	10

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 4

Naming: FINAL ASSEMBLY AND POSTPRODUCTION PROCESSES

Code: MF0919_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0919_3 Coordinate final assembly and post-production processes until you generate the final audio-visual product

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Analyze the technical quality of the film and video program finishing processes.

CE1.1 Identify post-production workflows in photochemical and electronic format.

CE1.2 Classify all media and formats involved in the assembly of an audiovisual production, identifying them with the listings obtained from the "off-line" edition.

CE1.3 Value the technical quality of the image of the media and formats involved in the final assembly.

CE1.4 Describe the features and uses of the image and sound identification tools that affect the assembly and post-production processes.

CE1.5 Prepare and interpret the reissue, "on-line", linear and nonlinear, from original on tape, telecine, lab, scanner, and data conformation listings.

CE1.6 Recognize the techniques required for making masks.

CE1.7 Different techniques for stabilization, image tracking, and camera procurement.

CE1.8 Specify the technical processes for color correction and monitoring systems.

CE1.9 Describe the characteristics of the tools used to form an audiovisual product based on the information obtained from the "off-line" edition.

CE1.10 List the technical and regulatory requirements for application to the display on photochemical and electronic support.

C2: Ensure, in the soundtrack, compliance with the quality and synchrony regulations of the different recording, distribution and sound display formats.

CE2.1 Rate the technical quality of a sound fetch.

CE2.2 Ensuring, in a practical case of audio-visual assembly, the image/sound synchrony.

CE2.3 Describe the different existing sound exchange formats.

CE2.4 Defend the consequences derived from the changes in sound playback speed in both the recording and editing.

CE2.5 Identify the main existing regulations regarding the references, levels and layout of the tracks, of the different video exchange formats.

CE2.6 Describe the different systems in use for sound display/emission.

CE2.7 Identify the layout of sound optical tracks in standard cinematographic copies.

CE2.8 Describe the screen and display copy system.

C3: Value the master or final copy delivery processes according to project specific technical requirements.

CE3.1 Distinguished the particular technical characteristics of the different existing channels of distribution of the audiovisual product.

-Emission on television.

-Video distribution, institutional, DVD, among others.

-Film distribution: photochemistry and electronics.

CE3.2 Generate copies of an audiovisual product to DVD or other exchange support, for testing and/or evaluation.

CE3.3 Describe the final production processes and materials for each distribution channel.

-Video distribution: masters, backups, copies.

-Film distribution: originals, "interposates", standard copy, others.

CE3.4 Recognize the different protection systems that exist, according to the technical specifications of each technology, for the security of the generated audiovisual product support.

CE3.5 Describe the processes of making in electronic support of the set of materials to promote an audiovisual project.

CE3.6 Describe the processes of preparation, classification and documentation of the set of intermediate and final materials of an audiovisual project.

Contents

1. Product finishing and presentation processes

-Techniques and processes in product finishing:

-Image stabilization.

-Color correction.

-Monitoring systems.

-Exchange formats in sound treatment.

-The master tape:

-Features.

-Protection systems.

-Final balance of post-production.

-Assessment criteria.

-Presentation of the product.

2. Storage and management of the final product

-Techniques and processes in the "off-line" edition.

-Tools

-Media

-File formats

-Generation of backups and video mirroring.

-Procedures.

-Managing intellectual property rights.

-Audiovisual works and car rights.

-The General Society of Authors and Publishers (SGAE).

-Duration or term of protection of copyright in audiovisual works.

-The Intellectual Property Registry.

3. Product quality control

-Distribution of sound tracks:

-Video media.

-Film supports.

-The international band.

-End-of-mount and sonization processes.

-Quality standard maintenance.

-PDP (Ready for Broadcast or Issue) rules.

-Technical regulations applied to image and sound.

4. Product distribution and technical constraints

-The broadcasting of audiovisual products on television.

-The commercial distribution:

-Video.

-DVD.

-The projection in movie theaters.

5. Product distribution and technical constraints

-The broadcasting of audiovisual products by television:

-Specific requirements.

-Processes.

-Final production formats.

-The commercial distribution:

-Video.

-DVD.

-Technical requirements.

-The projection in movie theaters.

-Technical requirements for film distribution.

-Types of final production formats.

Methodological guidelines

Distance training:

Formative Module

Number of total hours of the module	Maximum number of Remote training-capable
Formative Module-MF0919_3	80	30

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

NON-WORKING PROFESSIONAL PRACTICE MODULE FOR AUDIOVISUAL ASSEMBLY AND POST PRODUCTION

Code: MP0116

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Schedule the mount/postproduction processes by preparing the corresponding technical documentation.

CE1.1 Interpret the documents used in the project realization: dash, scale, minuts.

CE1.2 Reflect in an organizational plan the activities of the assembly and/or post-production, and the necessary resources, within the time limits foreseen in the project.

CE1.3 Collaborate in the technical documentation of the mount/postproduction process from the job plan.

C2: Prepare the assembly and post-production by organizing the materials and preparing the effects of image, graphics and labeling.

CE2.1 Collaborate on the timing of the raw times from different sources that have performed a concurrent record.

CE2.2 Participate in the selection, classification, and identification of image, audio, graphics, masks, among others, that have to be used for the elaboration of effects.

CE2.3 Classify and identify previously crafted materials for labeling and graphing.

CE2.4 Classify and identify audio materials generated in room or from pre-existing recordings.

CE2.5 Classify and identify third-party materials introduced into the system for possible use in assembly when they are not free of rights or when they are susceptible to declaration of use.

CE2.6 Collaborate on the preparation, sorting and making of copies on a given support of the "takes" needed for the audio dubbing sessions.

CE2.7 Organize and archive leftover materials and discard them so that their subsequent recovery is performed easily and quickly.

CE2.8 Collaborate in planning the process of making an effect.

CE2.9 Develop a report with the guidelines for the program's graffiti and labeling to be carried out on different platforms.

CE2.10 Participate in the making of the copy in an exchange medium and in the required format of the materials that have to be sent to an external platform for the application of effects or for any other specific treatment.

C3: Perform the assembly/post-production of audiovisual products, operating the equipment with dexterity, applying the assembly techniques and introducing the optical, dynamic and special effects.

CE3.1 Apply time code usage appropriately.

CE3.2 Contribute to the proper synchronization of image and sound fragments.

CE3.3 Collaborate on generating the necessary EDLs.

CE3.4 Apply the PPD rules (ready for broadcast or broadcast) in the edition of tapes for issue.

CE3.5 Collaborate on the realization of image transitions by means of chains and cortinillas, adjusting their parameters according to the narrative and expressive intentionality of the project.

CE3.6 Contribute to generating the keys required for the realization of the effect and decide the type (luminance, chrominance, "matte", by difference) and processed more suitable for each case.

CE3.7 Collaborate on the integration and adequacy in the assembly of the effects and graphic elements from external platforms.

CE3.8 Participate in the generation of a range of basic effects through the domain of specialized software programs.

CE3.9 Collaborate on generation and insertion into a required tag-out mount sequence from additional software or character-generating equipment.

CE3.10 Save the effects by ensuring the ability to locate them with maximum speed and security.

CE3.11 Contribute to adjusting and matching the visual quality of the image by determining the parameters to be modified.

C4: Perform assembly and post-production finishing processes.

CE4.1 Classify media and formats that are involved in the assembly of an audiovisual production.

CE4.2 Rate the technical quality of the image of the media and formats involved in the final assembly.

CE4.3 Contribute to ensuring the image/sound synchrony.

CE4.4 Participate in the generation of copies of an audiovisual product to DVD or other exchange support, for testing and/or evaluation.

CE4.5 Intervening in the application of the security protection system of the generated audiovisual product support.

C5: Participate in the company's work processes, following the rules and instructions set out in the job center.

CE5.1 Behave responsibly in both human relationships and the jobs to be performed.

CE5.2 Respect the procedures and rules of the work center.

CE5.3 Diligently undertake the tasks according to the instructions received, trying to bring them into line with the work rate of the company.

CE5.4 Integrate into the production processes of the job center.

CE5.5 Use the established communication channels.

CE5.6 To respect at all times the measures of risk prevention, occupational health and environmental protection.

Contents

1. Planning the mount

-Script analysis and auxiliary documentation.

-Identification of the required technical means.

-Making a mount plan.

-Elaboration of the technical documentation.

2. Preparation and performance of effects

-Selecting the appropriate effects.

-Realization of graphics and tag out effects.

-Making color effects.

-Performing motion effects.

-Application of transitions and dynamic video effects.

-Creating 2D and 3D video effects.

3. Mounting the assembly

-Intercaling images and sounds in a mount.

-Realizing the offline mount from a recording scale.

-Image and audio synchronization.

-Incorporation of a soundtrack to a sequence.

4. Final product quality control

-Image stabilization.

-Color correction.

-Protection of the master tape.

-Generation of backups.

-Presentation of the product.

5. Integration and communication in the workplace

-Responsible behavior in the job center.

-Respect to the procedures and rules of the work center.

-Interpreting and diligently performing the instructions received.

-Recognition of the organization's production process.

-Using the communication channels set in the job center.

-Adequation to the company's work rate.

-Tracking the regulations for risk prevention, occupational health and environmental protection.

IV. PRESCRIPTIONS OF TRAINERS

Modules	Required Accreditation	Professional experience required in the scope of the competency
		If credited	If you do not have accreditation
MF0947_3: Planning for mount and postproduction	• Licensed, engineer, architect or degree title or other equivalent titles. • Diplomat, technical engineer, technical architect, or degree corresponding or other equivalent titles. • Higher Technician of the Professional Image and Sound family.	2 years	4 years
MF0948_3: Preparing mount and postproduction	Licentiate, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or degree degree corresponding or other equivalent titles. • Higher Technician of the Professional Image and Sound family.	2 years	4 years
MF0949_3: Mount and Post Production Operations	• Licentiate, engineer, architect or corresponding degree of degree or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree of degree or other equivalent titles. • Higher Technician of the Professional Image and Sound family.	2 years	4 years
MF0919_3: End-of-Mount Processes and post-production	Licensed, engineer, architect, or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect, or corresponding degree degree or other equivalent titles. • Higher Technician of the Professional Image and Sound family.	2 years	4 years

V. MINIMUM REQUIREMENTS FOR SPACES AND FACILITIES AND EQUIPMENT

Forming Space	Surface m2 15 pupils	Surface m2 25 pupils
45		45	60
Mount and Postproduction Workshop	100	150

Formative Space	M1	M2	M3
	X	X	X	X
Workshop mounting and postproduction	X	X	X	X

Forming Space
Classroom	audio-visual equipment -network installed PCs, projection canon and internet -Specialty specific software -Rotuder-write Pizarras -Rotafolios -Classroom Material -Table and chair for trainer -Messes and chairs for pupils
workshop and postproduction	Digital mounting and postproduction platforms -Image and sound media: magnetic, optical and photosensitive - Film Assembly Equipment: -Moviolas - Numerator -Bobinators -Splices -Cinematic Material Counters -Platforms for Performing special image effects -Platforms for performing sound and graphic

It should not be interpreted that the various identified learning spaces should necessarily be differentiated by closure.

The facilities and equipment must comply with the relevant industrial and sanitary sanitary regulations and respond to the universal accessibility and safety measures of the participants.

The number of units that must be available for the tools, machines and tools specified in the training space equipment, will be sufficient for a minimum of 15 students and must increase, if any, to attend to the higher number.

In the event that the training is addressed to persons with disabilities, the adaptations and reasonable adjustments will be made to ensure their participation in equal conditions.

ANNEX V

I. IDENTIFICATION OF THE CERTIFICATE OF PROFESSIONALISM

Designation: DEVELOPMENT OF INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCTS

Code: IMSV0209

Professional family: Image and sound

Professional area: Audiovisual production

Professional qualification level: 3

Professional reference qualification:

IMS295_3 Development of interactive multimedia audiovisual products (RD 1200/2007, of 14 September)

Relationship of competency units that configure the certificate of professionalism:

UC0943_3 Define interactive multimedia audiovisual projects.

UC0944_3 Generate and adapt your own and external multimedia audiovisual content.

UC0945_3 Integrate elements and fonts using authoring and editing tools.

UC0946_3 Perform the prototype evaluation, quality control, and documentation processes for the interactive multimedia audiovisual product.

General competition:

Develop interactive multimedia audiovisual products by collaborating in their planning and integrating all the elements and sources involved in their creation, taking into account their relationships, dependencies and criteria interactivity, based on previously established parameters, providing own criteria.

Professional Environment:

Professional scope:

Interactive and non-interactive multimedia production companies. Companies or departments of New Technologies. Large, medium and small public and private companies. Film, video and TV producers and Internet solutions companies. Works for an employed or self-employed person (freelance).

Productive Sectors:

Interactive TV, Advertising, Video Games, DVD's, CD-ROM ' s, Internet and New Technologies.

Occupations or related jobs:

Audiovisual Media Integrator.

Developer of multimedia audiovisual products.

Digital Graphics.

Interactive and non-interactive multimedia audiovisual content editor.

Multimedia application developer.

Multimedia realization helper.

Media systems technician.

Duration of the associated training: 540 hours

Relationship of training modules and training units:

MF0943_3: Interactive multimedia audiovisual projects (80 hours)

MF0944_3: Generation and adaptation of multimedia audiovisual content (160 hours)

• UF1245: Narrative and technical resources for the development of multimedia audiovisual products. (80 hours)

• UF1246: Treatment and editing of sources for multimedia audiovisual products (80 hours)

MF0945_3: Integrating elements and fonts using authoring and editing tools (140 hours)

• UF1247: Composition of screens and animation of sources for multimedia audiovisual projects (40 hours)

• UF1248: Generation of interactive elements in multimedia audiovisual projects (50 hours)

• UF1249: Multimedia audiovisual project programming (50 hours)

MF0946_3: Prototype evaluation, quality control, and interactive multimedia audiovisual product documentation (80 hours)

MP0262: Non-working professional practice module for interactive multimedia audiovisual product development (80 hours)

II. PROFESSIONAL PROFILE OF THE CERTIFICATE OF PROFESSIONALISM

Competition Unit 1

Naming: DEFINING INTERACTIVE MULTIMEDIA AUDIOVISUAL PROJECTS

Level: 3

Code: UC0943_3

Professional realizations and realization criteria

RP1: Determine the features of the interactive multimedia project by defining the type, product genre, and technical requirements.

CR1.1 The communicative, functional, and formal objectives, and the project specifications to be developed are determined from the requirements catalog and a set of high-level initial models.

CR1.2 The product characteristics related to gender, narrative and graphic style, and deadlines, are determined from the goals set by the client.

CR1.3 The requirements catalog is complete from the analysis and assessment of any other relevant information: content or sources originally available in other media or media, style book, manual of corporate identity, standards, regulations, among others.

CR1.4 The information model relating to connections, interfaces, descriptions, activities and requirements, which complements the documentation of the specifications, is made based on the analysis of the needs of information, to achieve general requirements and conceptual models.

CR1.5 The design, performance, and documentation standards, developed by the analysis, design and realization teams, are distributed among the different participants in the project development for their handling, assessment and interpretation.

CR1.6 Technical specifications are defined based on accessibility, compatibility, and interoperability requirements between platforms to minimize development and/or maintenance times, balance Quality/cost and support its use with different browsers, platforms or technologies.

CR1.7 The technological architecture is identified from the analysis of the expected capabilities, specifications and technical requirements, depending on the means and time required for its development and implementation.

RP2: Schedule the work phases of the interactive multimedia project, based on resource optimization, time, and budget criteria.

CR2.1 The plan of action for the development and implementation of the model, and the selected information architecture, is elaborated, taking into account the limitations and considerations regarding the available resources, deadlines and costs.

CR2.2 The work plans, monitoring, quality and maintenance, are assumed by the different participants in the development of the project together with the other technical and security policies, guidelines of planning, change management, and quality management.

CR2.3 The logistical aspects related to the material, meeting rooms, documentation standards, among others, are concretized to favor the effectiveness of the work.

CR2.4 The conventionalisms, access permissions to information and communication systems among the work teams, are determined according to the degree of participation of the technical staff of the project, in order to facilitate the organisation of technical and aesthetic resources during the different phases.

RP3: Determine the necessary equipment for the production of multimedia interactive, adjusting to the technical needs and budgets defined in the project.

CR3.1 The previously selected production technology architecture is determined by taking into account the analysis of the expected capabilities, specifications and technical requirements.

CR3.2 Project management parameters and procedures, equipment and tools, connectivity and communications, quality assurance and environment security are determined to optimize the production, taking into account the management and security criteria of the organisation.

CR3.3 The backup, update, change log, version control, status, and trace system of your evolution is determined to ensure the integrity and availability of the appropriate version of the products, and to facilitate their reuse and/or modification to possible modifications to the initial requirements.

RP4: Determine the characteristics of the sources required for the realization of an interactive multimedia project based on technical, narrative and aesthetic specifications.

CR4.1 The different sources, whether text, graphics, sounds, fixed or moving image, or combination of these, are identified as information modules, from the specifications, to guarantee their information integrity, size, position, and function in the product.

CR4.2 The different information modules are checked from the specifications and their function in the product to determine, in each case, their narrative mode: linear (sequential and determined) or interactive.

CR4.3 The appropriate file formats of the different sources, together with their characteristics and properties, are identified, from the specifications, to ensure the product quality commitment in technology architecture, broadcast support, and/or publishing target.

CR4.4 The current legislation on copyright and intellectual property is respected in accordance with the particular features of the interactive multimedia project.

CR4.5 The sources provided by the different participants in the project are organized according to the agreed operating and security requirements, taking into account the particularities of the support chosen storage.

Professional Context

Production media

Platforms or multimedia development environments. Tools for creating, editing, treating and retouching sources. Integrated development environments. Authoring tools or multimedia integration tools. Storage media.

Products and results

Definition of the project. Job plans. Planning, defining, specifying and selecting architectures. Organization and configuration of the production or development technology environment. Adjust the technical, narrative and aesthetic characteristics of the sources.

Information used or generated

Media project requirements catalog. Style books. Corporate identity manuals. Copyright legislation. Documentation standards. Models. Technical recommendations and standards. Design and realization specifications. Storyboard. Job plans. Quality assurance, safety and maintenance plans. Documentation standards. Models. Diagrams. Technical specifications. Specifications of the technological architectures: support of the information and production or development model. Organization and configuration parameters of the production and development technology environment.

Competition Unit 2

Designation: GENERATING AND ADAPTING OWN AND EXTERNAL MULTIMEDIA AUDIOVISUAL CONTENT

Level: 3

Code: UC0944_3

Professional realizations and realization criteria

RP1: Create the fonts and models according to the project specifications, adapting them to the broadcast media.

CR1.1 The different necessary information modules are generated or created, based on the specifications and/or indications of realization, according to the requirements of formal and/or aesthetic character and guaranteeing the consistency, relevance and stylistic unit of the project.

CR1.2 Worktemplates and style sheets are created from the design specifications, respecting the aesthetic and formal criteria and meeting the technical requirements.

CR1.3 Required audio, video and/or animation sources, considered as linear or interactive information modules, are created and/or edited by observing the standards of documentation and meeting the criteria narrative, expressive and descriptive of the audiovisual language.

CR1.4 The different video streams (streaming, on-demand) and audio (sound effects, soundtrack) are performed according to the technical parameters of the project and its support or media.

CR1.5 The catches of locutions from the script are made, respecting the times marked by the project requirements.

CR1.6 The animations and sprites clips, either loops or finitas, are performed according to the project characteristics.

CR1.7 The necessary graphics sources, considered as elements of the interface, are created and/or edited by observing the documentation standards and meeting the functional and formal criteria.

CR1.8 The different proposals for the layout of the screens or the level designs, in the case of video games, are elaborated according to the requirements of the technical script.

CR1.9 The sources captured, created, and/or edited, are saved in the appropriate format depending on the technology architecture, broadcast media, and/or the publishing target.

RP2: Evaluate the quality of the proposals from sources and models generated by external teams, checking their adjustment to the project criteria.

CR2.1 The sources provided by the client, the different departments and/or by external teams, are verified by assessing their quality and identifying those that require reworking, such as locutions and graphics.

CR2.2 The technical properties of sources provided by external teams are verified by ensuring their quality and compatibility with the project.

CR2.3 The technical and expressive quality of the sources provided by the client is verified by checking their adjustment to the technical specifications defined by the project.

CR2.4 Design or design department display model proposals are valued or readjusted, if necessary, for contrast with the customer.

RP3: Adjust the characteristics of the multimedia sources produced by external teams according to quality, aesthetic and technical criteria, adapting them to the requirements of the project.

CR3.1 The size, resolution and format of the sources is adjusted according to quality, aesthetic and technical criteria, and applying the nomenclature defined by the project to generate a work master.

CR3.2 Sources are compressed and/or converted to predefined formats in the project, optimizing performance and resource consumption.

CR3.3 Different fonts are partially combined, replayed, or removed, depending on project needs: videos, subtitles, image text, defects, unwanted image parts, among others.

CR3.4 Video clips are edited by removing unnecessary fragments, adjusting to narrative time, or applying the special effects specified in the project.

CR3.5 Sources provided by external equipment are stored on security supports and return points are made for possible further restructuring of the project.

Professional Context

Production media

Platforms or multimedia development environments. Tools for creating, editing, treating and retouching sources. Storage media.

Products and results

Files of different formats ready for integration: text files, audio, fixed image, video, and animation.

Information used or generated

Documentation standards. Design and realization specifications. Technical script. Storyboard. Work plan. Quality report of the sources received. Index of sources.

Competition Unit 3

Naming: INTEGRATING ELEMENTS AND SOURCES USING AUTHORING AND EDITING TOOLS

Level: 3

Code: UC0945_3

Professional realizations and realization criteria

RP1: Compose the screens, pages, levels, or slides according to the layout models and sketches, integrating the necessary fonts using authoring tools.

CR1.1 Image sources are integrated into their position on the screen, following the pattern of design or realization sketches.

CR1.2 The texts are integrated on the screen by giving them the format set in the project.

CR1.3 The locution and audio sources are integrated over project, adjusting to the times of each scene, screen, or other narrative element.

CR1.4 The properties of the sources are readjust to the possible deviations from the integration, adapting them to the overall composition.

RP2: Generate and synchronize the movements of the fonts on the screen, according to criteria set in the project and the storyboard.

CR2.1 Source paths or guides are generated, giving them movement according to the project's expressive parameters and the features of the author software used.

CR2.2 Sources, such as events, flashes, among others, are dotting according to their position on timelines.

CR2.3 The different sources are synchronized by adjusting them to the temporal parameters, the narrative rhythms, and the dramatic intentions of the project.

CR2.4 The transitions between screens, slides and pages are generated according to the parameters defined in the project, to provide the project of narrative and continuity.

CR2.5 Each screen, level, or slide, at each point in the work phase, is saved and backed up from its different versions according to the project organization criteria.

RP3: Create and integrate the interactive elements by following the established layouts, to generate the screens and pages.

CR3.1 The different states of the interactive elements (passive, active, on and on) are generated by favoring their identification by the user.

CR3.2 Preestablished interactive elements are inserted and conform to the aesthetic and narrative features of the project, using the author software.

CR3.3 The introduction of data by the user and the client is done by creating input fields of user information (forms), depending on the variables defined in the project.

CR3.4 Each screen, level, or slide, at each point in the work phase, is saved and backed up from its different versions according to the project organization criteria.

CR3.5 The content of the sources and interactive elements predefined by the author software, are verified for each screen, level, or slide, ensuring the design set in the project.

RP4: Interactivity scoring, entering the codes by using the appropriate software, addressing the project's narrative elements.

CR4.1 The required code for the interactive objects that require it, to conform to the interactive specific features of the project, is added, according to the technical script.

CR4.2 The different variables (numeric, alphanumeric) and programming algorithms are identified and determined to develop the code structure.

CR4.3 Project narrative times and elements are adjusted, giving program variables the required values.

CR4.4 The link to external sources or other products or by-products (from the DVD to the web) is made by adjusting to the project's narrative and productive needs.

CR4.5 The code is generated to connect and manage information with databases.

CR4.6 The elements with complex behaviors, such as the movements of user-action-dependent elements, which require the application of variables, conform to the project's narrative values.

CR4.7 The interactive elements that are independent of the user's action, as well as the temporary elements and events that require code generation, are equipped with interactivity.

CR4.8 Each screen, level, or slide, at each point in the work phase, is saved and backed up by its different versions according to the project organization criteria.

CR4.9 Each screen, level, or slide is verified to ensure that it contains the sources and interactive elements according to the layout set.

Professional Context

Production media

Computer, Printer, Magnetoscopes, DVD, CD-ROM, Hard Disks, Optical Media. Image processing and backup software. Audio capture card. Video capture card. Integration software (authoring tools). Digital video post production platform.

Products and results

Screens. Web pages. Presentations. Levels. Databases. Backups. Prototype.

Information used or generated

Technical Script. Storyboard. Maquettes. Sketches. Templates. Adapted sources. Standards for usability and accessibility. Index of files generated. Index of deviations on the project.

Competition Unit 4

Designation: PERFORM PROTOTYPE EVALUATION, QUALITY CONTROL, AND DOCUMENTATION PROCESSES FOR INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCT

Level: 3

Code: UC0946_3

Professional realizations and realization criteria

RP1: Evaluate the prototype, checking its operation and verifying its adjustment to the technical specifications and the work methodology defined in the project.

CR1.1 The operation of each screen and page and interactive elements involved in them are checked and adjusted, so that the parameters determined in the prototype are met.

CR1.2 The prototype is tested on different computers, platforms, or navigation systems by checking their compatibility.

CR1.3 The narrative characteristics, degree of interactivity, visual effect and communicative effectiveness of the prototype are tested and proposed improvements in the system that will help to ensure its functioning, the narrative consistency or other aspects.

CR1.4 The degree of usability of the finished product is evaluated, ensuring its maximum effectiveness by adopting improvement measures, if necessary.

CR1.5 The compliance with the ISO standards of application to interactive multimedia products, checks and measures are taken, in case of non-compliance, in order to guarantee the criteria of quality, accessibility and usability.

CR1.6 Compliance with project objectives, deadlines, budgets and work methodology followed, a final balance sheet is established and developed to improve subsequent projects.

RP2: Develop the supporting documentation for the project, considering the needs of the end user, giving it the maximum comprehensibility.

CR2.1 The beta version of the project, prior to the generation of the final master, is tested taking into account that all the parameters used conform to the product specifications.

CR2.2 Data obtained by external tests with a target audience sample (pre-test) are analyzed to address possible operating errors.

CR2.3 The user manual, with all the specifications and instructions for use, is made with criteria of maximum comprehensibility.

CR2.4 Project prototype is presented to the client to validate or reset the project.

RP3: Configure the publishing parameters for completion and maintenance of the final project.

CR3.1 The generated code is purged and comments are removed to achieve optimized distribution.

CR3.2 The project is compiled for broadcast or as a source for another project.

CR3.3 The backup of the final project is performed, as directed by the project for localization and subsequent reuse.

CR3.4 Projects and their different versions are kept up to date by controlling the different modifications that arise at the request of the client.

Professional Context

Production media

Computer. Optical media. Image processing and backup software. Integration software.

Products and results

Project file. Beta version. Prototypes. Quality reports. Backups. User manual.

Information used or generated

Technical Script. Storyboard. Work plan. Initial project specifications. ISO standards. Standards for usability and accessibility. Quality and performance reports. User manual. Project Production Results Assessment Report.

III. TRAINING OF THE CERTIFICATE OF PROFESSIONALISM

FORMATIVE MODULE 1

Naming: INTERACTIVE MULTIMEDIA AUDIOVISUAL PROJECTS

Code: MF0943_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0943_3 Define interactive multimedia audiovisual projects

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Determine the characteristics, types, and genres of interactive multimedia projects, based on the analysis of a project's documentation, to proceed with its planning and programming.

CE1.1 Describe the different types of interactive multimedia products present today in the market, their navigation systems and the degree of "usability" and accessibility.

CE1.2 Identify the sections of current legislation around copyright and intellectual property that affect the particular features of the interactive multimedia project.

CE1.3 Relate the production phases with the work equipment components of the various interactive multimedia projects.

CE1.4 Recognize different architectures, platforms, technology environments and consumer electronics equipment DVD-Video, video consoles or mobile phones, destination, broadcast, publishing or product support multimedia.

CE1.5 From information provided by the client, including project needs and objectives, aesthetic framework data and technical limitations, as well as execution times, and target hearing or user:

-Interpret and organize the information.

-Justify the choice of interactive constructive elements such as lists, buttons, or menus, among others and their different states.

-Analyze technical, narrative and aesthetic characteristics according to gender, support, and target audience.

CE1.6 From the dash and the storyboard, once the information flow diagram has been decided, and the technical limitations as well as the execution times of an "on-line" product, on optical or optical hybrid:

-Interpret documentation standards, such as use case diagrams, interaction diagrams, or others, and set navigation systems and their degrees of interactivity and narrative linearity or non-linearity.

-Determine the level of "usability" and accessibility of an interactive product.

-Interpret the navigation tree and flow diagrams in the different product types.

-Recognize and describe the different conceptual models and/or metaphors used in the project.

-Interpret documentation standards, such as state diagrams, and recognize interactive elements, such as buttons, lists, or menus, among others, and the different states of an interactive element within a multimedia product (active, passive, on, pressed) by entering it in a report.

-Interpret the sketches and models.

-Explain documentation standards, such as state diagrams, and recognize potential independent user events that occur in the product.

-Apply the aesthetic and narrative style unit.

-Agree on conventionalisms and communication systems with other production equipment.

-Design the interactive multimedia project work plan.

C2: Select and configure the technical equipment and authoring tools required for the production of a multimedia interactive.

CE2.1 Recognize the capabilities of the various devices and devices for the production of multimedia products.

CE2.2 Define the technical needs for the production of a multimedia product according to media and media.

CE2.3 In a practical case of development of an "on-line" product, of divulgative and/or educational content, in optical or hybrid support, justify the choice of:

-The authoring tools for digital image, audio, video, or 3D Infography integration, based on their features, as well as the type of product each can generate.

-The Web programming or author languages, with their technical, commercial properties, and their usage limits.

-The different tools or programs of creation, editing, processing and retouching of graphic fonts, text, image in motion and sound, among others.

-The broadcast support chosen based on the required technical capabilities.

CE2.4 In a practical case of configuration of equipment for the realization of an interactive multimedia project, for a commercial action of dissemination of a product or service:

-Recognize the technical needs at both the level of equipment and the interactive tools and elements, such as network or form connections, of the product as defined in the project.

-Apply the tuning parameters to the monitor by adapting them to the work resolution, readability, and distribution of elements on the screen.

-Configure network connection and file download formats.

-Set the treatment of the information sent by the clients.

-Configure the capture devices according to the media used.

-Analyze the need for a Content Manager.

-Configure backup devices: optical, tape, or other storage.

CE2.5 In a case scenario of an online multimedia product that uses external, dynamic data or access to Databases (BBDD):

-Define the file structure.

-Define the project site/folder.

-Configure the connection data to the server.

-Use security addresses and passwords.

-Create information folders.

-Give privileges to the files of other team members.

-Define the typology of the fonts to be used and their limits on size and weight.

C3: Establish the technical, narrative and aesthetic characteristics of the sources, used in the production of an interactive multimedia project.

CE3.1 Recognize the different types of file formats, their features and properties, and identify the different digital information storage media.

CE3.2 Describe the process of converting the analog signal to digital and indicate the situations in which it is needed.

CE3.3 Identify the sound scanning parameters (sampling frequency, resolution, and number of channels, duration) as previous settings, to determine the quality of scanning and file size.

CE3.4 Compare the different types, technical characteristics and use of the sources used in an interactive multimedia product to establish quality criteria (resolution, color palette, color depth, transparency, weight, size, compression).

CE3.5 In a case scenario of an on-line product, on optical or hybrid support, from the documentation provided by the client and the one to be generated by the development team:

-Select the format of the source.

-Adjust video capture compression.

-Mark the entry and exit points.

-Adjust audio capture compression.

-Mark the entry and exit points.

-Adjust the scan resolution.

-Select the scanned areas.

-Adjust fixed image capture compression.

-Determine the font size.

-Cataloging acquired sources

Contents

1. Multimedia industry

-Companies and Multimedia Studies.

-Managing and communicating with clients.

-Generos and Sectors.

-Products.

-Interactive multimedia project:

▫ Features.

▫ Levels of usability and accessibility.

▫ Phases in the elaboration of the multimedia project (preproduction, development, testing).

▫ Professional teams involved (realization, script, audio/video, art, programming, etc).

-Legal rules in the multimedia framework:

▫ Copyright and intellectual property rights.

▫ DRM Digital Rights Management.

2. Planning an interactive multimedia project

-Planning criteria:

▫ Communication, functional, and formal goals.

▫ Quality/Cost.

▫ Project end strokes and updates.

-Making an action plan:

▫ Run times.

▫ Delivery Plashes

-Resource Organization:

▫ Materials, meeting rooms, and documentation.

▫ Human and technical resources

▫ Information access permissions.

▫ Communication systems between the teams.

-Tracking and maintaining the job plan:

▫ Internal coordination.

-Limit/management and change limitation dates.

-Quality management.

3. Multimedia dash techniques

-Storyboard analysis:

▫ Case diagrams.

▫ Interaction Diagrams.

-Hypermedia.

-Interactive navigation systems:

▫ Interactivity grades.

▫ Narrative Lineality.

-Flow or navigation diagrams

-Information tree diagrams.

-Interface elements.

▫ Lists.

▫ Buttons.

▫ Menus (dynamic and animated).

-Interactive element states.

4. Multimedia technical systems

-Media media.

-Media formats:

▫ Image.

▫ Video.

▫ Audio.

▫ Media creation and data treatments. (3D, VR, BBDD)

-Computer equipment and architectures.

-Platforms:

▫ Compatibility and interoperability.

-Consumer electronics and technology environments:

▫ DVD-video/Bluray disc.

▫ Videoconsoles, portable consoles.

▫ Phones and mobile devices.

-Target technology environments.

-Broadcast technology environments.

-Publish or support technology environments.

-Multi-media.

-Dynamic environments.

-Connections to servers.

-Back-up systems backup:

▫ Storage.

▫ Choice.

▫ Access.

▫ Data manipulation and protection.

-Author tools.

5. Sources

-Types:

▫ Texts.

▫ Graphics.

▫ Sounds

▫ Image.

-Features.

-Capture.

-File and storage formats.

-Create, edit, treat, and retouch programs.

6. Editing and composing multimedia products

-Composition:

▫ Composition and interactive design principles.

-Usability:

▫ Learning and handling facility.

▫ Flexibility of use and transparency.

▫ Content optimization.

▫ Maximization of useful space.

▫ Readability and information load.

▫ Site design.

▫ Integration of adapted content.

▫ Navigation, aids, maps, external support.

-Accessibility:

▫ Checking audio elements.

▫ Checking video elements.

▫ Presentations/Animations.

▫ Alternative Texts and explanations

-Interfaces:

▫ Distribution of items by level.

▫ Menus and submenus.

▫ Total navigation vs guided.

▫ Information Structures.

▫ Narrative/informational limits.

Methodological guidelines

Distance training:

Formative Module	Number of total hours of the module	Maximum hours Distance-
Formative Module-MF0943_3	80	50

Access criteria for pupils

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 2

Designation: GENERATION AND ADAPTATION OF MULTIMEDIA AUDIOVISUAL CONTENT

Code: MF0944_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0944_3 Generate and adapt your own and external multimedia audiovisual content

Duration: 160 hours

FORMATIVE UNIT 1

Denomination: NARRATIVE AND TECHNICAL RESOURCES FOR THE DEVELOPMENT OF MULTIMEDIA AUDIOVISUAL PRODUCTS

Code: UF1245

Duration: 80 hours

Competition reference: This training unit corresponds to RP1, RP2, and RP3, as far as narrative and technical resources are concerned.

Assessment Capabilities and Criteria

C1: To differentiate the main theories and techniques of the audiovisual language, identifying the characteristic elements that determine them, for their application in the construction of interactive multimedia products according to the various genres and styles.

CE1.1 Recognize the different types of sources text, graphics, sound (locutions, effects and music), image (fixed or moving) or combination of these as modules (structural units or basic blocks), information.

CE1.2 Identify the different information modules in interactive multimedia products by determining, in each case, their narrative mode: linear (sequential and determined) or interactive.

CE1.3 Recognize and describe the narrative, expressive, and descriptive elements of the audiovisual language used in multimedia products.

CE1.4 Identify the typology of plans, movements, special effects, transitions and their representation codes, based on the analysis of the sources or audiovisual elements used in multimedia products.

CE1.5 Explain the narrative fundamentals of the assembly according to the treatment of time, space and idea or content, and the new possibilities that open the nonlinear narrative used in interactive multimedia products.

C2: Determine the basic characteristics and performance of audiovisual technical equipment and materials used as signal input sources, in characterized multimedia productions.

CE2.1 Describe the technological fundamentals of video and audio.

CE2.2 Identify the essential features of the different video and audio formats used as sources for the realization of multimedia products.

CE2.3 Recognize the different video and audio editing systems and applications required in an interactive multimedia product.

CE2.4 Identify the different broadcast systems of a multimedia product from the project's specifications and objectives.

CE2.5 Describe the technical features of digital cameras and scanners for capturing sources of an interactive multimedia product.

CE2.6 Specify the interlinked system between the different devices that participate in a multimedia project.

CE2.7 Identify the different configurations of different technical source acquisition or capture teams that make up the realization of a multimedia project.

CE2.8 In a practical case of source capture for a multimedia product that you use from a variety of video clips, varied duration.

-Set the type of cabling and connections required.

-Connect the external audiovisual equipment to the computer or capture device.

-Configure and/or install the required applications.

-Determine tuning parameters for capture optimization.

-Determine the need to work with external hard drives, in any of the possible configurations of a RAID system.

-Save the capture to the formats specified in the technical script as the source master.

Contents

1. Narrative elements, expressive and descriptive of audiovisual language in multimedia products

-Sources and fonts:

▫ Design versus Legability.

-Vector Graphics and Bitmap.

-Image files:

▫ Fijas.

▫ Moving.

▫ Interactive or combined in structural units or basic informational blocks.

-Sound:

▫ Loctions. Bending and treatment of information or dramatic.

▫ Effects, application to interface, and narrative usage.

▫ Music. Musical funds and versions. Rights management.

-Information modules and narrative structures.

-Color and background:

▫ Levels of visual structure and readability.

-Links and internal/external navigation.

-Corporate image and logos.

-Distribution of Content and Screen Configurations.

2. Narrative fundamentals of the multimedia language

-Tipologia of planes and camera movements.

▫ Transitions.

▫ Composition and render codes.

▫ Special effects on multimedia.

-Multimedia Mount Narrative Foundations:

▫ Time representation. Rhythm and effects in the narration.

▫ Representation of the space. It emptied it in front of it full. Compensated composition and visual balance.

▫ Literary information transformation (literary script).

▫ Audiovisual treatment of the literary script (technical script).

▫ Development of the multimedia account. Expressive and Informative Objectives.

▫ Multimedia narratives and narratives.

▫ Structures and Narrative Models.

-Narrative modes:

▫ Linear.

▫ Nonlinear.

▫ Interactive.

3. Multimedia audiovisual technical systems

-Analog systems:

▫ Analog data transmission.

▫ Usage and handling limits.

-Digital systems:

▫ Digital signal processing (DSP).

▫ Signal MuSampling.

▫ Digital process advantages.

▫ Storage and processing of information.

▫ Typology and applications.

-Computer platforms:

▫ Platform types.

▫ Compatibility and versatility.

▫ Platform-specific features for multimedia.

▫ Workflow and resource optimization.

-Interconnection Typology:

▫ Pipeline devices.

▫ Networks and workgroups.

▫ Systems interconnect reference models.

-Information storage media:

▫ Disks (Internal/External and RAID Systems).

▫ CD.

▫ DVD/Blu-ray.

▫ Other formats.

▫ Backup and Backup.

4. Audio-visual image recording, recording, and playback processes

-Video formats:

▫ Analogics

▫ Digital

-Image processing:

▫ Teams and Software for Multimedia Processing.

▫ Digital Processing Techniques (Capture, Retouching, and Optimization).

-Video and Postproduction editing.

-Technical Image Equipment:

▫ Equipment used in image fetch.

▫ Equipment used in recording images.

▫ Equipment used in image processing.

▫ Equipment for image mount.

▫ Teams for playback.

▫ Equipment for image processing.

5. Sound recording and recording processes

-Audio file formats:

▫ Quality and Compatibility.

-Sound Captation:

▫ Capture media.

▫ Sampling Frequency.

▫ Audio Sources (Video, Micro, Midi).

▫ Direct Sound or Captation from Video.

▫ Locking recording with microphone.

-Recording and playing the sound:

▫ Analog Sound.

▫ Digital Sound.

-Sound technical equipment:

▫ Equipment used in sound fetch.

▫ Equipment used in the recording.

▫ Equipment used in sound playback.

▫ Equipment used in sound treatment.

6. Audio and video capture procedures

-Capture devices and configurations.

-Compression systems:

▫ Compression standards.

▫ Required Quality and File Size

▫ Codecs. Compatibility and Platforms.

▫ Applications. From the Broadcast to the web.

▫ Systems and Configurations. Compression by hardware and software.

-Broadcast Systems ("Streaming") :

▫ Content Distribution "Live" and "Enlatados".

▫ Streaming server. Users and Bandwidth.

▫ Types of servers. Technologies and platforms.

▫ Demand Balancing.

-Exporting to different formats.

▫ Transform compatibility between formats.

▫ Loss of quality or size.

▫ Storage and output formats.

FORMATIVE UNIT 2

Naming: TREATING AND EDITING SOURCES FOR MULTIMEDIA AUDIOVISUAL PRODUCTS

Code: UF1246

Duration: 80 hours

Competition reference: This training unit corresponds to RP1, RP2, and RP3, in terms of editing and treating sources.

Assessment Capabilities and Criteria

C1: Analyze and establish the expressive, quality and technical needs necessary for the correct treatment of a project, from the sources or parameters provided.

CE1.1 Identify the expressive values of the sources of a multimedia project according to the specifications of the technical script.

CE1.2 Recognize the minimum quality values of the sources from the project's performance needs.

CE1.3 Develop graphical solutions, such as work templates and style sheets, among others, of a project, adjusting to the technical and expressive needs of the product.

C2: Create and/or edit sources from technical and aesthetic parameters, to optimize an interactive multimedia product, properly characterized.

CE2.1 In a multimedia product, for the interactive commercial presentation of the own characteristics and use of a fictitious consumer product, simulating a real commercial brand.

-Edit the sources according to the communication and technical parameters of the projects.

-Generate and capture sources from the parameters that are marked by the design team.

CE2.2 In an interactive product with fixed images for creating an image gallery of a product catalog, divided into categories and subcategories or models.

-Adjust size and trim font.

-Apply filters.

-Apply the appropriate compression.

-Adjust color depth and color model.

-Add transparency channels.

-Convert the source to other formats.

-Catalog generated and edited sources.

CE2.3 In an interactive product, with video and animation sources, for the creation of an animated manual or visual aid guide, explaining the use of a particular product or service.

-Apply the appropriate compression.

-Apply effects.

-Change the size.

-Modify the duration.

-Convert the source to other formats.

-Catalog generated and edited sources.

CE2.4 In an interactive product with audio sources, for the creation of an interactive course for foreign language learning.

-Apply effects.

-Apply compression.

-Edit the duration.

-Convert the source to other formats.

-Catalog generated and edited sources.

Contents

1. Source Treatment

-Multimedia file formats:

▫ Classes.

▫ Features.

▫ Compatibility with systems and platforms.

▫ Conversion Capabilities.

-Sources Features:

▫ Image resolution and Space Resolution.

▫ Transparency and Insalization.

▫ Video or animation and audio cycles

▫ Color channels and profiles.

▫ Import/Export of layers and compositions.

-Vector images and bitmaps:

▫ Image editing and Fotomontages.

▫ Rastering and Vectorization.

▫ Adjustment of selection areas and masks.

▫ Retouch Image.

-Moving images:

▫ FPS and file weight.

-Audio treatment:

▫ Cleaning.

▫ Application for Effects.

▫ Adequation.

-Color theory and its applications in relation to the output format:

▫ RGB and SRGB/CMYK/LAB/HSB/Hexadecimal.

▫ Treatment of the color in the video signal.

-Criteria for evaluating the quality and output of sources.

2. Drawing up graphical solutions for multimedia projects

-Creating and designing job templates:

▫ Using and applying templates, static, and animated.

▫ Modification of templates. Modification rights and limits.

▫ Using elements under "Creative Commons" criteria

-Creating and designing style sheets:

▫ Using CSS and creating styles.

▫ Planning and application of styles.

▫ Link and External Style Sheet Application.

3. Editing with specific software

-Fixed image processing.

-Video and audio treatment.

-Generation of animations.

Methodological guidelines

Distance training:

Training Units

Total duration in hours of the training units	N. 80
	80				80	80	80	80	80	80	Normal_wrd_4 "> 60
Formative Unit 2-UF1246	80	30

Sequence:

To access the formative unit 2 must have been passed the formative unit 1.

Access criteria for students

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 3

Naming: INTEGRATING ELEMENTS AND SOURCES USING AUTHORING AND EDITING TOOLS

Code: MF0945_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0945_3 Integrating elements and sources using authoring and editing tools

Duration: 140 hours

FORMATIVE UNIT 1

Naming: SCREEN COMPOSITION AND SOURCE ANIMATION FOR MULTIMEDIA AUDIOVISUAL PROJECTS

Code: UF1247

Duration: 40 hours

Competition reference: This training unit corresponds to RP1 and RP2.

Assessment Capabilities and Criteria

C1: Integrate fonts into screens, pages, levels, or slides, taking into account the features of the interactive multimedia project.

CE1.1 Describe the different actions that a source and the expressive value that they contribute can perform.

CE1.2 In a practical case of on-line product, on optical or hybrid support, properly characterized:

-Compose and structure the screens in their parts.

-Place the different fonts on the pages or screens as set in the project.

-Define the characteristics of the different versions for the different platforms and set the solutions for the correct display by preparing a report of conclusions.

-Interpret the rhythm of the narrative discourse of the project.

-Build the main navigation and control interface (buttons, menus, deployables, keys, among others).

-Define the order of focus changes.

CE1.3 In a practical, well-characterized case, of integrating text fonts into an on-line product, on optical or hybrid support:

-Set the text areas and their properties: sliders, size, text size and transparency behavior, among others.

-Define if it is dynamic text and connect to its external source (file or database).

-Enter the texts directly.

-Import plain text files.

-Dote from a typography adjusted to the aesthetic characteristics defined in the project.

-Color, smoothing, and other attributes to text.

-Dote the appropriate size or automatic journal size.

-Define the behavior of the paragraph: justification, interlining.

-Dote from interaction to text (hypertext) by looking after the format.

CE1.4 In a practical, well-characterized case of integration of a video, animation or audio source into an on-line product, on optical or hybrid support:

-Locate the source on the screen and/or in time.

-Set the required codecs for correct playback by attaching them for broadcast.

-Define the broadcast media on the media: streaming, downloading, or other.

-Set the playback controls if required.

CE1.5 In a practical, well-characterized case, of an interactive multimedia product on-line, on optical or hybrid support:

-Determine the different transitions between screens that can be performed in the project.

-Generate, in the software used, the templates to optimize time and work.

-Locate the funds.

-Identify the hotspots.

-Locate the time lines and routes from the sources.

-Position the required texts.

-Dote from movement to sources by applying own time lines of the author software, marking the required key frames and setting the motion paths.

-Readjust font size.

-Control links to other screens and actions.

C2: Generate and synchronize the movements of the fonts on the screen, adjusting them to the narrative specifications.

CE2.1 Define the different animation techniques of the sources needed from the analysis of the technical script of an interactive multimedia project.

CE2.2 Identify the pace, rate of inputs and outputs (acceleration curves) and the defined paths of a project from the technical script.

CE2.3 In a practical case of an interactive multimedia project "on-line", in optical or hybrid support, duly characterized, to establish the narrative character from the times and the presence and movement of the sources.

CE2.4 In a practical, properly characterized scenario, of a project that integrates audio and/or video:

-Synchronize audio with screen events by adjusting to narrative intentionality.

-Insert the appropriate locutions to the narrative intentionality defined in the hyphen.

-Adjust font times to the rhythm of the locution.

-Synchronize the video with the screen events by adjusting the dramatic moments.

-Adjust the movement guides to the hyphen prompts.

-Save the screens and back up according to the project's technical parameters.

Contents

1. Typographical fonts

-Types of actions:

▫ expressive value.

▫ Style and Content Separation. XML data.

-Communication features:

▫ Design Coherence.

▫ Visibility.

▫ Scale and dynamic settings for vision aids.

▫ Legability.

▫ Interactive text versus communicative text.

-Parts of the sources.

-Sources Formats:

▫ True Type Font (TTF).

▫ PostScript Type 1.

▫ Open Type Font (OTF)

▫ UTF8 data and dynamic texts.

-"Kerning":

▫ Character adjustment operations.

-Typography:

▫ Grosor in the stroke.

▫ Negrites and Styles.

▫ Image/Page Comments and Feet.

▫ Resenas and quotes.

▫ Vertical or italic axis tilt.

▫ Proportion between vertical and horizontal axes.

-Alignment:

▫ Text alignment options.

-Interlining:

▫ Correct space between lines of text.

-Size:

▫ Adjust font size.

▫ Font size and information hierarchy.

-Color:

▫ Color properties.

▫ Tono.

▫ Value.

▫ Intensity.

▫ Visibility.

▫ Contrast between typography and background color.

▫ Refresh and flikeo problems on screen.

2. Integrating text on screen

-Composition Schemas:

▫ Visual composition types.

▫ Distribution and Informational Weight.

▫ Information Architecture.

-Screen formats:

▫ Screen formats for data entry.

▫ Dynamic fields and forms.

-Using sample images.

-Text type versus text as a graphic.

-Creating job templates:

▫ Template design.

-Defining style sheets:

▫ Functions.

▫ Style Definition Rules

▫ Inheritance and Hierarchy.

▫ Selectmen (types, universal, id, secondary, attribute).

▫ Statement of Style.

▫ Multiple declarations.

-External configuration files.

-Optimizing sources:

▫ Setting quality, size, and format parameters.

3. Source synchronization

-Generation of paths or movement guides.

-Temporary Adjustments (Ritmo, Duration, and Reader Understanding).

-Specific type animation software.

-Synchronizing narrative rhythms versus informational assimilation.

-Adaptation to the project's dramatic intentionality.

-Generation of transitions.

-Scheduled typographical animation versus manual animation.

FORMATIVE UNIT 2

Denomination: GENERATION OF INTERACTIVE ELEMENTS IN MULTIMEDIA AUDIOVISUAL PROJECTS

Code: UF1248

Duration: 50 hours

Competition reference: This training unit corresponds to the RP3.

Assessment Capabilities and Criteria

C1: Integrate interactive elements to screens or pages, according to the criteria defined in a multimedia audiovisual project.

CE1.1 Describe the different possibilities (drop-down lists, selectors, hidden), states (activated, passive, on, off, and others) and functional characteristics of the interactive elements (buttons and input fields) that can be applied to a project.

CE1.2 Define the data storage media determined by the format and support of a project defined in the technical script: variables, access to databases, "cookies", and others.

CE1.3 In a convenient, well-characterized scenario, of an interactive product with forms:

-Define the required input text fields.

-Give variables to the different fields.

-Set the media to the target (mail server, databases).

-Show the results of the form if necessary.

-Integrate the forms control buttons and their behaviors.

CE1.4 In a practical case of an "on-line" product, on optical or hybrid support, properly characterized:

-Generate events preset by the author software, independent of the user: "pop-up", characters or execution of animations among others.

-Generate the different interactive states.

-Locate interactive elements by preestablished codes or behaviors.

-Check the aesthetic quality of the fonts and their correct display.

-Check and preview the operation of each screen.

-Apply the backup systems at each phase and version of the project.

Contents

1. Interactive elements

-Functional features.

-States:

▫ Active.

▫ Passive.

▫ About (Rollover/Rollout).

▫ Active zone and usability.

▫ Activated/Nullified.

▫ Drag Three (Drag, Dragover, Dragout).

▫ Click and double-click.

▫ Other.

▫ Interaction with the pointer and special pointers.

-Generating interactive element graphic states.

-Creating form elements.

2. Integration with authoring tools

-Author Tools:

▫ Types of author programs.

▫ Elements to integrate (fonts and formats).

▫ Predefined/preprogrammed elements.

▫ Manual code editor.

-Configuring the interface or work window:

▫ Palettes and panels.

▫ Tools access (toolbars and keyboard shortcuts).

-Time Lines:

▫ Work with layers.

▫ Mask and mask layers.

▫ Guide and movement guides.

▫ Frame Types.

▫ Key frames (keyframes).

▫ Spaces. Empty frames and empty key frames.

▫ Movement Interpolation.

▫ Form interpolation.

▫ Routes and Link.

▫ Pool and Width.

▫ Bulks and Movie Clips.

-Playrate:

▫ Modification of frame rate. Optimization.

▫ FPS speed and execution/weight problems.

-Properties:

▫ Scenario, file, or screen sizes.

▫ Color.

▫ Full screen display and rescaling.

▫ Transparency.

-Actions or events.

3. Features of author software features

-Hardware/software requirements.

-Players and updates.

-Supported import and export formats.

-Content publishing and compatibility.

-Target devices and platforms.

4. File structuring according to software

-Location and access.

-Access and constraint protections.

-Synchronizing sources.

-Exporting and importing sources.

FORMATIVE UNIT 3

Naming: MULTIMEDIA AUDIOVISUAL PROJECT PROGRAMMING

Code: UF1249

Duration: 50 hours

Competition reference: This training unit corresponds to the RP4.

Assessment Capabilities and Criteria

C1: Determine and add the tags from the editors and the author software, adjusting them to the narrative parameters of an interactive multimedia project.

CE1.1 Define the programming algorithm for each part of the interactive multimedia project.

CE1.2 Identify the variables and functions required for use in an interactive multimedia project.

CE1.3 In a practical case of "on-line" product, in optical or hybrid support, properly characterized:

-Set the internal code structure of the interactive multimedia product.

-Define variable types and list existing variables in the project.

-Define basic flow control instructions: loop, conditions.

-Set the connection to the databases.

CE1.4 In the use case of the use of author software, properly characterized:

-Configure the workbench to enter the code.

-Enter and insert the custom code.

-Check the syntax.

-Check and update views.

CE1.5 In a practical case of "on-line" product, in optical or hybrid support, properly characterized:

-Dote to the artificial intelligence sources of user-independent behaviors.

-Define the actions that the user can perform and code the project to give the user freedom of action.

-Generate controls from keyboard or other devices and control external sources: CD, DVD, print, and others.

-Adjust the variables to the narration: temporary, playback speed, difficulty, counters, or "cookies" among others.

CE1.6 Generate dynamic information and operate with it from connections to databases, files, formatting, from the code and performing the necessary operations to obtain the updated result.

CE1.7 Generate dynamic charts that allow user interaction.

Contents

1. Author languages

-Generating events:

▫ Predefined behaviors.

▫ Event Captation by the user.

▫ Control of temporary events.

▫ System recognition and configurations.

2. Programming variables and functions

-Creating and managing variables.

-Variable types (numeric, boolean, literal)

-Local and global variables.

-Conditions. Simple, complex (If, else, for, others).

-Functions. Code optimization.

-Generating elements and sources from code.

-Operations with variables:

▫ Data inputs and outputs.

▫ Operations with objects.

-Connections and operations with databases.

3. Project build

-Media and systems for backups.

-Publishing procedures:

▫ Build files (projects and self-executables).

▫ Project delivery and closure.

▫ Publish/Export formats.

-Version maintenance and product upgrade:

▫ Information and content update services station.

Methodological guidelines

Distance training:

Formative Units

Total duration in hours of the formative units	N. 40
		40		40
40	40	40	40	40	40	Normal_wrd_4 "> 30
Formative Unit 2-UF1248	50	30
Formative Unit 3-UF1249	50	40

Sequence:

A Formative Unit cannot be accessed without having exceeded the previous one.

Access criteria for pupils

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

FORMATIVE MODULE 4

Naming: PROTOTYPE ASSESSMENT, QUALITY CONTROL AND DOCUMENTATION OF INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCT

Code: MF0946_3

Professional qualification level: 3

Associated with the Competition Unit:

UC0946_3 Perform prototype evaluation, quality control, and documentation processes for interactive multimedia audiovisual product

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Evaluate prototypes of developed projects by checking that they conform to the established functional parameters.

CE1.1 Identify the quality criteria for a project from the project specifications.

CE1.2 Determine the platforms and systems where it is possible to perform a compatibility, performance, and support check of an interactive multimedia project.

CE1.3 On a web page of informational or informational content.

-Identify the usability parameters determined in the project to maintain and adjust the quality of the product and its accessibility.

-Generate and evaluate project quality reports to provide solutions to potential deviations.

CE1.4 From the analysis of an interactive audiovisual project, based on an executable on optical support.

-Set the different evaluative concepts to value.

-Analyze test results and test reports or evaluation tests.

-Check all screens and controls in the project.

-Verify the dependencies of the files.

-Check the project on the different platforms where it can be reproduced.

C2: Develop the technical support documentation for interactive multimedia projects.

CE2.1 Define the key elements of operation a product from the specifications of the interactive multimedia project.

CE2.2 Determine technical support and user assistance systems from the specifications of an interactive multimedia project.

CE2.3 For the use and installation of an online help manual associated with a product or service.

-Indicate the application installation procedure.

-Specify the required minimum computing resources and compatibility with other platforms.

-Compose usage rules and tips.

-Insert the help images or animations.

-Indicate the possibilities for subsequent downloads or updates.

-Establish the systems and mechanisms for the control of doubt and query feedback.

C3: Determine the configuration parameters in a type project for the final master's generation.

CE3.1 Define the parameters and variables for the configuration of the publication of a master, based on an interactive multimedia project, duly characterized.

CE3.2 Identify the different versions of the project as set out in the technical script.

CE3.3 Identify the different media and media for the publication of an interactive multimedia project.

CE3.4 Specify the guidelines for maintaining and updating interactive multimedia products based on information provided by an alleged client, product reviews or technical, aesthetic and technical needs productive.

CE3.5 Describe the different licensing capabilities of an interactive multimedia project.

CE3.6 Identify the anti-copy system from the security specifications of an interactive multimedia project.

CE3.7 Identify global elements (from support to information modules) used to adjust accessibility and usability criteria, and their adequacy to the ISO standards of a multimedia project interactive.

CE3.8 In a multimedia publication of divulgative content on DVD media.

-Determine the output format of the file.

-Debug the code.

-Determine the properties of the publication.

-Set the degree of compression.

-Check the file structure.

-Determine the files to compile.

-Generate the executables and the master.

-Back up the entire project, source, and master.

Contents

1. Process of finishing interactive multimedia audiovisual projects

-Application debugging and optimization systems.

-Features of the different deployment platforms:

▫ Platform types.

▫ Platform architecture. Compatibility.

▫ Management forms.

-Security protection for the finished project:

▫ Information Protection Systems.

▫ Encrypted and Multiplexed.

▫ Sensitive information encoding.

▫ Password, Bidi, Digital Signature, Coded Usb Key.

-Creating log systems:

▫ User identification and registration.

▫ User control systems.

▫ Access and privilege levels.

-Validation of users:

▫ Procedures. Password, IP, Control Applications.

▫ Forms for data validation.

▫ Design, application, and checklists verification.

-Anti-copy systems:

▫ Programs to protect content.

▫ Advanced Protections.

2. Open source programs and payment licenses

-Open Source Program Type:

▫ Features. Freeware, Linkware, Shareware.

▫ Free Redistribution.

▫ Creative Commons.

-Use of payment licenses:

▫ Distribution of the license.

▫ Renewal and Cancellation

3. Technical support documentation

-Contents of a user manual.

-Redaction of usage rules and tips.

-Downloading of liability to misuse.

-Legal warranties and notices.

-Inserting images, videos, or animations of help.

-Question or query control mechanisms. Online support

4. Use and accessibility of multimedia products

-Beta testing or use test.

-Navigation and installation checks.

-Accessibility assessment tools.

-Accessibility problem assessment techniques.

-Aspects to be measured. Project technical parameters.

-Elaboration of satisfaction/suggestion questionnaires.

5. Quality control of the interactive multimedia audiovisual product

-Internet Quality Agency (IQUA).

-Consumer and user organization (OCU).

-Internet Users Association (AUI).

-Information Society and Electronic Commerce Services Act.

-Organic Data Protection Act (LOPD).

-Industrial and Intellectual Property Law.

-ISO Standards:

▫ HCI ISO standards and standards.

-Quality criteria.

-Types and structure of quality technical reports.

6. Maintaining interactive multimedia products

-Tracking and interpreting "on line" product access statistics.

-Interpretation of external projects for maintenance.

-Client upgrade systems and production equipment.

-Control of "on line" product security.

-Detection of new technologies for the upgrade and optimization of products made.

Methodological guidelines

Distance training:

80

Formative Module

Number of total hours of the module

Maximum hours

80

80

80

80 Normal_wrd_4 "> 40

Access criteria for pupils

They shall be those established in Article 4 of the Royal Decree governing the certificate of professionalism of the professional family to which this Annex accompanies.

NON-WORKING PROFESSIONAL PRACTICE MODULE FOR THE DEVELOPMENT OF INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCTS

Code: MP0262

Duration: 80 hours

Assessment Capabilities and Criteria

C1: Determine the features of interactive multimedia projects, selecting the necessary equipment and tools, and establishing the sources.

CE1.1 Participate in the analysis of technical, narrative and aesthetic characteristics, according to gender, support and target audience.

CE1.2 Participate in the choice of interactive constructive elements (lists, buttons, menus) and their different states.

CE1.3 Interpret documentation standards (such as use case diagrams, interaction and information flow diagrams, among others), and collaborate in setting navigation systems and their degrees of interactivity and narrative functionality.

CE1.4 Collaborate in the design of the interactive multimedia project work plan, task division, execution timeframes.

CE1.5. Participate in the choice of different tools, languages, or author programs.

CE1.6 Collaborate on the choice of broadcast support based on your technical capabilities and user needs.

CE1.7 Collaborate in organizing network file sharing between project participants.

CE1.8 Help configure capture devices based on the media used and the raw materials contributed.

CE1.9 Help configure backup devices.

CE1.10 Participate in selecting the source format.

C2: Create and/or edit sources from technical and aesthetic parameters to optimize an interactive multimedia product.

CE2.1 Help you develop graphical solutions, such as work templates and style sheets, among others, of a project, adjusting to the technical and expressive needs of the product.

CE2.2 Collaborate in the editing of the sources according to the communicative and technical parameters of the projects.

CE2.3 Contribute to generating and capturing sources from the parameters that are marked by the design team.

C5: Integrate fonts on the screens, pages, levels, or slides by synchronizing your movements or animations.

CE3.1 Collaborate on the composition and structuring of the screens in their parts and on the placement of the different sources.

CE3.2 Help build the main navigation and control interface (buttons, menus, deployables, keys, among others).

CE3.3 Participate in text source integration.

CE3.4 Participate in the integration of video, animation, or audio sources.

CE3.5 Help determine the different transitions between screens that can be performed in the project.

CE3.6 Help to provide movement to sources by applying own time lines of the author software.

CE3.7 Collaborate on audio or video synchronization with screen events.

CE3.8 Help save screens and perform backups based on project technical parameters.

C4: Integrate interactive elements and add the tags from the editors and the author software.

CE4.1 Participate in the generation of events preset by the author software.

CE4.2 Help generate the different interactive states.

CE4.3 Collaborate on checking the quality of sources and their display.

CE4.4 Contribute to defining the actions that the user can perform and to code the project.

CE4.5 Participate in generating information or dynamic graphs that allow user interaction.

C5: Evaluate project prototypes, develop technical support documentation, and determine interactive multimedia project configuration parameters.

CE5.1 Help check the quality of a project.

CE5.2 Collaborate in crafting the technical support documentation for the end user.

CE5.3 Participate in the generation of the final master.

C6: Participate in the company's work processes, following the rules and instructions set out in the job center.

CE6.1 Behave responsibly in both human relationships and the jobs to be performed.

CE6.2 Respect the procedures and rules of the work center.

CE6.3 Diligently undertake tasks according to the instructions received, trying to bring them into line with the company's work rate.

CE6.4 Integrate into the production processes of the job center.

CE6.5 Use the established communication channels.

CE6.6 To respect at all times the measures of risk prevention, occupational health and environmental protection.

Contents

1. Drafting of a script for multimedia audiovisual products

-Script planning.

-Script development.

-Script test.

-Selecting multimedia elements to integrate.

-Design the information architecture.

-Selecting scenarios, characters, and graphic elements.

-Employment of applications for the guion-planning process.

2. Editing and composing of multimedia audiovisual products

-Composition and interactive design.

-Optimizing content.

-Maximization of useful space.

-Design of the sites.

-Content integration.

-Navigation.

-Accessibility check:

3. Integrating source with authoring tools

-Content publishing and compatibility.

-Configuring the interface or work window.

-Software file structure.

-Synchronizing sources.

-Exporting and importing sources.

4. Programming and author languages

-Generating events.

-Captation of events by the user.

-Control of temporary events.

-System recognition and configurations.

-Generating elements and sources from code.

-Operations with variables.

-Data inputs and outputs.

-Operations with objects.

5. Finishing interactive multimedia products

-Security protection of the finished project.

-Intellectual and Industrial Property Management.

6. Integration and communication in the workplace

-Responsible behavior in the job center.

-Respect to the procedures and rules of the work center.

-Interpreting and diligently performing the instructions received.

-Recognition of the organization's production process.

-Using the communication channels set in the job center.

-Adequation to the company's work rate.

-Tracking the regulations for risk prevention, occupational health and environmental protection.

IV. PRESCRIPTIONS OF TRAINERS

Modules	Required Accreditation	Professional experience required in the scope of the competency
		If you have accreditation	If you do not have accreditation
MF0943_3: Projects interactive multimedia audiovisual	• Licentiate, engineer, architect or corresponding degree title or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree degree or other equivalent titles. • Higher Technician of the Professional Image and Sound family. • Level professionalism certificates 3 of the professional audiovisual production area of the professional family of image and sound.	2 years	4 years
MF0944_3: Generating and adapting the multimedia audiovisual content	• Licentiate, engineer, architect or corresponding degree of degree or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree title or other equivalent titles. • Superior technical family of image and sound. • Certificates of professionalism level 3 of the professional audiovisual production area of the professional family of image and sound.	2 years	4 years
MF0945_3: Integrating elements and sources using authoring and authoring tools editing	• Licensed, engineer, architect, or degree title or other equivalent titles. • Diplomate, technical engineer, technical architect or corresponding degree of degree or other equivalent titles. • Higher Technical Image and sound professional family. • Level 3 professionalism certificates from the professional audiovisual production area of the professional image and sound family.	2 years	4 years
MF0946_3: Prototype assessment, quality control, and interactive multimedia audiovisual product documentation	• Licensed, engineer, architect, or the corresponding degree or other equivalent titles. • Diplomacy, technical engineer, technical architect or corresponding degree of degree or other equivalent titles. • Technician Superior of the professional image and sound family. • Level 3 professionalism certificates from the professional audiovisual production area of the professional image and sound family.	2 years	4 years

V. MINIMUM REQUIREMENTS FOR SPACES, FACILITIES AND EQUIPMENT

Forming Space	Surface m2 15 pupils	Surface m2 25 pupils
		45	60
and sound technique	45	60

Formative Space	M1	M2	M3
	X	X	X	X
Aula image and sound technique	X	X	X	X

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Forming Space
Classroom	-Audio-visual equipment. -network-installed PCs, projection canon, and internet. -Specialty-specific software. -Pizars to write with marker. -Rotafolios. -Table and chair for trainer. -Messes and chairs for students
sound	-Platforms or multimedia development environments. -Tools for creating, editing, treating, and retouching fonts. -Tools author or multimedia integration. -Storage media. -Magnetoscopes and connection cables. -Image processing and backup software. -Audio and video capture card. {\cs6\f1\cf6\lang1024} \cs6\f1\cf6\lang1024}

It should not be interpreted that the various identified learning spaces should necessarily be differentiated by closure.

The facilities and equipment must comply with the relevant industrial and sanitary sanitary regulations and respond to the universal accessibility and safety measures of the participants.

The number of units that must be available for the tools, machines and tools specified in the training space equipment, will be sufficient for a minimum of 15 students and must increase, if any, to attend to the higher number.

In the event that the training is addressed to persons with disabilities, the adaptations and reasonable adjustments will be made to ensure their participation in equal conditions.