The Organic Law of 19 June, of Qualifications and Vocational Training, aims at the organisation of an integral system of vocational training, qualifications and accreditation, which will respond effectively and transparency of social and economic demands through the various forms of training. To this end, it creates the National System of Qualifications and Vocational Training, defining it in Article 2.1 as the set of instruments and actions necessary to promote and develop the integration of vocational training offerings, through the National Catalogue of Professional Qualifications, as well as the evaluation and accreditation of the corresponding professional skills, in order to promote the professional and social development of the people and cover the needs of the production system.

The National Catalogue of Professional Qualifications, as set out in Article 7.1, is designed to facilitate the integrated nature and adequacy of vocational training and the labour market, as well as training throughout life, the mobility of workers and the unity of the labour market. This catalogue consists of the qualifications identified in the production system and the training associated with them, which is organised in training modules.

Article 5.3 of the Organic Law of 19 June, gives the National Qualifications Institute the responsibility to define, develop and maintain the National Catalogue of Professional Qualifications, in its quality of technical organ of support to the General Council of Vocational Training, whose regulatory development is set out in Article 9.2 of Royal Decree 1128/2003 of 5 September, which regulates the National Catalogue of Qualifications Professionals, in accordance with Article 9.4, the obligation to maintain permanently updated by its periodic review which, in any case, shall be carried out within a period of not more than five years from the date of inclusion of the qualification in the catalogue.

Therefore, this order is given in application Royal Decree 817/2014 of 26 September, laying down the specific aspects of professional qualifications for which the amendment, the approval procedure and the Article 3 (3) of the Organic Law of 19 June 2002 on qualifications and vocational training, which was obtained by the Council of State of the Council of State number 618/2014 of 23 July 2014, is applicable.

Thus, in this order, five professional qualifications of the professional family Image and Sound that have an age in the National Catalogue of Qualifications are updated, as a complete replacement of their annexes. Professionals in excess of five years, to which Royal Decree 817/2014 applies, of 26 September.

In the process of drafting this order, the Autonomous Communities have been consulted and the General Council of Vocational Training and the State School Council have issued a report.

Under the joint proposal of the Minister for Education, Culture and Sport and the Minister for Employment and Social Security, I have:

Article 1. Object and scope of application.

This ministerial order aims to update five professional qualifications corresponding to the professional family Image and Sound, proceeding to the replacement of the corresponding annexes, in application of the Royal Decree 817/2014 of 26 September laying down specific aspects of professional qualifications for the purposes of which Article 7.3 of the Organic Law No 19 of 19 May be amended. (i) June, of qualifications and vocational training.

Updated professional qualifications are valid and are applicable throughout the national territory and do not constitute a regulation of professional practice.

Article 2. Updating of a professional qualification of the professional family Image and Sound established by Royal Decree 295/2004 of 20 February establishing certain professional qualifications include in the national catalogue of professional qualifications, as well as their corresponding training modules which are incorporated into the modular vocational training catalogue.

As set out in the single additional provision of Royal Decree 295/2004 of 20 February 2004, the updating of the professional qualification, the specifications of which are contained in Annex LXXVI to that Regulation, is to be updated. royal decree:

A new wording is given to Annex LXXVI, Professional Qualification "2D and 3D Animation". Level 3. IMS076_3, which is listed as Annex I to this order.

Article 3. Updating of a professional qualification of the professional family Image and Sound established by Royal Decree 1228/2006 of 27 October, supplementing the national catalogue of professional qualifications, by means of the establishment of certain professional qualifications, as well as their corresponding training modules which are incorporated into the modular vocational training catalogue.

As set out in Royal Decree 1228/2006's single additional provision of 27 October, the professional qualification whose specifications are contained in the CCXX Annex to that Regulation is updated. royal decree:

A new wording is given to Annex CCXX, Professional Qualification "Assistance to the cinematographic and audiovisual works". Level 3. IMS220_3, which is listed as Annex II to this order.

Article 4. Update of three professional qualifications established by Royal Decree 1200/2007 of 14 September, supplementing the National Catalogue of Professional Qualifications, by establishing three qualifications Image and Sound Professional Family professionals.

As set out in the unique additional provision of Royal Decree 1228/2006 of 27 October, we proceed to the updating of the professional qualification whose specifications are contained in the Annexes CCXCIV, CCXCV and CCXCVI of the aforementioned royal decree:

One. A new wording is given to Annex CCXCIV, Professional Qualification "Film, video and television camera". Level 3. IMS294_3, which is listed as Annex III to this order.

Two. A new wording is given to the Annex CCXCV, Professional Qualification "Development of interactive multimedia audiovisual products". Level 3. IMS295_3, which is listed as Annex IV to this order.

Three. A new wording is given to Annex CCXCVI, Professional Qualification "Assembly and post-production of audiovisual". Level 3. IMS296_3, which is listed as Annex V to this order.

Final disposition first. Competence title.

This order is dictated by the powers conferred on the State by Article 149.1.1. and the 30th of the Constitution, on the regulation of the basic conditions that guarantee the equality of all Spaniards in the exercise of rights and in the fulfilment of constitutional duties, and for the regulation of the conditions for obtaining, issuing and approval of academic and professional qualifications.

Final disposition second. Entry into force.

This ministerial order shall enter into force on the day following that of its publication in the "Official State Gazette".

Madrid, July 23, 2015. -Government Vice President and Minister of the Presidency Soraya Saenz de Santamaria Anton.

ANNEX I

Professional Qualification: 2D and 3D Animation

Professional Family: Image and Sound

Level: 3

Code: IMS076_3

General Competition

Generate and develop 2D graphic representations, models, animations, spaces and 3D effects for audiovisual and interactive productions based on the parameters indicated by the director and/or director of animation.

Competition Units

UC0213_3: Define the creation parameters of the defined project, selecting and configuring the teams to perform the animation of graphical representations

UC0214_3: Modeling and graphically representing the elements that make up the animation

UC0215_3: Encourage, illuminate, color generated fonts, and locate virtual cameras, 'render', and apply end effects

Professional Environment

Professional Scope

Develops its professional activity in the area of multimedia dedicated to 2D and 3D animation in large, medium and small companies of audiovisual and interactive productions, of a public or private nature, so much as an alien as autonomous, irrespective of its legal form. It develops its activity, depending on its case, functional and/or hierarchically of a superior. The principles of universal accessibility are applied in the development of professional activity in accordance with the applicable regulations.

Productive Sectors

It is located in the audiovisual sector: film, television, video, video games, interactive multimedia, advertising, simulations, design, and in any other sector that has some of these activities.

Relevant occupations and jobs

The terms of the following relationship of occupations and jobs are used with a generic and omnicomprensivo character of women and men.

3D Cheerleaders

2D Cheerleaders

Intercalators

3D Modeler

3D Lighting

Riggers

Digital graphics

Virtual space generators

3D Special Effects Technicians

Associated Training (510 hours)

Training Modules

MF0213_3: Animation preproduction (150 hours)

MF0214_3: Modeling and graphical representation in animation (210 hours)

MF0215_3: Digital and analog animation (150 hours)

COMPETITION UNIT 1: SET THE PROJECT CREATION PARAMETERS DEFINED, SELECTING AND CONFIGURING THE TEAMS TO PERFORM GRAPHICAL REPRESENTATIONS ANIMATION

Level: 3

Code: UC0213_3

Professional Realizations and Realization Criteria:

RP 1: Analyze the overall features of the animation project to optimize the time and performance of the job.

CR 1.1 The project type is identified from all the documentation provided by the client determining the overall production times and their needs.

CR 1.2 The received documentation is ordered and the observations themselves are generated according to the project objectives.

CR 1.3 The phases and the working method are determined and planned by optimizing the project performance and checking that it is in line with production times.

CR 1.4 External library sources are identified from the storyboard or the script managing their acquisition, always depending on the budget characteristics of the project.

CR 1.5 File and file types are determined by considering project characteristics.

RP 2: Determine the expressive and communicative needs of the project by adjusting and defining the creation parameters.

CR 2.1 The style of representation is identified according to the characteristics of the project, maintaining its stylistic continuity and adjusting to the needs of the project.

CR 2.2 The narrative structure, its expressive and dramatic characteristics, and its continuity are identified by adapting the representations intended for animation.

CR 2.3 The duration of the planes and the playback speeds are identified by locating the inflection points of the animation.

CR 2.4 The characteristics of the representation are 2D or 3D (the depth of color, resolution, degree of detail and behaviors) are determined depending on the needs of the project established from the script and the indications received.

RP 3: Configure and determine the equipment for the animation project to be performed from the documentation provided and the previous designs.

CR 3.1 The hardware, software, or other necessary technologies, both for creation and capture and dump, are determined by adjusting to the budgetary and technical needs of the project.

CR 3.2 The process and techniques of "rendering" are determined by optimizing the performance of work according to the characteristics of the production.

CR 3.3 The monopposite or multiposition work equipment, monitors and capture devices of both motion and sound, are configured for the correct representation of the project considering the needs of the same.

CR 3.4 The backup system is determined depending on the project characteristics and the source support that is generated.

Professional Context:

Production media:

Computer, 3D software, graphic creation software, 3D painting software, texture libraries and models, digital cameras, scanner, digitalizing tablet.

Products and results:

Production teams, documentation of the work to be developed.

Information used or generated:

Technical script, 'storyboard' ', illustrated sketches, script breakdown, model files, animation and lighting director indications.

COMPETITION UNIT 2: GRAPHICALLY MODELING AND REPRESENTING THE ELEMENTS THAT MAKE UP ANIMATION

Level: 3

Code: UC0214_3

Professional Realizations and Realization Criteria:

RP 1: Build and represent the drawings, models and/or scenarios for the performance of the animation based on the data provided in the original sketches and designs as well as the "storyboard".

CR 1.1 Basic primitives are modeled and applied to the deformations of the meshes by generating the necessary models specified in the script or in the storyboard, from a graphical reference on the screen or in the designs originals.

CR 1.2 The models subject to deformations are sectioned considering the possible folds that can be generated in their different poses.

CR 1.3 The different expressions or shape changes in the models ("morph") are prepared, labelled and classified according to the requirements of the storyboard.

CR 1.4 Models and representations are saved and cataloged based on the indications defined in the production in their different versions.

RP 2: Create the necessary bone structures to enable the movement and expressiveness of the different models or elements subject to deformations.

CR 2.1 The structures or skeletons are created by defining the hierarchy, the size of the bones and the axes of rotation so that they fit the maximum to the skin of the same, allowing the deformation of the meshes and creating the different poses and expressions defined in the project.

CR 2.2 The controls for the manipulation of the models are created in the main joints of the skeleton and in the facial elements facilitating the creation of movements and expressions.

CR 2.3 The different parts of the geometry and skin of the character are manipulated by defining the degree of attraction of each of the bones from which the structure is composed.

CR 2.4 The deformations of the geometry are checked by making small movements with each of the joints and expressive elements, in order to be correct and coherent, making the necessary adjustments required by the "storyboard".

RP 3: Generate and apply the textures and colors to the constituent elements of the animation considering the sketches, the original designs, the "storyboard" and the received indications.

CR 3.1 The geometry of the different models is displayed on a plane ("unwrap") , making it possible to color the different zones that compose it.

CR 3.2 Manual coloring or painted software is performed and the textures of the elements are generated with the appropriate graphical creation software, or they are retrieved from the corresponding libraries, considering the specifications of the colour card and the specifications of the dash.

CR 3.3 The textures of the models are applied through materials and the parameters of color, brightness, self-illumination, transparency, relief, and movement (if the texture were dynamic) are adjusted to the 3D volumes and to the the dramatic needs of the project.

CR 3.4 The quality and consistency of the painted and the textures are checked in the different positions, contrasting them with the "layout" from previous "renders".

CR 3.5 Final models and final representations are saved, cataloging them according to the indications defined in the production in their different versions.

CR 3.6 The images, textures maps and video sources are sorted and catalogued for use in the project, noting the appropriate references for their use by the team and making copies of all the work the material referenced to prevent possible loss of information.

RP 4: Compose the elements in space as specified in the "storyboard" and the original designs.

CR 4.1 The constituent elements of the scene, whether drawings or objects, are determined and interpreted to retrieve them from the generated files or from the library, locating them in the scene from the data extracted from the "storyboard" and original plant designs

CR 4.2 The elements generated by the modellers are integrated into the space by placing the required lights and cameras determined in the dash and storyboard.

CR 4.3 Model properties are recompiled and adjusted from partial "renders" according to the need for control, keeping the scene in the appropriate files.

Professional Context:

Production media:

Computer, 3D software, graphic creation software, 3D painting software, texture libraries and models, digital cameras, scanner, digitizer tablet, drawing board, calco table.

Products and results:

Spaces, graphical representations, models, and 3D objects.

Information used or generated:

Storyboard, storyboard, illustrated sketches, script breakdown, model files, animation and lighting director indications.

COMPETITION UNIT 3: ENCOURAGE, ILLUMINATE, COLOR GENERATED FONTS, AND LOCATE VIRTUAL CAMERAS, 'RENDER', AND APPLY END EFFECTS

Level: 3

Code: UC0215_3

Professional Realizations and Realization Criteria:

RP 1: Encourage the elements represented according to the technique specified in the project by giving you their expressive characteristics.

CR 1.1 The virtual cameras are located and encouraged (if the plane requires it) depending on the definition of the script and the "storyboard", configuring its point of view, focal distance, depth of field, shutter and its typology of flat.

CR 1.2 Elements are encouraged in the scene by moving the key elements to match the key points defined in the storyboard, either by the reference points using techniques such as "motion capture" (motion capture) or "rotoscopy" (copy of a real animation), either by intermediate or end, or by the behaviors programmed from dashes ("scripts" of code).

CR 1.3 The necessary positions between start and end of movement (interleaving) are drawn according to the guidelines and the letter of animation established, giving to the elements that appear in it of the expressive needs of the scene.

CR 1.4 The key elements of the animation are synchronized with the reference sources, adjusting to the need for representation of the labial or body movements and the video sources.

CR 1.5 The routes to be followed by the lights and the models or drawings and the cameras are defined to translate the sequence of the "storyboard" to the animation using the audiovisual language, adjusting the properties of the lights and the cameras to fit the typology of the plane.

CR 1.6 The times and the speed of the elements, models or drawings, are adjusted to maintain the dramatic structure adapting to the times established in the production.

CR 1.7 Narrative continuity, dramatic development and synchronization with other means are contrasted with the "storyboard" and the reference sources, adjusting to the parameters of the script and ensuring the quality of the work end of validity prior to the definitive 'render'.

RP 2: Position and configure the animation and lighting parameters for proper representation of the scene.

CR 2.1 The lights are positioned and aligned to have the necessary angle in the different parts of the scene, setting the values of force, tone and shadows necessary to adapt the final image to the layout or to the "storyboard" keeping a homogeneous line on all planes of the sequence.

CR 2.2 The "render" options are parameterized by defining the degree of representation, color depth, final resolution, and other parameters according to the software used depending on the project specifications.

CR 2.3 The final finishing effects are applied considering the technical and narrative needs of the project.

CR 2.4 The performance of different "renders" is performed by checking that the different parameters are in line with the project's needs and characteristics.

RP 3: "Rendering", evaluating the product, and defining output support for other media.

CR 3.1 The final render is executed by defining the file to be generated, depending on the functional characteristics of the animation, and if it is oriented to be the object of software, "sprites" for video games, video or other.

CR 3.2 The parameters of the final animation are verified that correspond to the expectations of the project considering its future characteristics and projections.

CR 3.3 The generated material is labeled and classified according to the project's indications for localization and subsequent reuse, providing other work equipment with its product in its corresponding format, be it support digital or analog, and the technical information of the animation as well as the times.

Professional Context:

Production media:

Computer, 3D software, graphics and animation software, 3D painting software, textures and model libraries, digital cameras, scanner, digitizer tablet, natural motion capture systems, trucca.

Products and results:

3D spaces, 3D animations, and traditional acetates and animations.

Information used or generated:

Storyboard, storyboard, illustrated sketches, script breakdown, model files, animation and lighting director indications.

TRAINING MODULE 1: PREPRODUCTION OF ANIMATION

Level: 3

Code: MF0213_3

Associated with UC: Define the defined project creation parameters, selecting and configuring the teams to perform graphical representations animation

Duration: 150 hours

Assessment capabilities and criteria:

C1: Analyze the project documentation and determine the appropriate means to perform the animation.

CE1.1 Identify the different animation techniques used in audiovisual projects.

CE1.2 Describe the construction and work method of an animation.

CE1.3 Describe the file system of the sources generated in the animation project, either analog or digital.

CE1.4 In a practical scenario of a concrete project of an animation film, characterized by the script, "storyboard", technical script, sketches and animation letter:

-Identify the communicative characteristics (type of planes, style according to type or project genre.

-Determine the technical characteristics of the project (acetates, materials, frame-to-frame, interpolation.

-Schedule the job.

CE1.5 In a practical scenario of a concrete project of an animation film, characterized by the precise technical documentation:

-Collect and sort the collected or contributed documentation.

-Determine the build and work method.

-Schedule the work order.

-Determine the file system of the generated sources either analog or digital.

C2: Analyze the narrative structure and elements of the audiovisual language used in animation projects.

CE2.1 Identify the characteristics of the technical scripts and storyboard employees in the animation.

CE2.2 Analyze the graphical representation techniques used in animation projects.

CE2.3 In a practical scenario of a concrete project of an animation film, characterized by "storyboard" and the technical and literary script:

-Interpret the script and the messages it transmits.

-Determine the aesthetics and presentation type of the product.

-Determine and identify the narrative structure of the animation.

-Determine the pace of the actions and the total time of the planes.

-Determine the degree of product interactivity.

CE2.4 In a practical scenario of an animation project apply color theory and composition, characterized by "storyboard" and the technical and literary script:

-Determine the composition of the elements in the framing.

-Determine the color relationship of the elements that make up the scene and their relationship.

-Determine the plane depth plans.

-Determine the expressive value of the stroke and shape.

C3: Analyze the sources (sounds, images, sequential models of real or synthetic video, text, graphics, or others) that fit the technical and narrative needs of the animation and configure the technical means for develop the animation project according to the characteristics of the production.

CE3.1 Identify the channels for obtaining payment or public sources and the impact of the copyright on them in order to select them for the job.

CE3.2 Identify capture (scanning, dump) procedures of fixed and moving images to be used in animation.

CE3.3 In a practical scenario of a concrete project of analysis of the sources to be used in an animation film characterized by the precise technical documentation:

-Determine the source conversion systems to be used in the project.

-Capture and/or import video and audio sources to be used in the project by using the appropriate applications.

-Scan images and photographs to be used in the project.

-Perform a source file system.

CE3.4 Identify the characteristics and connection of the technical equipment and its elements, used in digital animation.

CE3.5 Identify the characteristics of the types of work software used in digital animation.

CE3.6 Identify the features of image, video, and data file formats to employees in digital animation.

CE3.7 Identify the storage systems of fonts and backups used in digital animation.

CE3.8 In a practical scenario of a concrete project of a digital animation film characterized by the technical script, "storyboard" and animation letter:

-Identify and select the required technical equipment that fits the project.

-Determine the file formats and computer applications that fit the project.

-Configure digital systems by adapting them to the technical needs of the project.

-Connect the different equipment to each other through a network or input/output connection.

-Determine the backup or storage system of the sources.

-Check the correct operation of the equipment.

CE3.9 Identify the traditional animation technical equipment and its elements and connection of digital capture peripherals.

CE3.10 In a practical scenario of a concrete project of a traditional animation film, characterized by the technical script, "storyboard" and animation letter:

-Identify and select the required technical equipment that fits the project.

-Prepare the decking table and adjust its guides.

-Select the appropriate work materials (acetates, inks, etc.) according to the type of technique used.

-Select the appropriate tools (brushes, pencils, among others) to correctly represent the required elements.

Capabilities whose acquisition must be completed in a real workbench:

C1 with respect to CE1.4 and CE1.5; C2 with respect to CE2.3 and CE2.4; C3 complete.

Other capabilities:

Take Responsibility for the work that you develop and achieve your goals.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Propose alternatives with the aim of improving results.

Contents:

1. The film, video and interactive multimedia industry

Industry companies.

Organizational structures.

2. Animation production processes

Production systems and production strategies.

Phases and Process Development.

Technologies and materials used.

Products: types, features, and communicative function.

Production documentation. The animation card.

3. Audiovisual storytelling

Visual and sound codes in the audiovisual narrative.

Time and space in audiovisual storytelling.

Audiovisual continuity elements and principles.

Movement and audiovisual rhythm.

Key concepts of animation.

4. Realization Technique

Organization and mechanical processes of animation.

Staging.

Interpolation and frame to frame.

Animation script technique.

5. The mechanical structure of the dash

The dash in the production phase.

Dramatic construction: history and its characteristics, interactivity.

Script typologies: depending on the idea, depending on the medium, depending on the gender.

Film and video genres.

6. Computer and video-film technical means

Hardware and digital systems.

Networks.

Calcate table and traditional systems.

Capture and dump systems.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the definition of the parameters of creation of the defined project, selecting and configuring the equipment to perform the animation of graphic representations, which will be accredited by one of the following two ways:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

FORMATIVE MODULE 2: MODELING AND GRAPHICAL REPRESENTATION IN ANIMATION

Level: 3

Code: MF0214_3

Associated with UC: graphically modeling and representing the elements that make up the animation

Duration: 210 hours

Assessment capabilities and criteria:

C1: graphically reintroduce and/or model the elements defined in an animation project.

CE1.1 Interpreting drawings and sketches of scenarios, models, and graphical representations to determine the measurements and proportions of the models to be generated.

CE1.2 Identify the modeling system and level of detail to be used in production.

CE1.3 Configure and identify the different views of the models in order to generate references in the modeling tool and adjust them to the maximum.

CE1.4 Generate the various deformations required to enable the different expressions in the models.

CE1.5 In a practical scenario of a concrete project of a digital animation film characterized by the script and the "storyboard":

-Identify all the documentation where the element to model is described.

-Include model references in the modeling program interface.

-Define the units of measure.

-Determine the modeling system to use.

-Generate the model with the level of detail defined in the project.

-Sectioning those parts of the model taking into account possible movements and deformations that are defined in the project.

-Define the different facial expressions required.

-Generate images of the finished model, with no color and multiple views.

-Store and classify the model accompanied by the images generated at the place indicated in the project production control.

C2: Provide bone structures for the movements and deformations required by the models.

CE2.1 Determine the needs of movements and expressions of each model.

CE2.2 Define the required bone structures and their hierarchy.

CE2.3 Apply controls that make it easier for the animators to control the expressions and movements of the models.

CE2.4 In a practical scenario of a project with models that require deformations of different types characterized by the precise technical documentation:

-Import the model to be machined.

-Create the bone structure adapted to the shape of the model.

-Define the help or expression control controls to facilitate model manipulation.

-Check the proper operation of the created system.

C3: Generate and apply colors and textures in scenes in both digital and traditional animation.

CE3.1 Identify the sketches of the model to texturize in order to determine the colors and style of the required materials.

CE3.2 Generate the textures to apply them to 3D objects or represent them on traditional animation drawings.

CE3.3 Interpret the color cards so that you can apply the appropriate colors to each layer according to its depth.

CE3.4 In a practical scenario of an animation project 3d characterized by the precise technical documentation:

-Deploy and stretch the mesh over a plane ('unwrap ') to make it easier to color and textured.

-Create or collect libraries, the different textures.

-Determine the qualities of materials, colors, reflection, refraction, relief, etc.

-Name each texture and material by referencing the part of the model to which it applies, taking into account that these names are unique in the project.

-Apply the materials to the models.

-Make small 'renders' to check that the materials are in compliance with the production requirements.

-Store and classify the textured model with the texture files that have been used to generate the materials.

CE3.5 In a practical scenario of a traditional animation project, characterized by precise technical documentation:

-Determine the methods of painting to be used in the project.

-Select the appropriate wallpaper tools for the project.

-Colorize drawings and/or representations according to the design of the project accurately.

-Create and apply textures.

-Archiving the material by identifying it correctly according to project guidelines.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full and C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Illustration

Analysis and representation of simple and complex forms. The compositional space.

The line, the outline, the sensitive stroke.

Point to natural.

The composition. Its expressive value. Balance. Tension. Weight. Address. Space: physical and perceptual.

Textures and their expressive value.

Positive strategies.

The drawing in perspective. Spatial representation systems.

Retentiva drawing.

Motion drawing.

Mnemonic drawing.

Interpretation of the form. Projection of the personality.

Materials and instruments.

Anatomy.

2. Color

Color theory and technique.

Pixel, resolution.

Color depth.

Typology of files and files.

3. Modeling

Volume.

Expression of the shape.

Descriptive geometry.

Primitives, meshes 'polyeditable', and 'urbs'.

Particles.

Skeletons and structures.

Technology Tools.

3D composition and proportion.

Ambient.

Modifiers.

Mechanics.

Weights.

4. Textured

Reflection.

Refractive.

Highlight.

Offset.

Light Properties: Environmental, fuzzy, specular.

Autolighting.

Brightness.

Fresnel.

5. Components and properties of light

Intensity. Density. Color and size.

Projections.

Lighting types: soft, hard light.

Volumetric light.

Environmental light.

Shadows.

6. "Rigging"

Bones.

Hierarchy.

Cinematic: Direct and Reverse.

Links.

Rotating Joins.

Animation drivers.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the modeling and graphical representation of the elements that make up the animation, which will be credited by one of the following two ways:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

TRAINING MODULE 3: DIGITAL AND ANALOG ANIMATION

Level: 3

Code: MF0215_3

Associated with UC: Encourage, illuminate, color generated fonts, and locate virtual cameras, 'render', and apply end effects

Duration: 150 hours

Assessment capabilities and criteria:

C1: Encourage models and graphical representations.

CE1.1 Identify the type of virtual cameras to be used in animation projects, analyzing their optical characteristics and focal features.

CE1.2 Identify the views of the composition and movement that are used in animations.

CE1.3 Analyze and select animation techniques to meet project requirements.

CE1.4 Identify the routes, timeline, key frames of the animation.

CE1.5 Define the staging and the dramaturgy of the animation.

CE1.6 Identify the routes, timeline, key frames of the animation.

CE1.7 Analyze sound sources to coordinate lip syncing.

CE1.8 Interpret animation letters for proper project animation representation.

CE1.9 In a concrete project scenario of a digital animation film characterized by the technical script and the storyboard:

-Import the generated models.

-Locate the cameras in the scene.

-Adjust the focal parameters of the cameras.

-Adjust the routes and focus modifications.

-Locate the models in the track editor and online.

-Determine where the animation key frames are located.

-Determine the paths or paths the models will follow.

-Use the animatic structures or skeletons.

-Register the signal from natural motion capture techniques.

-Animate frame to frame or through key frames and adjust the animation curves.

-Expressed with the characters ' movements the dramatic demands of the script.

-Synchronize models with external sources both lip and coordination movements with video elements.

-accurately adjust key frames in space and 3D time.

-Determine the required loops.

-Determine the sensors and collisions. Programming of animations AI (Artificial Intelligence) and VRML (Virtual Reality Modeling Language).

-Determine the required transformations.

-Preview and validate the animation.

-Perform backups.

CE1.10 In a practical concrete project scenario of a traditional animation film characterized by the technical script and the storyboard:

-Represent or draw frame to frame.

-Maintain the traditional animation rendering style.

-Control the continuity of the animation.

-Synchronize models with external sources both lip and coordination movements with video elements.

-Apply acceleration and deceleration to key frames.

-Use transparencies and acetates.

-Operate materials with security, cleanliness, and accuracy.

-Determine the required transformations.

-Scan the sketches to preview the animation.

-Preview and validate the animation.

C2: Lighting the scene in the case of a 3D animation.

CE2.1 Identify the final rendering style of the scene.

CE2.2 Identify the environment where the scene develops, interior, exterior, sunny, cloudy, among others.

CE2.3 In a scenario of 3D animation, characterized by the technical script and the storyboard:

-Identify the final rendering style of the scene.

-Place the lights.

-Define the environment settings: ambient light, exposure control, among others.

-Adjust the values of the "renderer".

-Check the continuity of similar planes to ensure homogeneous illumination.

-Define the past "renders" or layers required for each frame.

-Perform final "renders" of some frames from the scene to review the final result.

-Store and catalog the plane without overwriting the animated plane before.

C3: "Render" the animated sequences and perform the export of the animations to audio files or media.

CE3.1 Analyze and identify the "render" system to be used according to the animation project.

CE3.2 Identify the need to perform previous "renders" of individual images to preview image quality.

CE3.3 Analyze the type of "render" servers used in digital animation.

CE3.4 Identify media and/or formats for animation product diffusion.

CE3.5 In a scenario of 3D animation, characterized by the technical script and the storyboard:

-Select the type of "render".

-Determine the required "render" parameters, according to project specifications.

-Perform a "rendering" time estimate.

-Perform a low quality "render".

-Check the narrative continuity of the animation.

-Adjust the "render" parameters as the output file type, resolution, color depth, among others.

-Perform the "render" by checking the result.

-Configure the outputs of the team for the animation export.

-Export the animation to other media and/or formats for broadcast.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full and C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Animation

The movement in Animation.

Key Frames.

The movement in the picture and in the detail.

Retinal persistence applied to animation.

Materials: acetate, onion paper.

2. Movement

Playback times and action times. Loops.

Accelerations and Decelerations.

Camera Motion Paths.

Actual move fetch techniques.

3. Expressiveness and dramaturgy in animation

Weights and mechanics in the behavior of bodies.

Lip synchronization on animated models.

4. 2D and 3D animation

Interpolation of images and frame to frame.

Track and timeline editor.

Cinematic: Direct and Reverse.

Sensors and collisions.

Interactive 3D animation (VRML).

Particles and "plug-ins".

"Renders": features and types of "render".

Media and film formats for traditional and digital animations.

5. Lighting

Components and properties of light.

Intensity.

Density.

Color and size.

Refractive and Reflection.

Projections.

Lighting Types: Traditional or Global.

Volumetric light.

Environmental light.

Direct light.

Color leakage.

Shadows (soft or hard).

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Mastery of knowledge and techniques related to animation, lighting and coloring of generated sources and the location of virtual cameras, "rendering" and application of the final effects, which will be credited by one of the two following forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

ANNEX II

Professional Qualification: Assistance to the Film and Audiovisual Works Directorate

Professional Family: Image and Sound

Level: 3

Code: IMS220_3

General Competition

Assist in 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 technical means, artistic, human and material necessary for their achievement in time and with the quality established, and adjusting to the technical, formal and artistic criteria marked.

Competition Units

UC0700_3: Determine the resources required for audiovisual project development

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

Professional Environment

Professional Scope

Develops its professional activity in the area of film and audiovisual production in studios, recording and/or locations, in entities of public or private nature, of large, medium and small enterprises self-employed persons, irrespective of their legal form. It develops its activity depending on the functional and hierarchically of a superior (film director or film director or audiovisual works). The principles of universal accessibility are applied in the development of professional activity in accordance with the applicable regulations.

Productive Sectors

It is located in the audiovisual sector: film producers, public and private television, international, national, regional or local, whatever their broadcasting system, television producers, producers video, advertising producers and in any other sector that has any of these activities.

Relevant occupations and jobs

The terms of the following relationship of occupations and jobs are used with a generic and omnicomprensivo character of women and men.

First Management Helpers in Cinema

Seconds of address helpers in cinema

Realization helpers in videographic products

Associated Training (450 hours)

Training Modules

MF0700_3: Film project or audiovisual work schedule (150 hours)

MF0701_3: Elaboration of the plan for shooting and coordinating the resources for the shoot/write (150 hours)

MF0702_3: Organization and control of filming/recording and post-production processing (150 hours)

COMPETITION UNIT 1: DETERMINE THE RESOURCES REQUIRED FOR AUDIOVISUAL PROJECT DEVELOPMENT

Level: 3

Code: UC0700_3

Professional Realizations and Realization Criteria:

RP 1: Define the technical, artistic and human resources required by the audiovisual project by optimizing them from the analysis of the literary script.

CR 1.1 The type and intentionality of the audiovisual project are identified by establishing their particular characteristics.

CR 1.2 The formal and aesthetic aspects of the project are identified by defining epochs, historical and artistic styles, expressive aspects of light, sound, scenery and the director's narrative intentionality.

CR 1.3 The literary script is read by scenes identifying and establishing the human, material, technical and artistic resources necessary to carry out the project, according to the requests of each department head: photography, lighting, sound, scenery, among others.

RP 2: Determine the most appropriate technical, formal and aesthetic elements to optimize resources, based on the technical script and the storyboard, according to the needs of the departments involved.

CR 2.1 The equipment and materials are defined and related by preparing lists of technical needs where all the precise information is collected to coordinate the different teams involved in the performance of the work. audiovisual, distinguishing:

-Image and sound recording and fetching equipment.

-Equipment, accessories, and special camera displacement machinery.

-Lighting equipment with supports and accessories.

-Media types and video and audio storage formats.

-Technical material used for the scale of effects.

-Visual and sound visual documentation.

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

CR 2.2 Scenic spaces and their characteristics are identified by scene, shifting to production the specific needs of:

-Own or foreign studies.

-Natural or built-out decorations.

-Interior or exterior spaces.

-Structures and auxiliary equipment.

CR 2.3 The characteristics and number of characters are identified based on the Address criteria.

CR 2.4 The costume and characterization characteristics of the interpreters or participants are identified, taking into account the aesthetic aspects of the project and its narrative intentionality.

CR 2.5 The definitive technical elements are determined in coordination with the other professionals involved and with the production team, transferring to this the decisions taken.

RP 3: Propose the most appropriate locations for the intentionality of the film project or audiovisual work, taking into account the technical and aesthetic aspects of the audiovisual project.

CR 3.1 The locations are identified, studying the scene-by-scene script, defining their number, main characteristics, and needs for the feasibility of the shooting plan.

CR 3.2 The reports of the heads of the departments involved, photography, lighting, sound and scenery, are analyzed determining the characteristics of the locations such as: scenic space, lighting, sound, location of cameras, scale of digital effects, electrical power and special technical means.

CR 3.3 The information generated about possible locations is collected in a report or tab, allowing an objective assessment by the director and producer.

CR 3.4 The reading of the technical script with all department heads is organized in order to select the most appropriate locations for the project and preview solutions to the problems that may arise during the filming.

RP 4: Define the characteristics of the actors ' tests by organizing them according to the director's instructions and drawing up conclusions and data parts.

CR 4.1 The technical and artistic needs for the test of actors are established from the breakdown of characters and their characteristics, communicating them to Production for the citations of the artistic staff.

CR 4.2 The characterization, makeup, hairdressing, and costume tests for all actors are monitored in order to determine the times based on the visual and expressive results sought.

CR 4.3 The information on the dates and times of participation of the actors is monitored, having the day addresses, telephones, and other data, in order to be able to locate them.

CR 4.4 The organisation of trials of actors and specialists (technical and artistic) and artistic script readings are optimized for the achievement of a better staging.

CR 4.5 The actors ' tests are recorded on video by tagging each recording medium clearly to facilitate their review to the management team.

CR 4.6 The parts of conclusions and individual data obtained from the actors ' tests are written by facilitating the choice of the cast to Address and Production.

Professional Context:

Production media:

Dish, virtual dishes, recording set, exterior and interior locations, video cameras, cameras, video and/or audio storage media (hard drives, memory cards, blue laser discs, tape), Audio capture (canon, personal, wireless and hidden microphones), telephone and fax, telematics (electronic mail, Internet, networks), computer equipment (computer, printer, scanner), specific software, furniture and office equipment.

Products and results:

Book of breakdown of artistic and technical needs by scenes. List of artistic and technical needs by departments. Parts of conclusions. Report (s) of actors and locations. Citations sheets.

Information used or generated:

Budget. Literary script. Technical script. "storyboard". Animateca. Books. Photographs, recordings of locations and actors. Relationship of technical and human needs by departments. Relationship of characters.

COMPETITION UNIT 2: 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:

RP 1: Assist in the preparation of the filming/recording plan and the documentation and information necessary for the execution of the audiovisual project in accordance with the technical script and guidance guidelines.

CR 1.1 The filming or recording plan is drawn up, following the direction guidelines, adjusting to the budget, optimizing times, spaces and resources, and communicating it to the production department.

CR 1.2 The plans are grouped according to their spatial continuity, the changes of light, the narrative, their typology, the difficulty of execution and the availability of interpreters, among other criteria.

CR 1.3 The filming or recording plan is coordinated with the work plan developed by the production team, with the possible use of "cover-set".

CR 1.4 The drawings that correspond to each interpreter are identified from the technical script and the citation parts are elaborated, communicating it to the production department.

CR 1.5 The drawings corresponding to each day of filming are specified from the technical script, based on technical criteria and in coordination with the work plan.

RP 2: Coordinate and verify the preparation of technical and material resources for cinematographic or audiovisual work, as well as the production of intermediate products, ensuring their suitability, availability and operativity.

CR 2.1 The decorated, atrezzo, auxiliary machinery, stage effects machinery, technical materials for the scale of digital effects, among others, are checked against those specified by the department of scenography and post-production and respond to the aesthetic and expressive characteristics defined by the director.

CR 2.2 Image and audio recording and reproduction elements are coordinated with the photo and sound department by checking that they are suited to the narrative and expressive intentionality defined by the director.

CR 2.3 The technical parameters of the equipment are checked by verifying with the professionals responsible for their correct operation.

CR 2.4 The lighting elements are checked by verifying with the photo and lighting department that they conform to the narrative and expressive intentionality defined by the director.

CR 2.5 The completion of intermediate products necessary for the development of production (photomontages, videos, 2D and/or 3D animations, virtual or other scenarios that may be required) is coordinated with the post-production and production, monitoring to respond to the aesthetic and expressive characteristics defined by the director.

RP 3: 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.

CR 3.1 The information on technical equipment is checked, verifying its availability at the stages of the process in which it is involved, its tasks and the documentation necessary for the development of its work.

CR 3.2 The execution of the tasks of the technical team during the tests is checked, verifying that it is executed in the times established by the work plan and with the required quality, making the corrections appropriate.

CR 3.3 The actions of the artistic personnel in the tests are specified and directed, marking positions and movements when necessary, and according to the directions of direction.

CR 3.4 The decisions and changes decided by the director in the trials are recorded, to be taken into account later during the filming or recording, communicating them to the staff affected by them.

Professional Context:

Production media:

Dishes, virtual dishes, recording set, indoor and outdoor locations, rehearsal rooms, film and video cameras, robotic cameras, lenses, special camera supports (tripod, "traveling", "steadycam", head hot, inter alia), camera accessories, video and/or audio storage media (hard drives, memory cards, blue laser discs), audio capture equipment (cannon microphones, personal, wireless and hidden), accessories for microphonie (pertiga, zeppelin, suspensor, among others) reproduction systems audio (headphones, monitors), audio recording and storage systems (DAW, field recorders, among others), intercom systems, indoor and outdoor lighting bulbs ("fresnel", "softlight", cycloramas, etc.) Other), lighting fittings (gauze, filters, diffusers, among others), lighting supports (tripods, barricudas, pantographs, tweezers, among others), "dimmers", stage elements (cycloras, telons, forillos), technical material for the embedding of digital effects (cromas, "tracker" points, among others), atrezzo, computer equipment, specific software, printers, office equipment.

Products and results:

Subpoena sheets. Filming orders. Filming plan. Daily parts of work.

Information used or generated:

Budget. Literary script. Technical script. "storyboard". Animateca. Relationship of technical and human needs by departments. Work plan. Relationship of characters. Listings, technical reports, parts. Citation sheets. Filming orders.

COMPETITION UNIT 3: ORGANIZE AND CONTROL ROSE/WRITE AND POST-PRODUCTION PROCESSING

Level: 3

Code: UC0702_3

Professional Realizations and Realization Criteria:

RP 1: Verify that the media and technical and artistic personnel are prepared, depending on the agenda and according to the deadlines set in the work plan.

CR 1.1 The incorporation of the human technical team to its tasks is verified, checking that it conforms to the plan and schedule.

CR 1.2 The reception of actors is realized by checking that the makeup and the costume correspond to what is planned for that session.

CR 1.3 The availability of the elements required for image and sound takes is verified by checking their correct layout and location.

RP 2: Organize the shooting/recording of each plane according to the established criteria or objectives, to achieve the required narrative, technical and formal intentionality.

CR 2.1 The anticipation of the planes to be rolled is communicated to all the equipment involved in the filming/recording, performing the preparation of each plane in the established times and corresponding to the plan of filming.

CR 2.2 The actions of the figuration are directed and coordinated according to the intentionality of the script, to the established phases and to its correct execution, according to the directions of the director.

CR 2.3 The intervention of the different members of the technical team is anticipated well in advance and using the established codes and guidelines.

CR 2.4 The correct work order is maintained by explaining the plane to roll, the technical and artistic requirements and the needs of street cuts according to the camera shot.

CR 2.5 The video and audio take is prevented by giving the relevant commands (silence, sound, action, and others) so that the director and all departments can develop their work.

CR 2.6 The verification of the take by the director is expected to continue with the filming/recording, informing all the teams of the plane number to record below.

CR 2.7 The direction of a second unit is assumed when the director indicates it, adjusting to its indications and to what is described in the script.

CR 2.8 The filming/recording process is carried out in compliance with the applicable regulations for the prevention of occupational risks and according to the established guidelines.

RP 3: 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.

CR 3.1 The fulfillment of the planned work plan in the filming plan is controlled and in the case of incidents is redone, informing the production department.

CR 3.2 Stops and cuts are effectively communicated (rest, food, among others) to all human teams involved.

CR 3.3 The work order for the next day is produced together with the production team and the director, taking into account whether or not the work plan is being met and the possible use of cover set.

RP 4: Dispose of all the audiovisual material needed for post-production, ordering it and identifying it to have an assembly/editing plan that ensures a smooth work.

CR 4.1 The recording media is taken to the server in digital environments, if any, ensuring that they are available to the post-production department.

CR 4.2 The video and audio recorded media are minuted with precision, indicating the name of the clip or plane, time codes, content, type of plane, duration, and technical and formal incidents.

CR 4.3 The transfer to the post-production format is organized, monitoring all material that is not compatible and ensuring its conversion or transcoding.

CR 4.4 The post-production part is elaborated by collecting all the information regarding the formal aspects of content and artistic of all the audiovisual material, in a concise, precise and recognizable form by any member of the performance equipment.

CR 4.5 The recorded material is stored by ensuring the completion of a backup, which is recorded by relating it to the original file.

RP 5: Understand the needs of assembly/editing and suggest technical-artistic alternatives to facilitate the achievement of the objectives of the work.

CR 5.1 The plane, music, sound effect, graphics, 2D and/or 3D animation, virtual stage or other requested elements are identified by communicating their location and time code to the rest of the team.

CR 5.2 The audiovisual material is collected in detail, effectively addressing the director's requests.

CR 5.3 The alternatives, effects and transitions are proposed during the assembly/editing based on the knowledge of the available audiovisual material.

CR 5.4 Communication between the different human teams involved in the assembly/editing and post-production process (video editors, infographic, 2D and 3D effects composition, editors and audio mixers, composers of the Soundtrack, among others) is maintained, ensuring that the aesthetic aspects of the project and the narrative intentionality, established by the director is respected.

Professional Context:

Production media:

Dish, virtual dishes, recording set, exterior and interior locations, cinema and video cameras, robotic cameras, lenses, special camera supports (tripod, travelling, "steadycam", hot head, among others), camera accessories, digital video and/or audio storage media (hard drives, memory cards, blue laser discs), video monitors, audio capture equipment (canon, personal, wireless and hidden microphones), accessories for microphonie (pertiga, zeppelin, suspensor, among others), audio recording and storage (DAW, field recorders, among others), audio reproduction systems (headsets, monitors), intercom systems (megaphone, "walkie-talkies", mobile phones, "intercom"), lighting bulbs in Interior and exterior ("fresnel", "softlight", cycloras, quarrels, among others), lighting fittings (gauze, filters, diffusers, among others), lighting supports (tripods, bars, pantographs, tweezers, among others), "dimmers", elements scenographic (cycloramas, telons, forillos), technical material for the embedding of digital effects (cromas, "tracker" points, among others), atrezzo, computer equipment, video and audio postproduction equipment, specific software (for video and audio editing and postproduction, 2D and 3D effects composition, infographic, "etalonage", among others), printers, office material.

Products and results:

Part of post-production. Daily work orders. Weekly advances. Reports of the day. Parts of continuity. Relationship of post-production needs. Minutets. Daily shooting plan.

Information used or generated:

Literary Script. Technical script. "storyboard". Animateca. Work plan. Breakdown of plans. Work order. Site sheets. Citations. Dash of assembly. List of technical needs of the different departments involved in the performance of the cinematographic or audiovisual work and in the assembly/editing and post-production.

TRAINING MODULE 1: PLANNING OF THE CINEMATOGRAPHIC PROJECT OR AUDIOVISUAL WORK

Level: 3

Code: MF0700_3

Associated with UC: Determine the resources required for the development of the audiovisual project

Duration: 150 hours

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 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, based on the analysis of the literary script, taking into account the aspects of the period, historical references, artistic styles, lighting styles, nature of the segment sound 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 planes, frames and angles, its expressive and aesthetic value, as well as its function in the elaboration of visual messages.

CE2.4 Explain visual expression and image composition procedures (format proportions, point of view, depth and distance, synchronization and motion) by 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 In a practical scenario of an advertisement, duly characterized by the relevant technical documentation (script, story.-board):

-Apply standardized techniques to address the point of interest: the placement of the motive, the rule of the thirds, the aurea division, the approach, among others.

-Apply the basic rules of balance to the location of characters in a frame or a scenic space.

-Identify the basic qualities of the objects (color, shape, brightness, among others), 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 characteristics of different camera movements (panoramic, travelling, crane).

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, among others.

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 Relating the types of sound resources of the soundtrack of an audiovisual production (music, effects, silences, voiceover, dialogues, environments) with its 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, scale, literary script) and presentation models (European and American model).

CE4.2 Describe the main ways of planning a literary script: technical script, "storyboard", by plants decorated, by chamber plants, work script.

CE4.3 Relate the symbology used in a technical script, chamber plant or decoration plant for the description of types of planes, 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 insert, the plane sequence, the resource plan, among others.

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

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

CE4.7 In a practical scenario of a sequence in which two characters are duly characterized by a literary script:

-Schedule the sequence.

-Place the location and movement of cameras and characters on the floor of the decoration, using the appropriate symbology.

-Eskimp the "storyboard".

-Identify narrative continuity elements.

-Prepare a report by justifying the decisions made.

CE4.8 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 In a practical scenario of a fragment of a cinematographic or audiovisual work characterized by a technical script:

-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 Analyze cinematographic or audiovisual works, identifying sound resources and their functions.

CE5.6 In a practical scenario of an audiovisual project duly characterized by a technical script:

-Identify the different visual narrative sources (decorated, interior/exterior, night/day) and sound (voices in off, music, environments, sound effects, dialogues) that make up the program's narration.

-Identify the functions of the sound elements.

-Determine the lighting functions.

CE5.7 Identify the different narrative structures of the film or audiovisual narrative (linear, counterpoint, among others).

CE5.8 Explain the ways to fragment the cinematic or audiovisual narrative: mechanical sequence, dramatic sequence, scene, block.

CE5.9 Explain the temporal structures of the film or audiovisual narrative: real time, diegetic time, historical time.

CE5.10 Explain the space/time articulation of the cinematic or audiovisual narrative: ellipsis, flash back, flash forward.

C6: 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.

CE6.1 Identify through the script the most relevant formal aspects of the possible location.

CE6.2 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).

CE6.3 Get, generate and analyze reference documentation from recordings, photographs, plans, internet, or other sources of information.

CE6.4 Develop reports that justify the existence and location of cover set when needed, in accordance with a shoot/write plan.

C7: Define and value evidence of actors, casting, with precise timing and schedule, drawing up reports of data and artistic conclusions of suitability.

CE7.1 In a practical scenario of making a short film properly characterized by a project:

-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.

CE7.2 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.

Capabilities whose acquisition must be completed in a real workbench:

C2 with respect to CE2.5; C4 for CE4.7; C5 for CE5.4 and CE5.6; C7 for CE7.1.

Other capabilities:

Take Responsibility for the work that you develop and achieve your goals.

Demonstrate autonomy in contingency resolution.

Sharing the information with the work team.

Participate and actively collaborate on the work team.

Respect the company's internal rules and procedures.

Adapt to new situations or contexts.

Contents:

1. The film and audiovisual industry

Industry companies.

Organizational structures.

Production systems and production strategies.

2. The film and video project

Project types.

Objectives and guidelines.

Contents and structure.

Documentation associated with the project.

The coordination and budgetary requirements.

3. Visual and sound expression techniques

Visual expression techniques: framing and composition standards, visual representation elements, and their articulation.

Sound expression techniques: spatial distribution, sound planes, sound language, musical atmosphere.

4. Script and audiovisual narration technique

The mechanical structure of the dash.

The dash in the production phase.

Dramatic construction: history and its characteristics.

Script typologies: depending on the idea, depending on the media, depending on the gender, depending on the format.

Film and audiovisual genres.

Visual and sound codes in the cinematic narrative.

Time and space in audiovisual storytelling.

Audiovisual continuity elements and principles.

Movement and audiovisual rhythm.

5. Process of selecting artistic staff

Character Analysis.

Choice of actors.

Improvisations and Trials.

Staging.

6. Location procedures

Analysis of the aesthetic and expressive needs of locations.

Searching and analyzing documentation.

Ambient and scenery as an expressive resource.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the determination of the resources necessary for the development of cinematographic or audiovisual projects, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

TRAINING MODULE 2: DRAWING UP THE PLAN FOR SHOOTING AND COORDINATING THE RESOURCES FOR ROSE/RECORDING

Level: 3

Code: MF0701_3

Associated with UC: Coordinate the availability and adequacy of the human, technical, and artistic resources required for filming/recording

Duration: 150 hours

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 filming/recording plans, according to the expressive medium and the genre of the audiovisual product.

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 genre of the audiovisual product.

CE1.3 Apply the standardized shooting/recording plan contrast techniques with daily production tracking.

CE1.4 In a practical scenario of production duly characterized by 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 order of filming/recording for optimal performance and cost sequences.

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

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

CE2.4 Distribute this information to the heads of each team for proper management of the same.

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 Conduct essays with the artistic staff to check the proper execution of the technical team's tasks, times and qualities.

CE2.8 In a practical simulation of a film production check that all human resources (artistic and technical) are prepared 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 cinematographic or audiovisual narrative: characteristics of the stage (interior, exterior, natural constructed, complex of decorated, among others), Costume and make-up features (neutral, characterising, stylizer or other), features of the decorated and daring.

CE3.4 In a properly-characterized scenario of several cinematic sequences characterized by 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.

C4: 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.

CE4.1 Describe the motion picture camera, identifying its constituent parts and operating mechanics.

CE4.2 Classify and relate the most relevant characteristics of the different image capture and projection formats used in the film realization.

CE4.3 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.

CE4.4 Relating the different types of emulsions used, in color or in black and white, with their characteristics and their performance.

CE4.5 Interrelate the elements involved in achieving a correct exposure in the taking of cinematographic images.

CE4.6 Describe the equipment used in the processing and treatment of film film.

CE4.7 Describe equipment and materials used in the assembly of film films.

CE4.8 Recognize the most common types of film handling and manipulation performed using analog or digital procedures.

C5: Analyzing materials, technical equipment, systems for capturing, recording, processing and imaging, with electronic means and electromagnetic, electrooptical, analog and digital processes, used in the production of cinematographic and audiovisual works, relating their characteristics and performance to their function in the process.

CE5.1 Describe the video camera, identifying its constituent parts and operating mechanics.

CE5.2 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.

CE5.3 Describe image capture fundamentals by electronic means, identifying the correct viewing parameters.

CE5.4 Describe the fundamentals of image monitoring by electronic means, identifying the correct parameters of viewing.

CE5.5 Rate the characteristics of the different types of image capture formats used in the video realization.

CE5.6 Describe the electronic image recording equipment used in the shooting of film films and explain their function, performance and characteristics.

CE5.7 Describe the capabilities of the auxiliary equipment used in the image capture: cranes, "traveling", "cams car", "steadycam", hot heads.

CE5.8 Value the performance of the editing/postproduction and processing equipment of the electronic image and relate the basic computer programs or software to the post-production of video programs and the synthetic image generation.

C6: To distinguish the materials, technical equipment, systems of capture, recording, treatment and monitoring of sound, used in the production of cinematographic and audiovisual works, relating their characteristics and performances with its function in the process.

CE6.1 Describe the fundamentals of sound recording/playback and classify recording formats by indicating the technology used and the characteristics of each one.

CE6.2 Identify and describe the different systems and formats for capturing, recording and reproducing sound used in cinematographic and video making.

CE6.3 Describe the fundamentals of sound signal processing and processing and relate application software or software to sound post-production.

CE6.4 Rate the types, characteristics, and technical specifications of the microphones.

CE6.5 Describe the capabilities of auxiliary equipment used in sound capture: giraffes, pertigas, antiwinds, feet, remote control.

C7: Describe the technological bases of lighting systems used in film production or audiovisual works.

CE7.1 Recognize the quantitative and qualitative parameters of light and list the photometric units.

CE7.2 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.

CE7.3 Value the capabilities of equipment used in the lighting of cinematographic or audiovisual works, identifying their technical characteristics.

CE7.4 Apply the main lighting methods used in audiovisual productions.

CE7.5 Distinguished the technical characteristics of the lighting according to the medium and/or support for which it is used.

CES7.6 Elaborate lighting schemes according to the audiovisual product for which they are used.

Capabilities whose acquisition must be completed in a real workbench:

C1 with respect to CE1.4; C2 with respect to CE2.7 and CE2.8; C3 with respect to CE3.4; C7 with respect to CE7.4.

Other capabilities:

Take Responsibility for the work that you develop and achieve your goals.

Demonstrate autonomy in contingency resolution.

Adapt to new situations or contexts.

Respect the company's internal rules and procedures.

Participate and actively collaborate on the work team.

Sharing the information with the work team.

Contents:

1. Planning and organizing and staging the shooting/recording of a film/audiovisual project

Elaboration of the shoot/write plan.

Elaboration of work parts.

Techniques and codes in document processing.

Address of actors.

Characterization of characters: hairdressing, makeup and costumes.

Ambiance of decorated and daring.

2. Cinematographic technical processes and media

The film camera. Objectives. Auxiliary elements.

The media and film formats.

The film lab. The mounting equipment.

3. Process and technical video media

The video camera. Objectives. Auxiliary elements.

Catch systems.

Scanning the video signal.

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

Media and video formats.

The monitoring of the video signal.

The video image editing and processing teams.

4. Sound technical means and processes

The analog and digital sound.

Capturing the sound: microphones and auxiliary equipment.

Sound recording, processing, and playback systems and equipment.

Media and sound formats.

Monitored of the audio signal.

5. Technical lighting processes and means

Color theory.

The light sources.

The equipment used in the lighting.

Lighting methods.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the coordination of the availability and adequacy of the human, technical and artistic resources necessary for the filming/recording, which will be credited by one of the two forms following:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

TRAINING MODULE 3: ORGANIZATION AND CONTROL OF ROSE/RECORDING AND POST-PRODUCTION PROCESSING

Level: 3

Code: MF0702_3

Associated with UC: Organize and control filming/recording and post-production processing

Duration: 150 hours

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 scenario of recording or shooting a documentary, duly characterized by the script:

-Prepare the write/shoot 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 by adapting the work order.

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

CE1.2 In a practical scenario of recording or shooting a work of short duration fiction, duly characterized by the script:

-Prepare the write/shoot plan.

-Determine the scenery adapted to the dash.

-Organize the technical team following the recording/shooting 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: Relating the main theories and techniques of the audiovisual assembly/editing to identify the characteristic elements that determine them and describe the techniques for their application in the construction of audiovisual accounts depending on the various genres and styles.

CE2.1 Describe the principles of assembly expressed by Kulechov, Griffith, Pudovkin, Eisenstein, Arnheim among others.

CE2.2 Compare the various classic theories of the assembly, identifying their differentiating concepts and drawing up a report of conclusions.

CE2.3 Arguing the expressive and narrative contribution of sound to audiovisual assembly/editing.

CE2.4 Explain the concept of rhythm and external movement of the audiovisual assembly/edition.

CE2.5 Explain the differences between online mount, offline assembly, linear and nonlinear editing systems, and their purpose, detailing the criteria and conclusions that are derived from each of these work systems.

C3: Plan the stage of assembly/editing, post-production, sonorization and dubbing of cinematographic and audiovisual productions, identifying the most appropriate technology according to the different audiovisual genres and preparing the appropriate technical documentation.

CE3.1 Classify the different assembly/editing, post-production and sonization rooms according to their capabilities and characteristics.

CE3.2 Describe the configuration of the various assembly/editing, post-production and sonization rooms according to the equipment and technologies used.

CE3.3 Relate the models of templates most used in the planning of the assembly/editing, post-production and sonorization of audiovisual.

CE3.4 In a practical scenario of a film or video production duly characterized by a script:

-Identify the appropriate technical means to mount/edit, 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/edit 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.

C4: Deal with conflicts that originate in your work environment, by negotiating and making timely decisions, taking into account the opinions of others regarding possible solution paths.

CE4.1 Describe the most common negotiation strategies, relating them to the most common situations of conflict occurrence in the company.

CE4.2 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.

CE4.3 Rate the possible types of decisions that can be used for specific and defined situations.

CE4.4 Evaluate the circumstances in which you need to make a decision and choose the most appropriate one.

CE4.5 Apply the search method for a solution or response.

CE4.6 Respect and take into account the opinions of others, even if they are contrary to their own.

C5: 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.

CE5.1 Distinguished a good communication that contains a clear message from another with divergent paths that disappear or enturate the main purpose of the transmission.

CE5.2 Rate the existence and affect of interferences that can make it difficult to understand a message.

CE5.3 Describe the most applicable motivation techniques in the specific work environment of the audiovisual sector.

CE5.4 Select and apply appropriate motivation techniques to each situation, in simulated cases.

C6: Define leadership styles in activities related to film direction and audiovisual works.

CE6.1 Relate the command styles and behaviors that characterize them.

CE6.2 Confront the leadership styles with different scenarios and situations that the leader can encounter.

CE6.3 Estimating the role, competencies, and limitations of the intermediate command in the organization.

C7: Determine preventive and/or protective actions by minimizing risk factors and consequences for health and the environment.

CE7.1 Identify the most common risk situations in your workplace, applying general prevention techniques based on them.

CE7.2 Classify damage to health and the environment based on the consequences and the most common risk factors that generate them.

CE7.3 Identify the most common risk situations in your work scope, both in planning and filming/recording by associating general acting techniques.

CE7.4 Relate the main aspects of risk prevention associated with the media in which you work.

Capabilities whose acquisition must be completed in a real workbench:

C1 with respect to CE1.1 and CE1.2; C3 with respect to CE3.4; C4 with respect to CE4.6; C5 with respect to CE5.4.

Other capabilities:

Take Responsibility for the work that you develop and achieve your goals.

Demonstrate autonomy in contingency resolution.

Participate and actively collaborate on the work team.

Sharing the information with the work team.

Adapt to new situations or contexts.

Respect the company's internal rules and procedures.

Contents:

1. Shooting/recording theory and technique

Audiovisual realization techniques: master plane, insert, sequence plane, flat-to-plane recording.

Organization and mechanical processes of monocamara or multicamara audiovisual performance.

The shooting/recording: the image and sound capture process.

Incorporation of optical effects during filming: funds, animated models, backprojection, front projection, color background screens, virtual scenarios, 2D and/or 3D virtual image integration.

Shooting with unconventional cameras.

Techniques for the maintenance of the raccord.

Claqueta identification.

2. Audiovisual Assembly

Mount/edit theory.

Concept and expressiveness of film assembly.

Movement and audiovisual rhythm.

Mount/editing typologies: according to the narrative structure and technique.

The mount dash.

3. The audiovisual assembly, editing and post-production rooms

The movie assembly rooms. Types and configuration.

The analog and digital video editing rooms. Types and configuration.

The video post-production rooms. Types and configuration.

The audio post production and sonorization rooms. Types and configuration.

4. 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.

Communication networks, channels, and media.

Difficulties/barriers in communication.

The control of the information. The information as an address function.

Diagnosis of factors capable of motivating.

Oral and written communication of instructions for achieving objectives.

5. Conflict negotiation and decision making in management assistance

Negotiating strategies.

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

Process for troubleshooting.

Command Styles: Address and/or Leadership. Direction styles. Approaches to leadership.

6. Safety and health in the filming of cinematographic and audiovisual works

Applicable legislation on the prevention of occupational risks in the environment of the filming/recording of the audiovisual product.

Working conditions and security.

Risk Factors: Prevention and Protection Measures.

Safe work organization: general prevention and protection techniques.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the organisation and control of the filming/recording and post-production process, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

ANNEX III

Professional qualification: Film, video and television camera

Professional Family: Image and Sound

Level: 3

Code: IMS294_3

General Competition

Capturing and recording images and sounds in all types of audiovisual productions, managing the camera, collaborating in the planning of the process and in the lighting, attending to the achievement of the highest technical quality, artistic and aesthetics of the takes according to the directions of direction of photography and/or direction/realization, being able to provide own criteria.

Competition Units

UC0939_3: Collaborate on the development of the audiovisual project collection and recording plan

UC0940_3: Verify the technical adequacy and operability of the fetch and log resources

UC0941_3: Collaborate 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

Professional Environment

Professional Scope

Develops its professional activity in the field of image in the field of audiovisual production dedicated to the collection, recording and lighting of audiovisual projects, in entities of public or private nature, for account (freelance) or foreign, in film and video production, and/or in television stations, of any size, public and private, of limited or wide coverage, whatever their broadcasting system and regardless of their legal form. It develops its activity depending on the functional and hierarchically of a superior (film director or film director or audiovisual works). The principles of universal accessibility are applied in the development of professional activity in accordance with the applicable regulations.

Productive Sectors

It is located in the audiovisual sector: film, video and television producers, international, national, regional and local, whatever their broadcasting system, television stations, production companies in vivo, and in any other sector that has any of these activities.

Relevant occupations and jobs

The terms of the following relationship of occupations and jobs are used with a generic and omnicomprensivo character of women and men.

Movie camera operators

Movie Camera Helpers

Foquists

Video camera operators

Television camera operators

ENG Cameras (Electronics News Gathering)

Specialized Cameras

Lighting Helpers

Associated Training (540 hours)

Training Modules

MF0939_3: Development of the capture and camera record plan (150 hours)

MF0940_3: Camera Technical Media (90 hours)

MF0941_3: Lighting for audiovisual productions (180 hours)

MF0942_3: Audiovisual image capture (120 hours)

COMPETITION UNIT 1: COLLABORATE ON THE DEVELOPMENT OF THE AUDIOVISUAL PROJECT COLLECTION AND REGISTRATION PLAN

Level: 3

Code: UC0939_3

Professional Realizations and Realization Criteria:

RP 1: Ungloss the features of the audiovisual product from the project information by obtaining the data that will allow it to be realized.

CR 1.1 The characteristics of the audiovisual product, such as gender, intentionality, purpose, formal, expressive and aesthetic aspects, type of technology and resources necessary and locations, among others, are identified analyzing and interpreting project information.

CR 1.2 The visual style of the product is determined with the rest of the team identifying the project characteristics that affect the image.

CR 1.3 The feasibility of the project is considered proposing modifications, if necessary, in technical and artistic aspects.

CR 1.4 The technical needs and their possibilities are valued by analyzing the decorations and elements to be captured (dishes, decorated, people, objects).

CR 1.5 The compositional style of the shots is defined under the supervision of the director/director, valuing the narrative considerations and the conditions of the framing.

RP 2: Propose alternatives to project management/realization to develop the technical script, based on the desired results.

CR 2.1 The effectiveness of visual narrative and aesthetic impact is guaranteed by studying planning proposals.

CR 2.2 The operativity of the shoot/recording is proven to ensure the achievement of the aesthetics marked in the project.

CR 2.3 The continuity of the work is contrasted by the checking of the technical script, scale or storyboard, suggesting alternatives, if necessary, to maintain the record.

CR 2.4 The camera positions and movements, in multicamara, are defined and adjusted, avoiding the discapacity and entry into the field of other cameras.

CR 2.5 The intervention of the special chambers in the subsequent recording is defined by determining the entrance feet and the "timing".

RP 3: Determine the technical and human resources of the camera team, interpreting project information and direction/realization and production instructions, to optimize resources.

CR 3.1 Camera format, optical, record support type, fixed and mobile camera supports, machinist material and accessories, are selected by analyzing the technical requirements of the project.

CR 3.2 The professional number and profile of the camera staff (foquists, auxiliaries, machinist and others) and the distribution of the tasks to be carried out, are proposed for the direction of photography/lighting and production, considering the project needs.

CR 3.3 The choice of equipment and camera material is proposed, if applicable, to the direction of photography/lighting and/or production/direction by optimizing the resources.

CR 3.4 The record formats and the typology of time codes used, are proposed considering the compatibility of the equipment and its functionality.

CR 3.5 The definitive list of material needed for the production is made, together with the steering/realization equipment, the photo/lighting and the production direction equipment, analyzing the set and the characteristics of the shooting/recording.

CR 3.6 The availability of the requested material and equipment is guaranteed, with it within the specified time limits, conditions and terms.

CR 3.7 The spare technical equipment and the needs that may arise in the filming/recording are expected to ensure their availability quickly and effectively.

RP 4: Optimize the shoot/write plan by contrasting it with the camera equipment's own operations.

CR 4.1 The work plan assigned by production, as regards the collection and/or the filming/recording, is in contrast to its compliance, respecting the expected temporary and budgetary criteria.

CR 4.2 The established record order is checked by verifying that it complies with the filming/write plan without conflicting with other production constraints.

CR 4.3 The operation of machines and supports in the set is studied avoiding conflicts with the activities to be developed in front of the camera and with the operation of other teams, technicians and humans, that intervene in the shooting/recording.

CR 4.4 The synchronization of all the necessary elements at the time of the filming/recording is ensured by verifying the correct organization of the technical and human equipment.

CR 4.5 The adequacy of the defined job plans is adjusted by achieving the optimization of the resources.

CR 4.6 The planned technical assembly on the set is checked in compliance with the work requirements.

Professional Context:

Production media:

Computer Media. Means of telephone communication. Internet. Office material.

Products and results:

Human and technical needs listings. Recruitment and registration plans. Camera positioning schemes.

Information used or generated:

Audiovisual projects. Scripts (literary script and technical script). "storyboard". Scalets. Decorated plants. Lighting schemes. Work plan. Listings of companies to support the collection and registration. Lists of human and technical needs. Calls for staff. Recruitment and registration plans. Time diagrams.

COMPETITION UNIT 2: VERIFY THE TECHNICAL ADEQUACY AND OPERABILITY OF THE FETCH AND LOG RESOURCES

Level: 3

Code: UC0940_3

Professional Realizations and Realization Criteria:

RP 1: Check the appropriate camera and media equipment to ensure proper mechanical and operational behavior by performing the necessary tests.

CR 1.1 Camera equipment material (cabling, accessories, media, camera, and recording material), available for filming/recording, is checked to verify that it matches the previously set.

CR 1.2 The possible anomalies of the technical elements are detected, identifying their causes and taking appropriate measures for their solution, by performing routine tests or preventive maintenance.

CR 1.3 The various media and machinery for the camera are examined by ensuring their adequacy and correct operation.

CR 1.4 The functionality of the parasol and the focus controls with all the selected targets, filters and other accessories is checked, installed and driven.

CR 1.5 The synchrony between shutter and garfios and the correct operation in relation to fixed or variable obturation, it is observed acting on the devices of control of synchronous speed or variable of the camera and preview Circumstances of filming, such as lighting with fluctuating sources or the recording of video monitors.

CR 1.6 The tightness, proper 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.

CR 1.7 The correct supply and collection of film and its drag through the window are checked, threading the negative in the tractor and driving the engine.

CR 1.8 The components of the chosen team are listed with their serial numbers, identifying the contents in each transport case.

RP 2: Check the relevant cameras and accessories, ensuring proper electronic and recording behavior and performing the necessary tests.

CR 2.1 The good condition of the batteries, their chargers, the power cords and other camera accessories, is checked by making the connection of all electrical elements.

CR 2.2 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.

CR 2.3 The correct behavior of the camera is checked by making the own settings of the electronic and/or digital camera, providing the best options in relation to the recording.

CR 2.4 The correct operation of the camera's 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.

CR 2.5 The recording of the sound in the camera's magnetoscope is verified, if applicable, by checking the audio inputs, levels, and monitoring the audio signal.

CR 2.6 The accuracy of the film's record is checked by filming the test letters of record.

CR 2.7 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.

CR 2.8 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.

CR 2.9 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.

RP 3: Check the optical components required to ensure the quality of the shots, by applying standardized criteria.

CR 3.1 The technical parameters of the optics are checked, ensuring their correct operation and their suitability to the request of the director of photography/illuminator by means of their physical observation, the display of test letters through the viewer and observation of registered evidence.

CR 3.2 The window format that appears in the unpolished glass observed through the viewfinder is checked by verifying its correspondence with the printing window.

CR 3.3 The mobile parts of the optics are checked for proper operation.

CR 3.4 The focus points of the optics and their field depths at different distances are verified by conducting the relevant tests and using reference guides.

CR 3.5 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.

CR 3.6 The optics, focus and zoom controls are verified by checking their fluidity and fixing.

CR 3.7 The operation of the focus on the viewfinder in all its positions is noted, observing the correct display of the framing marks and others on the frosted glass and/or viewfinder.

CR 3.8 The correct chromatic transmission is checked using the record of a color card.

CR 3.9 The absence of optical aberrations and focus uniformity is verified by performing the adjustment letter record.

CR 3.10 The filters and their status of cleaning and preservation are checked to observe their effect, using various records.

Professional Context:

Production media:

Film and video cameras (analog and digital). Camera accessories. Supports. Magnetoscopes. Video tapes. Memory cards. Film film. Optical and optical accessories. Video and audio monitors. Filters.

Products and results:

Verification of image and sound equipment. Camera and magnetoscopes settings. Proof of registration letters. Letters of color. Adjustment letters.

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 performed.

COMPETITION UNIT 3: COLLABORATE ON THE DESIGN AND EXECUTION OF AUDIOVISUAL PRODUCTION LIGHTING

Level: 3

Code: UC0941_3

Professional Realizations and Realization Criteria:

RP 1: Propose lighting designs to obtain the correct recording of the images, solving the technical, aesthetic and narrative aspects of the project.

CR 1.1 The expressive characteristics of the lighting, according to the intentionality of the audiovisual product, are defined in collaboration with direction/realization, analyzing the technical and artistic documentation of the project.

CR 1.2 The technical and operational solutions of the lighting process are determined by analyzing the project in collaboration with direction/realization and with the head of lighting or director of photography.

CR 1.3 The technical lighting resources and the technical resources of the collection and their appropriate adjustments to the plan of registration are determined by analyzing the project: forced, gain, color balance, among others.

CR 1.4 The typology of lighting, contrast ratio, effects and light environments are defined by adapting them to the style and intentionality of the project and to the characteristics of the medium, the support and the defined visual style.

CR 1.5 The forms, equipment listings, energy forecast, among others, are completed by adapting them to the production and direction/realization criteria.

CR 1.6 The lighting plan is elaborated according to the technical solutions and the visual style of the project, considering the technical and operational differences in the work of the drawing/flat registration, with one single camera, or in blocks for multicamara case.

RP 2: Adjust the illumination according to the intended schema for each sequence, for the correct recording of the images in the project, depending on the continuity of the previous design.

CR 2.1 The required resources are determined, based on the provision of the intended illumination for each sequence.

CR 2.2 The illumination of each sequence is distributed, adapting it to the planned schedule in the fetch/record plan.

CR 2.3 The color and intensity temperature of each light source is checked, by means of the instruments (exhibit and heat-meter) and appropriate procedures, adjusting them to the type of film/image sensor and to the established aesthetic criteria, proceeding with their modification, if necessary.

CR 2.4 The color and intensity temperature are adjusted and modified, if necessary, using corrective, polarizing, or neutral density filters placed on the target or light sources.

CR 2.5 The contrast of the lighting is adjusted by adapting it to the type of film/image sensor to be used and to the established aesthetic criteria.

CR 2.6 The operation of the lighting console is performed, if necessary, by obtaining the expected luminous setting.

CR 2.7 The exposure data and the technical instructions for regulating the camera and obtaining the expected results are noted at the time of the taking and subsequent processing of the image recording material.

RP 3: Participate in the control of the evolution of the lighting during the registration, for the achievement of the intended result.

CR 3.1 The colour and light 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, adjusting to the scenic space, the development of the action and the light style conceived.

CR 3.2 The color and intensity temperature of each light source are in accordance with the specific situation of recording, checking with the display, luxometre and thermocolimeter.

CR 3.3 The quantitative and qualitative luminous parameters (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.

CR 3.4 Camera optics and accessories are chosen by measuring and checking the scene's luminous parameters based on the style, effect, and quality intended for each shot.

CR 3.5 The camera parameters are determined and adjusted to the specified medium, checking the characteristics of the intake, the variations proposed by the equipment and the requirements of the project.

CR 3.6 The recorded shots are checked immediately, assessing whether the adopted light and log parameters correspond to the expected result.

CR 3.7 The processes to be followed with the recorded material are agreed, if necessary, with the laboratory and the post-production management, obtaining the expected results.

CR 3.8 Final materials are checked, through their viewing, in the different possible finishes of the product, ensuring their quality and suggesting adjustments of the density and color.

Professional Context:

Production media:

Exhibition. Luxometre. Termocolorimeter. Lighting sources and apparatus. 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: GET IMAGES ACCORDING TO THE TECHNICAL, ARTISTIC, AND COMMUNICATIVE CRITERIA OF THE AUDIOVISUAL PROJECT

Level: 3

Code: UC0942_3

Professional Realizations and Realization Criteria:

RP 1: Point the camera equipment to the place of the shot, according to the requirements of each plane, and rehearse to ensure its correct registration.

CR 1.1 The cleaning and grease state of the camera and its perfect operation are reviewed, examining the good condition of the optics and the absence of dirt or condensation on them.

CR 1.2 The installation of the camera on the pedestal, tripod or intended support is monitored or performed, adapting the shot and the camera height to the planning and staging.

CR 1.3 The placement and positioning of platforms, paths, or boards required for displacements is indicated to the drivers, applying the set schedule.

CR 1.4 The parasol, portafilters and other necessary accessories are installed in the camera and are checked not to enter the picture, looking through the viewfinder.

CR 1.5 The fixed or variable focal point that is used in the plane, is chosen autonomously or, if necessary, according to the direction of photography, it is installed in the camera checking that they do not have an impact on it of producing pearls or optical veil.

CR 1.6 The distances from the focal plane to the subject or object, in their various positions, are measured if appropriate, according to the type of production or camera, and are contrasted with the depth of field available, marking on the ring or the wheel of approach.

CR 1.7 The diaphragm aperture is adjusted according to the criterion of the direction of the photograph or, if necessary, it is calculated according to the recording material, the speed, the shutter, the filtering, the focal distance and the conditions luminics.

CR 1.8 Camera movements and focus changes, run and corrected, during rehearsals, adjusting them to staging.

CR 1.9 The positions of actors and atrezzo are modified, if the framing and composition are to be improved, taking into account the directions of direction/realization or direction of photography.

CR 1.10 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.

CR 1.11 The negative material is threaded and the film is verified to run through the channels and rollers, in order to avoid any interruptions or failures.

CR 1.12 The recording media is put to the point, verifying its proper functioning, labeling them, and, if necessary, leaving an initial space with bars or blacks.

RP 2: Run the camera operations during the filming/recording, following the staging approaches indicated by direction/realization, and modifying the parameters necessary to achieve the technical adequacy and expressive.

CR 2.1 The traditional or electronic claqueta is framed, ensuring its correct display and that of its moving parts, and registering it in a coordinated manner with the sound equipment.

CR 2.2 The panoramic head controls are operated during the plane registration, obtaining the right composition at each moment and the fluidity of the camera movements.

CR 2.3 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.

CR 2.4 The focal length of the variable focal points is modified, acting directly on the control or by remote control, according to the criteria established during the tests.

CR 2.5 The operation of the camera during imaging is permanently observed by controlling the signaling pilot or the display indicator.

CR 2.6 The frame of view of the framing is checked by avoiding the intrusion of unwanted people or objects.

CR 2.7 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.

CR 2.8 Camera displacement techniques such as cranes, dollies, remote control, steadycam, shoulder camera, among others, are precisely applied considering the criteria of visual direction/realization.

CR 2.9 Recorded tapes and memory cards are protected by their security tab, as well as other storage systems, are tagged and controlled by written parts having them for storage or storage. transport.

CR 2.10 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 printing area and Next years.

CR 2.11 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, labeled and attached to the chamber parts. controlling its storage, transport and delivery conditions to the laboratory.

RP 3: Capture the images 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.

CR 3.1 Problems detected during camera testing (composition failures, focus mismatches, player alignment, lighting or sound interactions, or lack of time to complete movements) are communicated to the performance equipment and are used to follow the instructions of the performance equipment.

CR 3.2 The horizontal and vertical motion of the camera head, is kept released during rehearsals and recording, and is blocked during breaks and breaks, following safety standards for the camera and human equipment.

CR 3.3 The support wheels are controlled to prevent them from turning sharply when changing direction by ensuring the necessary softness in the displacements.

CR 3.4 The focus 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.

CR 3.5 Relevant optical settings, such as the choice of duplicator or camera filters, are performed according to their own technical or performance criteria.

CR 3.6 The operation of special cameras (steadycam, bodycam, crane, hot head, rails and others) is carried out, where appropriate, in accordance with the criteria for direction/performance and the application of the specific safety standards of the equipment.

CR 3.7 The continuity of the recording is pursued at all times, keeping the attention and foreseeing unexpected circumstances that demand to respond quickly.

CR 3.8 The indications of realization are addressed, coordinating with the rest of the camera equipment, without interfering with the recording with noises or outtakes.

CR 3.9 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 for avoid possible damage.

RP 4: Operate with light recording equipment (ENG), following the indications of the journalist or head of production, to obtain the images and, where appropriate, the intended sound.

CR 4.1 The placement of equipment and camera material, lighting and sound is determined by visually examining the location quickly.

CR 4.2 The use of tripod, steadycam or other camera supports is valued and determined, valuing the characteristics of the report or news.

CR 4.3 The persons or characters that will be the object of the recording are previously selected according to the features of the report or news, noting that they will be recognizable at the time of the recording.

CR 4.4 The most appropriate frames are determined, autonomously, or collaborating with the journalist or head of production.

CR 4.5 The technical camera settings are performed quickly and effectively, considering the lighting conditions and European quality standards.

CR 4.6 The camera and environment microphone connections check to fit them if necessary.

CR 4.7 Basic lighting connections (the torch connection to the battery and the camera, or from the lights to the electrical grid) are made considering the required lighting.

CR 4.8 The focus and diaphragm are adjusted for each take, acting with maximum accuracy and speed.

CR 4.9 The recording is carried out, in each case, according to the script, the information objectives and the criteria for production and production, providing for the needs of editing, and adapting to the standards of professional quality.

CR 4.10 The technical and formal quality of the image, the illumination and the sound of each take are verified, and the necessary adjustments are made, taking precedence, if necessary, the speed of execution in the circumstances of premurs information.

CR 4.11 The recording media is transmitted, properly identified and with maximum speed and safety, to the production center, being delivered in hand or using other forms of shipment.

RP 5: Validate the shots, checking that they meet the desired technical and artistic requirements, so that the recorded material can move to the final processes.

CR 5.1 The possible technical failures of the takeover are monitored by their revision on the monitor or viewer requesting their repetition, if necessary.

CR 5.2 The achievement of the established aesthetic and expressive objectives is verified by observing the taking and, if necessary, determining the appropriate corrections.

CR 5.3 The quality of the work itself is checked during the viewing of the recorded or filmed material (original of video camera and copy or telecionado in cinema), along with direction/realization, drawing guidelines for the work back.

CR 5.4 The technical quality of the image and the timing of the intake are reported to the performing equipment, being recorded in the chamber parts for the treatment of the material in the laboratory and in the assembly or editing.

CR 5.5 The disclosed instructions provided by the photo direction are communicated to the performing equipment for transcription in the chamber part for subsequent use in the processing of the film.

CR 5.6 The audio channels used and the sound equipment used are recorded on the camera part or on the label of the video tape, reporting to the assembly and to the address/realization.

CR 5.7 The result of the processing of laboratory, pre-assembled material, or copy, is considered and valued, adapting the result to the instructions of the direction of photography and direction/realization.

RP 6: Unassemble the camera equipment after the recording/filming has been completed, following established techniques and procedures for its transport, subsequent use or storage.

CR 6.1 Equipment disassembly tasks and camera material are performed under security conditions, reviewing and recording incidents in their state and operation.

CR 6.2 The packaging and transport conditions of the material are controlled by applying the mandatory safety standards.

CR 6.3 The storage of the material is carried out under the appropriate environmental and safety and hygiene conditions, considering its typology and characteristics.

CR 6.4 The loading and unloading of the material and the camera equipment are performed without abrupt, taking into account their fragility and cost.

CR 6.5 The malfunction, malfunction or loss of material is communicated to the maintenance officer or the production manager, using the channels enabled for this purpose.

Professional Context:

Production media:

Film, video and television cameras. Accessories. 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 technical script. Orders of realization. Work orders and citations. 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.

TRAINING MODULE 1: DEVELOPMENT OF THE CAMERA CAPTURE AND REGISTRATION PLAN

Level: 3

Code: MF0939_3

Associated with UC: Collaborating on the development of the audiovisual project collection and registration plan

Duration: 150 hours

Assessment capabilities and criteria:

C1: Define the technical characteristics of the systems for capturing, recording, treating and recording image by mechanical means and the photographic photochemical processes used in the production of works audiovisual.

CE1.1 Describe the elements of different types of cinematographic cameras and their differential characteristics according to the work format.

CE1.2 Differentiate the types of emulsion used for image capture, explaining the formation of the latent image on black and white photochemical supports and in color.

CE1.3 List the various existing film formats for image collection and projection, identifying their differential characteristics.

CE1.4 Explain the characteristics (rapidity, grain, latitude, resolutive power, chromatic response, contrast, among others), of the films of black and white and of color, as well as the criteria that determine their choice for a determined film work.

CE1.5 Interpret the information of the packaging and the technical documentation provided by the manufacturer of the emulsions, deducting the response of the films in sensitivity and color balance and the possibilities of improvement before critical situations that are obtained by altering their exposure index or their processing.

CE1.6 Describe the auxiliary elements of the cinematographic cameras: pedestals, tripods, stands, video outputs, among others.

CE1.7 Specify the capabilities of auxiliary equipment used in image capture: cranes, travelling, car, steadycam, hot heads, among others.

CE1.8 Interpret the characteristics of the pietage systems and the modes of identification of the cinematographic frames.

CE1.9 Identify the photochemical media processing systems used in film productions.

C2: Define the technical characteristics of the systems for capturing, treating, recording and reproducing image by electronic, digital and electromagnetic processes and electrooptics used in the production of audiovisual programmes.

CE2.1 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.

CE2.2 Define the fundamental concepts of the analog and digital video and television signal.

CE2.3 List the various international television standards, explain their characteristics and differences.

CE2.4 Explain the main existing video signal processing systems (composed, separated, by components, analog, and digital).

CE2.5 Identify and define the elements and features of video and television cameras.

CE2.6 Describe the fundamentals of magnetic video recording and classify recording formats, indicating the technology used and the main features of each one.

CE2.7 Recognize existing systems of video time codes.

CE2.8 Specify the technologies and equipment of the multicamara realization control, the mobile units and the television set.

C3: Describe the physical principles of the optical systems used in capturing images.

CE3.1 Specify the elements and materials that make up the objectives, their characteristics and influence on sharpness and resolution power.

CE3.2 Refer to the most common optical system types used in image capture.

CE3.3 Describe the parameters 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, among others.

CE3.4 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).

CE3.5 Detailed the different optical accessories used in capturing images, explaining their operation and usefulness.

CE3.6 Describe the most common aberrations of the goals and their corrections.

CE3.7 In a scenario of capturing an image that is characterized by the appropriate optical calculations, calculate:

-The size of the image.

-The focal depth.

-The diameter of the confusion circle.

-The coefficient of enlargement or optical reduction.

C4: To differentiate the technical characteristics of the systems of capture, recording, reproduction, treatment and monitoring of sound, used in the production of audiovisual programmes.

CE4.1 Explain the basic principles of sound, their fundamental magnitudes and the relationship with their perception by the human being.

CE4.2 Describe the physiological fundamentals of human sound perception.

CE4.3 Determine the basic differences between analog and digital sound.

CE4.4 List audio collection, signal processing and acoustic display equipment, devices, cables and standard connectors used in a sound system, indicating the typology, function and characteristics of each one of them and their interrelationship.

CE4.5 Describe the fundamentals of audio, analog and digital recording, and classify recording formats and sound media, indicating the technology used and the main features of each.

CE4.6 Identify the basics of the processing and processing of the audio signal and relate the basic computer treatments of application to the post-production of the sound.

C5: Describe 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 Identify and differentiate specific narrative techniques used in each expression media.

CE5.3 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.

CE5.4 Identify the typology of plans, movements, special effects, transitions and their representation codes from the analysis of audiovisual documents.

CE5.5 Describe the fundamentals, characteristics, and composition classes of the audio-visual framing.

CE5.6 Define the ellipsis and image transitions types, and their corresponding functions.

CE5.7 Identify the elements that guarantee the continuity and the correct fragmentation of the scenic space in the audiovisual productions.

CE5.8 Apply the basic principles of narrative and audiovisual language to multi-camera realization plans.

CE5.9 Describe the functions of the soundtrack in audiovisual storytelling.

CE5.10 Analyze visual and sound messages by evaluating their communicative effectiveness and deducting the goal of communication and the nature and structure of the message.

CE5.11 Expose the process of creating and adapting a literary work, idea or event to a technical script, listing the steps and documents generated.

C6: Analyze the technical documentation of audiovisual projects, identifying the technical and human resources needed to carry out their recruitment and/or registration.

CE6.1 Describe and relate the professional functions and the job positions characteristic of audiovisual productions to organizational charts.

CE6.2 Distinguished and describe the typology of companies and the different types of audiovisual products.

CE6.3 Relating the different genres of audiovisual works or programmes and their characteristics.

CE6.4 Describe the different phases of the production process of an audiovisual work by identifying the technologies used in each of them according to the type of registration.

CE6.5 To differentiate the main characteristics of the technical documents (script, scale, decorated plant, work plan, among others) customary in the audiovisual production interpreting its structure, its codes and the symbology used.

CE6.6 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.

CE6.7 Interpret plants and raised scenic spaces with the location information of technical and scenic elements, identifying codes and graphical symbology.

CE6.8 In a practical scenario of a given audiovisual production characterized by the technical script, the scale and the decoration plant, identify:

-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.

C7: Plan the process of capturing/recording images in audiovisual productions, based on criteria for achieving quality and optimization of resources.

CE7.1 Defer the characteristics of different models of shoot/write plans, according to the expressive media and gender.

CE7.2 In a practical scenario of a given audiovisual production characterized by the precise technical documentation:

-Describe technical, expressive, artistic and administrative difficulties (taxiing permits, authorizations, among others) to consider in a given project.

-Estimate the time required to complete the running of each sequence.

-Develop 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.

CE7.3 In a practical scenario of a given audiovisual production characterized by precise technical documentation:

-Calculate the combination capabilities of all technical and artistic resources to generate an optimal stream capture or write plan in performance and cost.

-Reflect on a filming/recording plan ordered by days, all the required needs and times for the capture/recording of the images.

-Plastic in a document annexed to the plan of capture/registration, the relation of all the human and material needs according to the requirements according to the optimization of resources.

CE7.4 Confect a recording scale from the viewing of informational, documentary, magazine, or dramatic programs, among others.

Capabilities whose acquisition must be completed in a real workbench:

C3 with respect to CE3.7; C6 complete; C7 complete.

Other capabilities:

Act quickly in problematic situations and not just wait.

Demonstrate stress resistance, mood stability and impulse control.

Adapt to new situations or contexts.

Demonstrate responsibility for successes and failures and failures.

Respect internal organization procedures and rules.

Habit to the organization's work rate.

Contents:

1. Film, videographic and television technology

The movie camera: types, capabilities, features, elements, and accessories.

Media and film formats: features and types.

The teams and auxiliary collection elements.

Black and white materials and color.

Techniques and methods of filming.

The processing of the film material: material phases, materials, equipment and parameters.

New technologies in film production.

Technical media and technological evolution.

The video and television camera: types, features, and capabilities.

The CCD: types and features.

Camera accessories.

The video signal. Types. Analog and digital signals. Quality parameters.

The recording and its techniques.

Magnetic and electrooptical recording systems.

Video systems and formats: types, features, and capabilities.

Image and sound recording media. Features. Types.

Elements and auxiliary fetch controls.

2. The formation of the film and TV image

Simple lenses and optical systems.

Focal distance and depth of field. Optical calculations.

Focus depth and confusion circles.

Objectives: types and characteristics.

Manufacturing and design of targets: aberrations, luminosity, coverage.

Targets for photography, film and TV.

Optical Accessories.

3. Sensitive emulsions and electronic sensors

The emulsion. Features.

Movie types.

The printing process of films.

Standards for the preservation of photosensitive materials.

The electronic sensor. Features.

Types of CCD and CMOS sensors.

Data storage processes.

4. Sound recording and collection systems

Nature of the sound. Acoustics. Units.

Analog and digital sound.

The capture of the sound. Microphones. Types. Features.

The recording of the sound.

Sound equipment for film, video and television capture. Features.

Magnetic and electrooptical recording systems.

Features, capabilities, and types of playback and post production equipment: amplifiers, mixing tables, MIDI system, computer systems, acoustic screens.

5. Audiovisual image language and narrative

Cinematographic, videographic and television genres.

Building visual messages.

Frame types.

Camera moves.

Continuity.

The space/time ratio.

Mount theory.

The soundtrack: expressive contributions.

The dash.

6. Audiovisual production industry and processes

Types and structure of cinematographic, video and television companies.

Film, videographic and television production processes.

The human team in film, video and television productions.

Forms and organizational parts of the film, video and television production process.

Planning techniques.

The final balance of production.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to collaboration in the development of the plan for the collection and registration of audiovisual projects, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

TRAINING MODULE 2: CAMERA TECHNICAL MEANS

Level: 3

Code: MF0940_3

Associated with UC: Verify the technical adequacy and operability of the fetch and log resources

Duration: 90 hours

Assessment capabilities and criteria:

C1: Verify the mechanical operation of cinema, video and television cameras and their operability, by means of the tests necessary to ensure correct mechanical and operational behaviour, during the collection/registration of a project.

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.

CE1.3 Unmount and mount properly the mechanical parts of a camera:

-Movie Chassis.

-Optics.

-Viewer and long magnifying glass.

-Base and accessory bars.

-Parasol, visors, and portafilters.

-Focus command.

-Zoom and other target remotes.

CE1.4 Perform the mechanical settings of a camera operation:

-Fixed and variable obturation.

-Attack on the perforations (Pitch) in the cinema cameras.

-Engrase and fluency of window, garfio, and contragarfio.

-Speed and crank step.

CE1.5 Successfully manipulate different types of power cords and connectors, video signal, synchros, audio signal, and remote mechanisms of the film, video, electronic, and digital cameras.

CE1.6 Load with correction different types of film film chassis in black sack or load room, with proper loops.

CE1.7 Enhance the film 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 registration systems, by means of the necessary tests to ensure correct behaviour during the recruitment/registration of a project determined.

CE2.1 Operate with the basic functions of a polymeter and check the status of cables, connections, and types of power and signals.

CE2.2 In a practical simulation: configure and connect different video and audio equipment by sending the signal to the default sites with the required quality.

CE2.3 In a practical simulation: manipulate, on a known camera or from its CCU, the brightness, gamma and contrast settings with reference signals, adjusting them to pre-determined conditions.

CE2.4 Know how to operate and identify setup menus and signal processing and fetch settings to obtain a given image type with a given camera.

CE2.5 In a practical simulation: control the recording and output level of the video signal in the magnetoscope by diagnosing possible problems.

CE2.6 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 up different types of optics, place them in their rings or mounts, and adjust the 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.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Checking and tuning of the mechanical system of the cinema cameras

Adjusting the continuous drag mechanisms.

Checking the intermittent drag mechanisms.

Frame printing of the frame: platina and counter-plate.

Installing or changing the window.

shutter adjustment procedures: opening, closing and opening cast controls.

Chassis handling: film installation and loading.

Camera controls: totalizer, tachometer, rangefinder, metsuit and frame counter, others.

Tuning the viewer.

Installation on tripods, pedestals, cranes, and special supports.

Techniques for the conservation and transportation of mechanical equipment.

2. Checking and tuning 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.

Connectors: typology and applications.

Cable status check procedures, connectors, power supplies, and video signals.

Configuring and connecting video and audio equipment.

Checking and adjusting the camera engine.

Adjustment of camera controls: exposure, white balance, color bars, gain, focus, digital effects, others.

Camera control (CCU).

Brightness, gamma, and camera contrast techniques.

Capturing and signal processing techniques for obtaining images with special characteristics.

Control techniques in the magnetoscope of recording and output levels in playback.

Checking and adjusting sound collection systems.

Maintenance techniques for the electronic systems of film, video and television cameras.

Point-to-point and maintenance procedures for magnetoscopes.

3. Checking and tuning of the optical system in the cinema, video and television cameras

Assembly and disassembly of optical systems in the chamber.

Installing optical accessories: parasol, portafilter device, filters, visors, others.

Diaphragm adjustment and control techniques.

Focus tuning techniques: using reference letters and collimers.

Performing check operations of: angulation, visual field, field depth, and hyperfocal distance. Anamorphic objectives and optical compression.

Maintenance and transport procedures for optical equipment and systems.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to the verification of technical adequacy and the operability of the collection and registration resources, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

TRAINING MODULE 3: LIGHTING FOR AUDIOVISUAL PRODUCTIONS

Level: 3

Code: MF0941_3

Associated with UC: Collaborating on the Design and Execution of Audiovisual Production Lighting

Duration: 180 hours

Assessment capabilities and criteria:

C1: Relating the basic principles of physics and the perception of light and color.

CE1.1 Describe the nature of light and the phenomena related to its propagation (reflection, transmission and absorption, law of the inverse square, among others), relating its behavior to certain materials.

CE1.2 Relate the photometric concepts relating to the luminous flux, intensity, luminance and its units.

CE1.3 Describe the fundamentals of human vision.

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 Define color systems; additive and subtractive color synthesis, as well as the relationship between the spectral composition of light, the color temperature, and the properties of illuminated bodies.

CE1.7 Describe the characteristics and uses of the filters used in the audiovisual film and video taking.

CE1.8 Analyze the various methods of color conversion and color balance and their relationship to light sources.

C2: Value the relationship between the collection/recording equipment and materials and the characteristics of the lighting.

CE2.1 Relate the responses of different default image capture/record materials and media with a prefixed lighting scheme.

CE2.2 Differentiate exposure control systems: iris or diaphragm, neutral density filters, gain, speed, shutter angle, and electronic shutter.

CE2.3 Describe the automatic and manual exposure control process.

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.

CE2.6 In a practical simulation with an imaging equipment: operate the video signal monitoring equipment for the control of the quantity and chromatism of the lighting: setting of the camera and scene monitor, the zebra pattern, waveform monitor and vectorscope.

CE2.7 Relate the various adjustments of the recording materials (sensitivity, gain, chromatic balance, forced), with the lighting parameters.

CE2.8 Determine the requirements of a given lighting, depending on the subsequent treatment variables of the registered image.

CE2.9 Relate the characteristics of the lighting in the shot with the back control and possible treatments of the image ("etalonaje", video image settings, color correction or luminance, among others).

C3: Describe the features, functionality and capabilities of the various projectors and accessories used in the lighting of audiovisual productions.

CE3.1 Define 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 Recognize how the light beam concentration, projection angle, and projector distance are affected by the illumination level.

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 (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 Explain the electricity fundamentals applicable to lighting: alternate and continuous power supplies, load calculations, distribution, wiring, and connections.

C4: Relating the general principles of lighting applied to audiovisual production.

CE4.1 Describe the functionality and position of the lights in a basic lighting scheme.

CE4.2 Describe the functionality of other complementary lighting elements in a given scheme: profiling or contour light, eye light, effect, secondary, among others.

CE4.3 Relate the effects of the direction and quality of light on the subject's appearance, texture, color, and contrast.

CE4.4 Distinguished the most appropriate lighting techniques to favor, disfavor or modify certain traits of a subject (face, human figure, and locker room).

CE4.5 Relate the effects of the chromatic characteristics of light with the sensations they can produce in the viewer.

CE4.6 Describe the technical and expressive characteristics of the high key or low key, contrasted or surround key lighting.

CE4.7 Rate the possible influence that in the lighting of the shot can produce the movements of the characters and the placement of the camera.

CE4.8 Identify the problems in the lighting of the multi-camera collection/registration.

CE4.9 Describe the basic lighting effects at the scene: day effect, night effect, American night, moonlight, rain, smoke and fog, lightning, among others.

CE4.10 Describe the characteristics that lighting must meet for basic technological effects such as color insertion ("chroma key").

C5: Define precise lighting needs, in a project, for startup.

CE5.1 In an image-lighting scenario characterized by precise technical documentation, determine the needs:

-Equipment.

-Expressions.

-From human team components and functions.

-From the job stream.

-Design lighting schemes.

CE5.2 To deduce, from practical simulations, duly characterized, the effects that the scenery can pose or the location by absorption or reflection of the lights and the possibilities that it offers for the location and Attachment of light sources.

CE5.3 Recognize the most significant methods of design and planning of lighting schemes (scenario plans, specific design and simulation software, among others).

C6: Lighting audiovisual productions in audiovisual production projects.

CE6.1 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.

CE6.2 Adjust the filters, diffusers, light cuts and other necessary accessories according to the project, to achieve the desired effects and environment.

CE6.3 In an image-lighting scenario characterized by accurate technical documentation, perform:

-The electrical connection.

-Cabling.

-The allocation of light sources to the lighting table.

-The precise power calculations for execution.

CE6.4 Determine the necessary lighting according to narrative, dramatic, aesthetic, staging and organizational considerations, based on a practical simulation.

CE6.5 In an image-lighting scenario characterized by technical documentation, you need to 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.

Capabilities whose acquisition must be completed in a real workbench:

C5 complete; C6 complete.

Other capabilities:

Take Responsibility for the work that you develop and achieve your goals.

Prove a good professional.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Propose challenging targets that represent a higher level of performance and effectiveness than previously achieved.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate creativity in the development of the work you do.

Contents:

1. Physics and the perception of light in audiovisual productions

Transmission, reflection, dispersion and diffraction of light.

Law of the inverse of the square of the distance. Applications.

Perception of light and adaptation.

Audiovisual psychological applications in the treatment of light.

2. Control of the exhibition in audiovisual productions

Level of light in the scene.

The exposure.

The exhibit. Types.

Measurement methods.

Image luminosity controls (aperture, no. f and No T, shutter speed, camera and electronics, shutter angle, ND filters, etc.).

Latitude of exposure of the log material.

The contrast of lighting and the scene.

3. Colour control in audiovisual productions

Color parameters.

Color systems.

Reproduction of color.

Color temperature.

Color balance.

Chromatic sensitivity.

The thermocolimeter.

The vectorscope.

Color conversion and correction filters.

4. Lighting sources in audiovisual productions

Source types: tungsten, HMI, arcs, fluorescent, xenon, and other sources.

Light Projectors: Fresnel, open, PAR lamps and PAR groups, diffused light, cyclorama, fluorescent units, portable torches.

Types of lamps and bushings.

Accessories: reflectors, flags, black, gauze, racks, fasteners, and adapters.

Fundamentals of electricity.

Load and Distribution calculations.

Power supplies. Electrogens. Electrical network.

Wiring and interconnection of electrical equipment.

Security and usage measures.

5. The lighting scheme

Basic elements of the basic lighting scheme: main light, fill and backlight.

Lighting auxiliary elements: profiling, eye light, background, and environment.

Quality factors: Dura and soft.

Address and angle of the beam.

Lighting techniques.

Dramatic intent and atmosphere creation.

Lighting techniques for multicamara.

6. Planning of resources in audiovisual productions

Lighting companies: types and structures.

Lighting processes for audiovisual productions.

The human team in the lighting.

The interpretation of the dash in the lighting processes.

Forms and organizational parts of audiovisual lighting processes.

Decoration design and adaptation of locations: luminosities control and project location.

Planning techniques tailored to the lighting processes.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Domain of knowledge and techniques related to collaboration in the design and execution of the lighting of audiovisual productions, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

FORMATIVE MODULE 4: AUDIO VISUAL CAPTURE

Level: 3

Code: MF0942_3

Associated with UC: Getting images according to the technical, artistic, and communicative criteria of the audiovisual project

Duration: 120 hours

Assessment capabilities and criteria:

C1: Operate the camera during the capture/recording of images for audiovisual productions, making modifications and adjustments, if appropriate, and following the approaches of staging to achieve technical adequacy and desired expressive.

CE1.1 Adjust different types of media (pedestals, tripods, and heads) for various camera types.

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 (camera in hand, stales, "steadycam", "travelling", "dollies", cranes and hot heads, car mounts, car, rails and others) relating their aptitudes to criteria aesthetic and expressive.

CE1.4 Operate a video assistance system ("Video Assistance") by installing it over a camera.

CE1.5 In a practical simulation performed, under pre-fixed diaphragm opening and focal distance conditions of various objectives:

-Focus on different distances.

-Variate focus during takeover.

-Determine the depth of the field and its variations during the intake.

-Calculate the hyperfocal distance.

CE1.6 In a practical scenario of capturing images, duly characterized by precise technical documentation, identify the requirements of continuity of all planes within the sequence, and apply in an exercise practices the procedures that ensure 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 a practical recruitment/registration scenario, duly characterized by accurate technical documentation, 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 support involved by taking care of their correct identification, protection, storage, and conditions of transport 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 exteriors, 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 (performing, performing helpers, regidor, operator of camera control units, assembly technicians of Study, sound operators, lighting operators, lighting operators, 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 In a multi-camera realization scenario characterized by a 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 (focus, zoom, and other settings) and its support (horizontal and vertical panoramic, frictions, and locks), taking care of the instructions to perform in 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: Register, in controlled projects, images and sounds with light recording equipment, autonomously, or according to given indications.

CE3.1 Identify image capture strategies in graphic reporting (ENG) and related genera and relate them to cameras, targets, supports, and appropriate accessory material.

CE3.2 Describe the appropriate media for image capture with light equipment and camera clamping techniques.

CE3.3 Identify the ENG's own sound equipment, differentiating the types of microphones and describing the process of connecting to the camera's audio inputs, sound monitoring and tiering.

CE3.4 Identify the appropriate light lighting equipment for ENG and describe the lighting process of basic situations: statements, entrapments, interviews, photomontages, exhibitions, and others.

CE3.5 Identify the specific goals of the ENG recording, describing their protocols and the usual approach and framing techniques.

CE3.6 In a scenario of capturing images with an autonomous camera, characterized by the recording project:

-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.

CE3.7 In a practical simulation, 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 or previously agreed form.

C4: Assess the takes and determine their validity, according to pre-set criteria, in properly characterized practical assumptions.

CE4.1 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 elements unwanted in the picture, the aesthetics of the composition and the continuity in the sequence set.

CE4.2 Verify the correction of the approach along 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.

CE4.3 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.

CE4.4 Propose the repetition of the takeover when the intended objectives are not met, adopting corrective measures to achieve them.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 full; C4 complete.

Other capabilities:

Act quickly in problematic situations and not just wait.

Demonstrate stress resistance, mood stability and impulse control.

Adapt to new situations or contexts.

Demonstrate responsibility for successes and failures and failures.

Respect internal organization procedures and rules.

Habit to the organization's work rate.

Contents:

1. Camera operation techniques

Focus: minimum distance, hyperfocal distance, depth of field control, focus depth control, focal plane.

Approach-modifying optics and accessories: approach lenses, wide-angle, multipliers.

Accessories for focus on movie cameras or high definition: focus controls, remote, rings.

Film approach technique.

Movie camera operations. Movements and adjustments of the camera head and pedestal.

Framing and follow-up techniques applied to cinematography. The scenic space.

Video equipment applied to film taking.

The machinist material.

The management of sensitive material and recording media. Tags, parts, and reports.

2. Image composition narrative and rules

Audiovisual narrative. Time and space. Flat values. Axes of action. Point of view and subjectivity. The continuity and types of "raccord".

Aesthetics and image composition. The space and the framing. Balance. Express values of the objectives. Camera angulations. Aspect formats and relationships. Morphological elements. Rule of the thirds. The air. Points of interest and visual tour in the composition. Linear and atmospheric perspective.

3. The taking on television

The television genres. Production methodologies on television.

Multicamara realization. Multicamara realization techniques and methods. The visual narrative and the continuity in multicamara. Composition in 4: 3 and 16:9.

Functions on the human multi-camera performance equipment. Stages of production. Communication protocols between the team.

The television camera. Objectives for telecamaras. The Camera Control Unit (CCU). The media for telecamaras. The technical equipment of the dish, the control of performance and the mobile units.

Operation of the television camera. Movements and adjustments of the camera head and pedestal.

Focus and zoom. Multipliers. Framing and monitoring techniques. Space and scenery.

Camera techniques in retransmissions. Techniques for cameras on special supports.

The technical script. The scale. Block breakdown. List of floor plans per camera.

4. Taking it with a stand-alone video camera

Productions with autonomous camera. Television genres of an informative nature. Interview, news, reportage and documentary.

Cameras and technical material for productions with autonomous camera and ENG. Analog and digital recording media and video formats. Recording techniques in ENG.

The recording of the sound. Microphones, mixing tables, monitoring and wiring. The audio tracks.

Audio parameters. Analog and digital audio recording standards.

Lighting techniques in informational genres.

Basic video and audio editing in informational genres.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1. Mastery of knowledge and techniques related to obtaining images according to the technical, artistic and communicative criteria of the project, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2. Accredited pedagogical competence in accordance with what is established by the competent administrations.

ANNEX IV

Professional qualification: Development of interactive multimedia audiovisual products

Professional Family: Image and Sound

Level: 3

Code: IMS295_3

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.

Competition Units

UC0943_3: Define interactive multimedia audiovisual projects

UC0944_3: Generate and adapt your own and external multimedia audiovisual content

UC0945_3: Integrate elements and sources using authoring and editing tools

UC0946_3: Perform the prototype evaluation, quality control, and documentation processes for the interactive multimedia audiovisual product

Professional Environment

Professional Scope

Develops its professional activity in the area of multimedia dedicated to the development of interactive multimedia audiovisual products in large, medium and small companies of interactive and non-interactive multimedia productions, companies or departments of new technologies producing film, video and television and Internet solutions companies, both public and private and whatever their legal ownership, for their own account, freelance, and others. It develops its activity, depending on its case, functional and/or hierarchically of a superior. The principles of universal accessibility are applied in the development of professional activity in accordance with the applicable regulations.

Productive Sectors

It is located in the audiovisual sector: interactive television, advertising, video games, DVD creation, CD-ROM, BLUE-RAY, Internet and new technologies, application design for mobile devices and augmented reality devices, as well as in multi-platform products and in any other sector that has any of these activities.

Relevant occupations and jobs

The terms of the following relationship of occupations and jobs are used with a generic and omnicomprensivo character of women and men.

Digital graphics

Audiovisual Media Integrators

Multimedia audiovisual product developers

Interactive and non-interactive multimedia audiovisual content editors

Multimedia application developers

Multimedia Realization Helpers

Multimedia Systems Technicians

Associated Training (540 hours)

Training Modules

MF0943_3: Interactive multimedia audiovisual projects (90 hours)

MF0944_3: Generation and adaptation of multimedia audiovisual content (180 hours)

MF0945_3: Integration of elements and sources using authoring and editing tools (180 hours)

MF0946_3: Prototype evaluation, quality control, and interactive multimedia audiovisual product documentation (90 hours)

COMPETITION UNIT 1: DEFINE INTERACTIVE MULTIMEDIA AUDIOVISUAL PROJECTS

Level: 3

Code: UC0943_3

Professional Realizations and Realization Criteria:

RP 1: Determine the features of the interactive multimedia project by defining the type, product genre, and technical requirements.

CR 1.1 The communicative, functional and formal objectives, and the project specifications to be developed are determined by considering the requirements catalogue and a set of high-level initial models.

CR 1.2 The product characteristics related to gender, narrative style and chart and deadlines, are determined according to the objectives set by the client.

CR 1.3 The requirements catalog is completed by analyzing and valuing any other relevant information: content or sources originally available in other media or media, style book, corporate identity manual, standards, regulations, among others.

CR 1.4 The information model for connections, interfaces, descriptions, activities and requirements, which complements the specifications documentation, is done by analyzing the information needs, to achieve the general requirements and conceptual models.

CR 1.5 The specifications for 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.

CR 1.6 Technical specifications are defined based on accessibility, compatibility and interoperability requirements between platforms to minimize development and/or maintenance times, balance quality/cost and promote its use with different browsers, platforms or technologies.

CR 1.7 The technological architecture is identified by analyzing the expected capabilities, specifications and technical requirements, depending on the means and time required for their development and implementation.

RP 2: Schedule the work phases of the interactive multimedia project, based on resource optimization, time, and budget criteria.

CR 2.1 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 (technical and human), time and cost.

CR 2.2 Work deadlines are estimated to assess the risks identified in previous projects.

CR 2.3 The plans for work, monitoring, quality and maintenance are assumed by the various participants in the development of the project together with other technical and security policies, planning guidelines, change management and quality management.

CR 2.4 The logistical aspects related to the material, meeting rooms, documentation standards, among others, are concretized in favor of the effectiveness of the work.

CR 2.5 The conventionalisms, permits for access to information and communication systems among the work teams, are determined according to the degree of participation of the technical staff of the project, facilitating the organization of technical and aesthetic resources during the different phases.

RP 3: Determine the necessary equipment for the production of multimedia interactive, adjusting to the technical needs and budgets defined in the project.

CR 3.1 The characteristics and components of the previously selected production technology architecture are determined by taking into account, analysis of available resources and technical requirements.

CR 3.2 The parameters and procedures for project management, equipment and tools, connectivity and communications, quality assurance and environment security are determined to optimize production, taking into account the management and security criteria of the organization.

CR 3.3 The system of backups, updates, change recording, version control, status and trace of their evolution, are determined by ensuring the integrity and availability of the appropriate version of the products, and facilitating their reuse and/or modification to possible changes to the initial requirements.

RP 4: Determine the characteristics of the sources required for the realization of an interactive multimedia project based on technical, narrative and aesthetic specifications.

CR 4.1 The different sources, whether text, graphics, sounds, fixed or moving image, or combination of these, are identified as information modules, from the specifications, guaranteeing their information integrity, size, position and function in the product.

CR 4.2 The different information modules are checked from the specifications and their function in the product by determining, in each case, their narrative mode: linear (sequential and determined) or interactive.

CR 4.3 The appropriate file formats of the different sources, together with their characteristics and properties, are identified, from the specifications, guaranteeing the product quality commitment according to the Technology architecture, broadcast support, and/or publishing target.

CR 4.4 The applicable legislation on copyright and intellectual property is in compliance with the particular features of the interactive multimedia project.

CR 4.5 The sources provided by the different participants in the project are organized according to the agreed operating and security requirements, considering the particularities of the chosen storage medium.

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 human resources and 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. Diagrams. Technical specifications. Specifications of the technological architectures (supporting the information and production or development model). Parameters for organization and configuration of the production and development technology environment. Usability and accessibility standards.

COMPETITION UNIT 2: GENERATE AND ADAPT YOUR OWN AND EXTERNAL MULTIMEDIA AUDIOVISUAL CONTENT

Level: 3

Code: UC0944_3

Professional Realizations and Realization Criteria:

RP 1: Create the fonts and models according to the specifications of the interactive multimedia project, adapting them to the broadcast media.

CR 1.1 The different necessary information modules are generated or created, based on the specifications and/or indications of realization, taking into account the requirements of formal and/or aesthetic character and guaranteeing consistency, relevance and stylistic unit of the project.

CR 1.2 Worktemplates and style sheets are created from the design specifications, respecting the aesthetic and formal criteria and meeting the technical requirements.

CR 1.3 The necessary audio, video and/or animation sources, considered as modules of linear or interactive information, are created and/or edited by observing the standards of documentation and according to the narrative criteria, expressive and descriptive of the audiovisual language.

CR 1.4 The different video streams (streaming, on-demand) and audio (sound effects, soundtrack) are performed considering the technical parameters of the project and its support or media.

CR 1.5 The catches of locutions from the script are made, respecting the times marked by the requirements of the project.

CR 1.6 The animations and sprites clips, whether loops or finitas, are performed according to the project characteristics.

CR 1.7 The necessary graphics sources, considered as elements of the interface, are created and/or edited by observing the standards of documentation, taking into account the functional and formal criteria and respecting the minimum standards of usability and accessibility to enable optimal user experience.

CR 1.8 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.

CR 1.9 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.

RP 2: Evaluate the quality of the proposals from sources and models generated by external teams, checking their adjustment to the project criteria.

CR 2.1 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 graphs.

CR 2.2 The technical properties of sources provided by external teams are verified by ensuring their quality and compatibility with the project.

CR 2.3 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.

CR 2.4 Design or design department display model proposals are valued or readjusted, if necessary, by contrasting them with the customer.

RP 3: 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.

CR 3.1 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.

CR 3.2 Sources are compressed and/or converted to predefined formats in the project, optimizing performance and resource consumption.

CR 3.3 Different fonts are partially combined, replayed, or removed, depending on project needs: videos, subtitles, image text, defects, unwanted image parts, among others.

CR 3.4 Video clips are edited by removing unnecessary fragments, adjusting to narrative time, or applying the special effects specified in the project.

CR 3.5 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: INTEGRATE ELEMENTS AND SOURCES USING AUTHORING AND EDITING TOOLS

Level: 3

Code: UC0945_3

Professional Realizations and Realization Criteria:

RP 1: Compose the screens, pages, levels, or slides according to the layout models and sketches, integrating the necessary fonts using authoring tools.

CR 1.1 Image sources are integrated into their position on the screen, following the pattern of design or realization sketches.

CR 1.2 The texts are integrated on the screen by giving them the format set in the project.

CR 1.3 The locution and audio sources are integrated over the project, adjusting to the times of each scene, screen, or other narrative element.

CR 1.4 The properties of the sources are adjusted to the possible deviations of the integration, adapting them to the general composition.

RP 2: Generate and synchronize the movements of the fonts on the screen, according to criteria set in the project and the "storyboard".

CR 2.1 The paths or guides of the sources are generated, providing them with movement according to the expressive parameters of the project and the characteristics of the author software used.

CR 2.2 Sources, such as events, flashes, among others, are equipped with action based on their position on timelines.

CR 2.3 The different sources are synchronized by adjusting them to the temporal parameters, the narrative rhythms, and the dramatic intentions of the project.

CR 2.4 The transitions between screens, slides and pages are generated according to the parameters defined in the project, giving the project a narrative and continuity sense.

CR 2.5 The screens, levels, or slides, at each point in the work phase, are saved by backing up their different versions according to the project organization criteria.

RP 3: Create and integrate the interactive elements by following the established layouts, to generate the screens and pages.

CR 3.1 The different states of the interactive elements (passive, active, on and on) are generated by favoring their identification by the user.

CR 3.2 Preestablished interactive elements are inserted and conform to the aesthetic and narrative characteristics of the project, using the author software.

CR 3.3 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.

CR 3.4 The screens, levels, or slides, at each point in the work phase, are saved by backing up their different versions according to the project organization criteria.

CR 3.5 The content of the sources and interactive elements that are predefined by the author software, are verified for each screen, level, or slide, ensuring the design set in the project.

RP 4: Interactivity scoring, entering the codes by using the appropriate software, addressing the project's narrative elements.

CR 4.1 The required code to be applied to the interactive objects that require it, to conform to the specific interactive features of the project, is added, based on the technical script.

CR 4.2 The different variables (numeric, alphanumeric) and programming algorithms are identified and determined by developing the code structure.

CR 4.3 Project narrative times and elements are adjusted, giving program variables the required values.

CR 4.4 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.

CR 4.5 The code is generated by connecting and managing information with the databases.

CR 4.6 Elements with complex behaviors, such as the movements of user-action-dependent elements that require the application of variables, conform to the project's narrative values.

CR 4.7 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.

CR 4.8 The screens, levels, or slides, at each point in the work phase, are saved by backing up their different versions according to the project organization criteria.

CR 4.9 The screens, levels, or slides are verified by ensuring that it contains the sources and interactive elements according to the set design.

Professional Context:

Production media:

Computer, printer, magnetoscopes, DVD, CD-ROM, BLUE-RAY, hard drives, optical media. Image processing and backup software. Audio capture card. Video capture card. Mobile devices (phones, tablets, augmented reality devices). Software or development kit (free software, "plugins"), integration software (authoring tools), specific programming software. Digital video post production platform.

Products and results:

Applications. 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: PERFORM THE PROTOTYPE, QUALITY CONTROL, AND DOCUMENTATION PROCESSES FOR INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCT

Level: 3

Code: UC0946_3

Professional Realizations and Realization Criteria:

RP 1: Evaluate the prototype of the multimedia audiovisual product, checking its operation and verifying its adjustment to the technical specifications and the working methodology defined in the project.

CR 1.1 The operation of each screen and page and interactive elements involved in them is checked and adjusted, complying with the parameters determined in the prototype.

CR 1.2 The prototype is tested on different equipment, platforms, or navigation systems by checking their compatibility.

CR 1.3 The narrative characteristics, degree of interactivity, visual effect and communicative effectiveness of the prototype are tested by proposing possible improvements in the system that will help to ensure its functioning, the narrative coherence or other aspects.

CR 1.4 The degree of usability and accessibility of the finished product is evaluated, ensuring its maximum effectiveness by adopting improvement measures, if necessary.

CR 1.5 Compliance with the quality of application regulations for interactive multimedia products is checked and taken, in the event of non-compliance, guaranteeing the quality, accessibility and usability criteria.

CR 1.6 Compliance with project objectives, deadlines, budgets and working methodology is evaluated during all phases of the project, drawing up a final balance sheet to improve projects later.

RP 2: Develop the supporting documentation for the project, considering the needs of the end user, giving it the maximum comprehensibility.

CR 2.1 The beta version of the project, prior to the generation of the final master, is tested considering that all the parameters used conform to the product specifications.

CR 2.2 Data obtained by external tests with a sample of target audience (pre-test), are analyzed by subhealing possible operating errors.

CR 2.3 The user manual, with all the specifications and instructions, is made using criteria of maximum comprehensibility and including within the product itself, in the case of developments such as video games and applications designed for mobile devices.

CR 2.4 The prototype is presented to the client validating or resetting the project.

RP 3: Configure the publishing parameters for the completion and maintenance of the final project.

CR 3.1 The generated code is purged by removing comments to achieve optimized distribution.

CR 3.2 The project is compiled for broadcast or as a source for another project.

CR 3.3 The backup of the final project is performed, taking into account the project indications for localization and subsequent reuse.

CR 3.4 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 and development software. Simulators and mobile devices. Augmented reality devices.

Products and results:

File or project package. Beta version. Prototypes. Quality reports. Backups. User manual.

Information used or generated:

Technical Script. "storyboard". Work plan. Initial project specifications. Quality regulations. Standards for usability and accessibility. Quality and performance reports. User manual. Project Production Results Assessment Report.

TRAINING MODULE 1: INTERACTIVE MULTIMEDIA AUDIOVISUAL PROJECTS

Level: 3

Code: MF0943_3

Associated with UC: Define interactive multimedia audiovisual projects

Duration: 90 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 on the market, their navigation systems and 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 Identify the different production phases and members of the work teams of the different interactive multimedia products.

CE1.4 Recognize different architectures, platforms, technology environments and consumer electronics equipment (DVD-Video, video consoles, mobile devices, among others), target, broadcast, publish or support products multimedia).

CE1.5 In a practical scenario, based on the information properly characterized, facilitated by an alleged client and/or by the different project implementation departments:

-Interpret and organize the information.

-Analyze technical, narrative and aesthetic characteristics according to gender, support, and target audience.

-Justify the choice of interactive constructive elements (lists, buttons, menus) and their different states.

CE1.6 In a practical scenario for an on-line product, on optical or hybrid support, characterized by precise technical documentation:

-Interpret documentation standards (such as component diagrams, use case, sequence, interaction, among others) and set navigation systems and their degrees of interactivity and narrative linearity non-linearity.

-Determine the level of usability and accessibility of an interactive product.

-Recognize and describe the different conceptual models and/or metaphors used in the project.

-Interpret the navigation tree and flow diagrams in the different product types.

-Interpret state diagrams and recognize interactive elements (buttons, lists, menus) and the different states of an interactive element within a multimedia product (active, passive, over, pressed) a report. Also recognize the possible independent user events that occur in the product (automatic processes, triggers, or others).

-Interpret the sketches and models.

-Apply the aesthetic and narrative style unit.

-Agree on conventionalisms and communication systems with other production equipment.

-Design the interactive multimedia project's work plan, taking into account the available resources (human and technical), deadlines and costs. Make a prior estimate of the risks that are expected in the project to ensure the completion of the deadlines and costs.

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 different devices and devices for the elaboration of interactive multimedia products.

CE2.2 Define the technical needs for the elaboration of an interactive multimedia product according to the media and media.

CE2.3 In an on-line product scenario in optical or hybrid support, characterized by accurate technical documentation, justify the choice of:

-The different authoring tools and their features as well as the type of product that you can generate.

-The different author languages and their technical and commercial properties.

-The different tools or programs of creation, editing, processing and retouching of graphic fonts, text, image in motion and sound, among others.

-The broadcast media chosen based on their technical capabilities.

CE2.4 In a practical scenario of configuring teams for the realization of an interactive multimedia project characterized by the precise technical documentation:

-Recognize technical needs at both the level of equipment and the interactive tools and elements (network connections, forms) of the product as defined in the project.

-Apply the tuning parameters to the monitor: workresolution.

-Configure different installed operating system parameters (memory management, special characters, virtual machines, or others).

-Configure the connection to the network.

-Configure the connection to the print device (sketches, diagrams, models, or others).

-Configure the capture devices according to the media used.

-Configure backup devices (optical, tape, or other storage).

-Configure playback devices (screens, mobile, tablets, or others).

CE2.5 In a practical scenario of an interactive multimedia product characterized by precise technical documentation:

-Install and configure the framework or workbench (plugins, components, emulators, or others).

-Configure the connection data to the server (for applications, databases, or others).

-Define the project site/folder.

-Define the file structure.

-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 (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 practical scenario of an on-line product, on optical or hybrid support, characterized by precise technical documentation:

-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.

-Catalog acquired sources.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Project methodology applied to interactive multimedia audiovisual products

Genres, products and companies in the multimedia industry.

The interactive multimedia project. Features.

Phases in the elaboration of the project. Work teams.

Project objectives: quality, cost and time frame. Assessment of risks.

The Job Plan. Planning criteria.

Copyright and legal regulations in the multimedia framework.

2. Multimedia dash techniques

"Storyboard". Multimedia language. Narrative and aesthetic linearity.

Documentation standards. Diagrams.

Hypermedia.

Interactive navigation systems.

Degrees of interactivity. Status diagrams. Interactive elements and events.

3. Multimedia technical systems

Media and media formats.

Computer equipment and architectures. Configuration of equipment and devices.

Sources: features and capture.

Multi-media.

Dynamic.

Connections to servers.

Back-up systems backup.

4. Editing and composing multimedia products

Tools and author languages.

Folder and file structure.

Composition. Sketches and mockups.

"Usability." Rules.

Accessibility.

Interfaces.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the definition of interactive multimedia audiovisual projects, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

TRAINING MODULE 2: GENERATION AND ADAPTATION OF MULTIMEDIA AUDIOVISUAL CONTENT

Level: 3

Code: MF0944_3

Associated with UC: Generate and adapt your own and external multimedia audiovisual content

Duration: 180 hours

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 underpinnings of the time frame, space and idea or content treatment, 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 scenario of capturing the source of a multimedia product, properly characterized by the precise technical documentation:

-Set the required cabling type.

-Connect the external equipment to the capture machine.

-Configure and/or install the required applications.

-Determine tuning parameters for capture optimization.

-Save the capture to the formats specified in the technical script as the source master.

C3: Create and/or edit sources from technical and aesthetic parameters, to optimize an interactive multimedia product, properly characterized.

CE3.1 Identify the expressive values of the sources of a multimedia project according to the specifications of the technical script.

CE3.2 Recognizes the minimum quality values of the sources from the project's performance needs, also contrasting them with the capabilities of the playback device.

CE3.3 Elaborate graphical solutions, such as work templates and style sheets, among others, of a project adjusting to the technical and expressive needs of the product.

CE3.4 In a practical scenario of a properly characterized interactive multimedia product:

-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.

CE3.5 In a practical scenario of an interactive product with still images, duly characterized by the precise technical documentation:

-Adjust the resolution and size and trim the font (if necessary).

-Apply filters.

-Apply the appropriate compression.

-Adjust tone depth.

-Adjust color depth and color model.

-Add transparency channels.

-Convert the source to other formats.

-Catalog generated and edited sources.

CE3.6 In a practical scenario of an interactive product, with video and animation sources, duly characterized by the precise technical documentation:

-Apply the appropriate compression.

-Apply effects.

-Change the size.

-Modify the duration.

-Convert the source to other formats.

-Catalog generated and edited sources.

CE3.7 In a practical scenario of an interactive product with audio sources, duly characterized by the precise technical documentation:

-Apply effects.

-Apply compression.

-Edit the duration.

-Convert the source to other formats.

-Catalog generated and edited sources.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Multimedia audiovisual narrative

Narrative, expressive and descriptive elements of the audiovisual language in multimedia products. Narrative modes: linear and interactive.

Typology of planes. Camera moves.

Special effects on multimedia.

Representation codes.

Narrative fundamentals of the multimedia mount.

2. Multimedia audiovisual technical systems

Analog and digital systems. Analog-to-digital conversion.

Computing platforms.

Interconnection typology.

Information storage media.

3. Audio-visual image recording, recording, and playback processes

Video Formats: Analog and Digital. Features.

The image processing.

Electronic editing.

Equipment used in the collection, recording, processing, assembly, reproduction and image processing. Configuration.

4. Sound recording and recording processes

Sound Formats. Features.

Capturing the sound.

Sound recording and playback: analog and digital.

Equipment used in the capture, recording, reproduction and sound treatment. Configuration.

5. Treatment and editing techniques and procedures: fixed image, animations, video and audio

Multimedia file formats, classes, and features: Resolution. Size adjustment (cuts). Tonal adjustment. Color adjustment. Transparency. Effects. Loops. Layers and channels.

Creating and designing job templates. Creating and designing style sheets.

Vector images and bitmap.

Images in motion. Duration control.

Audio. Duration control.

Color theory and its applications in relation to the output format: RGB. CMYK. Color treatment in the video signal.

Editing with specific fixed image processing software.

Editing with specific video and audio software.

Editing with specific animation generation software.

6. Audio and video capture procedures

Capture devices and configurations.

Compression systems.

Streaming ("Streaming"). "Codecs".

Exporting to different formats.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-The domain of knowledge and techniques related to the generation and adaptation of the audiovisual content of own and external multimedia, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

TRAINING MODULE 3: INTEGRATING ELEMENTS AND SOURCES USING AUTHORING AND EDITING TOOLS

Level: 3

Code: MF0945_3

Associated with UC: Integrating elements and fonts using authoring and editing tools

Duration: 180 hours

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 an "on-line" product scenario, on optical or hybrid support, characterized by the dash:

-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, pulldowns, keys, among others) while respecting the minimum standards required for usability and accessibility.

-Define the order of focus changes.

CE1.3 In a practical scenario on integrating text sources into an on-line product, on optical or hybrid support, characterized by precise technical documentation:

-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 internal or external database to the playback device).

-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 scenario of integration of a source of video, animations or audio, in an on-line product, in optical or hybrid support characterized by the precise technical documentation:

-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 necessary while respecting the required minimum standards of usability and accessibility.

CE1.5 In a practical scenario of an interactive multimedia product on-line, in optical or hybrid support characterized by the precise technical documentation:

-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 simulation of an interactive multimedia project on-line, in optical or hybrid support establish the narrative character from the times and the presence and movement of the sources.

CE2.4 In a scenario of a project that integrates audio and/or video characterized by the precise technical documentation:

-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.

C3: Integrate interactive elements to screens or pages, according to the criteria defined in a multimedia audiovisual project.

CE3.1 Describe the different possibilities (drop-down lists, selectors, hidden), states (activated, passive, on, out, and others) and functional characteristics of the interactive elements (buttons and input fields) can be applied to a project.

CE3.2 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).

CE3.3 In a practical scenario of an interactive product with forms characterized by precise technical documentation:

-Define the required input text fields.

-Give variables to the different fields.

-Set the appropriate validation mechanisms according to the field type.

-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.

CE3.4 In a practical scenario of an on-line product, on optical or hybrid support characterized by precise technical documentation:

-Generate events preset by the author software, independent of the user (pop-up, run animations, characters, 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.

C4: Determine and add the tags from the editors and the author software, adjusting them to the narrative parameters of an interactive multimedia project.

CE4.1 Define the programming algorithm for each part of the interactive multimedia project.

CE4.2 Identify the variables and functions required for use in an interactive multimedia project.

CE4.3 In an "on-line" product scenario, on optical or hybrid support characterized by accurate technical documentation:

-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.

-Establish the connection to the databases (in the case of mobile devices, they can be located on the device itself or they can be external and accessible through some "on line" interface).

CE4.4 In a practical scenario of using the author software characterized by the precise technical documentation:

-Configure the workbench to enter the code (define parameters, install "plugins" or modules required, emulators, or others).

-Enter and insert the custom code.

-Check the syntax and logic of the code.

-Running the code (emulator).

-Debug of the code (logs query).

-Check and update views.

CE4.5 In an "on-line" product scenario, on optical or hybrid support characterized by accurate technical documentation:

-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, others).

-Adjust the variables to the narration (be temporary, playback speed, difficulty, counters, cookies, among others).

CE4.6 Generate dynamic information and operate with it from connections to databases, files, formatting from the code and performing the necessary operations to get the updated result.

CE4.7 Generate dynamic charts that allow user interaction.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Text integration techniques

Composition Schemas.

Screen Formats.

Using sample images.

Creating job templates.

Defining style sheets.

External configuration files.

Optimization of sources.

2. Typography

Communicative and aesthetic features of fonts.

Parts of sources.

Fonts formats.

"Kerning" and "Tracking".

Typography.

Alignment.

Spacing.

Paragraph specifications.

Size and color.

Special effects.

Static and dynamic sources.

3. Integration procedures and techniques with authoring tools

Author Tools. Predefined elements and manual code editor.

Features features of each software.

Configuring the interface or work window: palettes.

Time lines: key frames, paths, loops, playback speed. Properties: size, color and transparency. Actions or events. Synchronization (audio, video, or other). Animation techniques.

Interactive elements.

Structuring files according to software: location and synchronization of sources.

Exporting and importing sources.

Using templates.

4. Author languages

Author language standards.

Installing and configuring the workbench ("framework", "plugins", emulators, auxiliary tools).

framework APIS for mobile devices (accelerometer, geolocation, camera, and others).

Hypertext markup language and style sheets.

Programming: Variables. Conditions. Functions. Generating elements and sources from code. Operations with variables. Data inputs and outputs.

Operations with objects. Connections and operations with databases (internal or external). Data storage ("cookies", databases, auxiliary memory). Dynamic information generation (texts, images).

Event Generation: Predefined behaviors. User event capture (interactive elements). Control of temporary (system) events. System recognition and configurations.

Running and debugging the code.

5. Configurations and publishing (compilation)

Media and systems for backups.

Publishing and compilation procedures. Packaging.

Maintenance of product versions and updates. Repository of artifacts.

Compatibility with different platforms.

Publishing the product to different application virtual stores (mobile devices).

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the integration of elements and sources using authoring and editing tools, which will be accredited by one of the following two ways:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

TRAINING MODULE 4: PROTOTYPE EVALUATION, QUALITY CONTROL, AND INTERACTIVE MULTIMEDIA AUDIOVISUAL PRODUCT DOCUMENTATION

Level: 3

Code: MF0946_3

Associated with UC: Perform the prototype evaluation, quality control, and documentation processes for the interactive multimedia audiovisual product

Duration: 90 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 In a practical scenario of an on-line product, on optical or hybrid support characterized by precise technical documentation:

-Identify the usability and accessibility 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.

-Perform reports at all phases of the project to ensure compliance with the objectives (functional requirements, deadlines, costs).

CE1.4 In a scenario of analysis of a particular project characterized by the precise technical documentation:

-Setting the different evaluative concepts to value, at this point the query of the functional requirements catalog, use case diagrams, and previously obtained test plans will be useful.

-Analyze test results and test reports or evaluation tests.

-Check all screens and controls in the project (use of emulators if required).

-Verify the dependencies of the files and other components of the project.

-Check the project on the different platforms or devices where it can be played.

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 systems and user assistance based on the specifications of an interactive multimedia project. In the case of products such as video games or applications designed for mobile devices, the assistance and assistance information to the user will be included in the product itself.

CE2.3 In a practical scenario of an on-line help manual characterized by the precise technical documentation:

-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 an interactive multimedia project.

CE3.8 In practical case of a publication characterized by the precise technical documentation:

-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 (or package in the case of application development for devices) and the master.

-Play on end device.

-Back up the entire project, source, and master.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Maintaining interactive multimedia products

Tracking and interpreting "on line" product access statistics.

Interpretation of external projects for maintenance.

Customer and production team update systems.

On line product security control.

Detection of new technologies for the upgrade and optimization of products made.

Version Management System.

2. Interactive multimedia audiovisual product finishing processes

Application debugging and optimization systems.

Features of the different deployment platforms.

Security protection of the finished project.

Technical support and user assistance systems.

Creating log systems.

User validation.

Anti-copy systems.

Typology of open source programs and use of payment licenses.

3. Quality control of the interactive multimedia audiovisual product

Quality criteria.

Evaluation of "usability" and accessibility of multimedia products.

Elaboration of questionnaires.

Quality regulations.

Quality technical report types and structure.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the performance of the processes for the evaluation of the prototype, quality control and documentation of the interactive multimedia audiovisual product, which will be accredited by one of the following two ways:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

ANNEX V

Professional qualification: audiovisual assembly and post-production

Professional Family: Image and Sound

Level: 3

Code: IMS296_3

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, performing the assembly by integrating post-production tools, as directed by the Director or Director, and by providing own criteria.

Competition Units

UC0947_3: Schedule the process of mounting and postproduction of an audiovisual product

UC0948_3: Preparing the materials and effects required for assembly and post-production

UC0949_3: Perform the assembly by integrating post-production tools and diverse source materials

UC0919_3: Coordinate final assembly and post-production processes to generate the final audio-visual product

Professional Environment

Professional Scope

Develops its professional activity in the area of cinematographic and audiovisual performance in the assembly/editing room or post-production of film and video producers, television stations and communication departments, dedicated the assembly and post-production of audiovisual products in companies of any size, public and private, regardless of their legal form, whether they are self-employed or freelance. It develops its activity depending on the functional and hierarchically of a superior (film director or film director or audiovisual works). The principles of universal accessibility are applied in the development of professional activity in accordance with the applicable regulations.

Productive Sectors

It is located in the audiovisual sector: film, video and television production at international, national, regional and local levels, whatever its broadcasting system, communication departments of large companies and in any another sector that has any of these activities.

Relevant occupations and jobs

The terms of the following relationship of occupations and jobs are used with a generic and omnicomprensivo character of women and men.

Film and video assemblers

Technical Assemblers

Mount Helpers

Image mounts

Etalonators

Colorists

Post-production operators

Edit Operators

Associated Training (510 hours)

Training Modules

MF0947_3: Planning for mount and postproduction (120 hours)

MF0948_3: Preparing mount and post-production (150 hours)

MF0949_3: Mount and post-production operations (150 hours)

MF0919_3: End-mount and post-production processes (90 hours)

COMPETITION UNIT 1: PLAN THE PROCESS OF MOUNTING AND POSTPRODUCTION OF AN AUDIOVISUAL PRODUCT

Level: 3

Code: UC0947_3

Professional Realizations and Realization Criteria:

RP 1: Identify project features to optimize the assembly/editing process according to the specificity of the script or scale, part of script and/or minute.

CR 1.1 The project documentation is analyzed by collecting the maximum information to identify the technical means, the gender and the narrative and expressive intentionality of the audiovisual product.

CR 1.2 The technical characteristics, working formats, post-production systems, expressive elements, special effects and technical procedures most advisable for the realization of the project are determined, analyzing their objectives by detailed reading of the script and meetings with the director/director.

CR 1.3 The takes that require some process of mounting/editing or applying specific effects are identified by communicating with the director/performer and the different departments involved.

CR 1.4 The technical effects of the final assembly/editing that need specific conditions during the shoot are identified and reported according to the director/director.

RP 2: Determine the needs of technical equipment and installations for the realization of the assembly/editing or post-production and the application methodology, depending on the project and budget characteristics.

CR 2.1 The technical equipment, facilities and tools are determined considering those that, within the established budget, best satisfy the technical particularities and the narrative and expressive requirements of the audiovisual product.

CR 2.2 The technical characteristics and performance of equipment and installations are checked and adjusted to the needs of the project, taking into account the compatibility of systems and formats to be used.

CR 2.3 The catalog of medium/audiovisual elements that will integrate the assembly/editing and final post-production is established considering the project's characteristics.

CR 2.4 The catalog of processes and technical means required for assembly and final post-production is determined by designing the methodology to apply them.

RP 3: Design the work plan to optimize the assembly/editing and post-production according to the available project, time, and budget characteristics.

CR 3.1 The work organisation chart is designed, establishing the necessary workflow between the different technical and human teams involved in the production of the audiovisual product.

CR 3.2 The assembly/editing and post-production plan setting out the most appropriate mounting techniques for the equipment used is made in the light of the best adequacy of the equipment performance and the narrative intent and expressive of the audiovisual product in order to optimize time and effort.

CR 3.3 The time chart to reconcile the work of different teams is designed to avoid overlapping of incompatible tasks and the existence of dead time and advising the production team to facilitate the coordination of the work plan with the entire project.

Professional Context:

Production media:

Computer equipment, specific software for planning assembly/editing and post-production, telephone and internet media, office equipment.

Products and results:

Mount/Edit and Post-Production Job Plans. Part of post-production. Lists of technical and human needs and parts with technical indications for the service accumulation equipment.

Information used or generated:

Audiovisual projects. Technical script. "storyboard". Dash of assembly. Scalets. Parts of "script". Minutets. Catalogues of assembly and post-production equipment. Lists of support companies for assembly and post-production. Technical needs listings. Post-production and finishing processes. Time diagrams.

COMPETITION UNIT 2: PREPARE MATERIALS AND EFFECTS REQUIRED FOR ASSEMBLY AND POST PRODUCTION

Level: 3

Code: UC0948_3

Professional Realizations and Realization Criteria:

RP 1: Check the provision and technical quality of the materials needed in the assembly/editing or post-production to optimize the process according to the assembly/editing and post-production plan.

CR 1.1 The correspondence between the external identification of the physical media (magnetic, optical, photosensitive, digital) of the media, and the content indicated in the program documentation (script, scale, parts of (camera) is verified, and if necessary, corrected or corrected.

CR 1.2 Copies and/or format conversions of physical media (magnetic, optical, photosensitive, digital) of media are made compatible with the technical means and post-production tools chosen and verifying their technical quality.

CR 1.3 The integrity of the time codes in the physical media is checked, and if any, are rewritten when the codes present interruptions and/or discontinuity.

CR 1.4 The matching of the time codes of sequences from simultaneous recordings is checked, verifying the correspondence between the original and adopting time codes and the time codes appropriate measures for your solution when problems occur.

CR 1.5 Screen time code viewing copies are generated by facilitating the preparation of the material to be edited.

CR 1.6 The availability of all the images, audio, graphic material and 2D/3D animations detailed in the program documentation is checked to verify their technical quality.

CR 1.7 The compliance with the necessary technical requirements is checked in the shots intended to be combined by embedding and/or in which any other type of post-production effect or treatment has to be applied.

CR 1.8 The particularities and incidences detected in the viewing that need to be taken into account in subsequent processes such as time code error, drops, digital artifacts, saturation or inversion of tracks audio, physical defects in the image, among others, are noted taking the appropriate steps for your solution.

RP 2: Store image, audio, infographic and animations 2D/3D materials, to enable them to be further used from the selected assembly/editing and post-production platform, with criteria for the optimization of the resources computer and storage.

CR 2.1 Physical media container media are accurately identified in the system, taking into account established protocols, enabling their unambiguous location and, where appropriate, media recapture.

CR 2.2 Input parameters are adjusted so that audio and image correspond to the quality standard required by the media and/or broadcast media for which it is produced.

CR 2.3 The 2D/3D image, audio, infographic and animations files are taken on shared servers in a networked workbench when different teams are involved, each of which is backed up them.

CR 2.4 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 a First capture at "off-line" quality, the recapture to the final quality is verified.

RP 3: Determine and prepare the effects to meet the requirements of the audiovisual project according to the available image, audio, infographic and animations 2D/3D materials.

CR 3.1 The narrative requirements expressed in the script and available images are analyzed to select the most appropriate effects.

CR 3.2 The procedure for making those effects that have to be introduced in the assembly/editing phase and that due to its peculiarities or limitations of the system cannot be obtained directly, is designed proposing the most effective additional software tool, the most appropriate platform, the equipment commissioned to perform it, and the relevant instructions for its implementation.

CR 3.3 2D/3D masks and animations not yet available are generated by reserving them for the composition of images that require it.

CR 3.4 The material that requires "rotoscopy" and/or motion capture effects, among others, is selected by sending to the corresponding team.

CR 3.5 The guidelines for the program's graphism and tag-out are indicated when these processes are to be performed on an external platform.

CR 3.6 Capture and subsequent recording in an exchange medium and in the required format, is performed for those materials that have to be introduced into the assembly/edition and that have to be sent to a platform external to the application of effects or for any other specific treatment.

RP 4: Select and organize 2D/3D image, audio, infographic and animation materials for use in the assembly session.

CR 4.1 The clips corresponding to each shot are generated, identifying their content and scoring the relevant comments or, if necessary, moving the log contained in the camera or 'script' part to the system.

CR 4.2 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 'pietaje' according to the duration provided in the script, maintaining a coleo by in front of and behind these points, which allows for more precise subsequent adjustment.

CR 4.3 The clips are sorted and grouped by sequences, scenes, valid takes and durations, depending on the criteria set, so that they are easily localizable in the assembly/editing session.

CR 4.4 Leftover materials and discards are ordered, sorted, and archived, making it easier for them to recover.

CR 4.5 The images and their corresponding audio are synchronized from the image and sound marks of the claquettes or any other reference.

CR 4.6 The "takes" or takes necessary for the audio bending sessions are prepared, classified and provided in the appropriate support to the dubbing room, in cases where the audio dubbing is necessary before of the mount.

Professional Context:

Production media:

Video and audio post-production room, video and/or audio storage media (hard drives, memory cards, blue laser disks), video and audio postproduction equipment, audio playback systems (headphones, monitors), audio recording and storage systems (DAW, field recorders, among others), intercom systems, video monitors, specific software (for video and audio editing and postproduction, composition of 2D and 3D effects, infographic, etalonage, among others), printers, office materials, manuals and Sound effects libraries, negative scanners, projectors.

Products and results:

Copies and format conversions. Time-code viewing copies on screen. Identified physical media. Masks. 2D and 3D animations. 'Rotoscopies'. Catch of movement. Recordings in exchange support for effects on external platforms. Classified image and sound clips. Sorted discards, Images, and synchronized sounds. "Takes" or classified audio shots.

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: COMPLETE THE ASSEMBLY BY INTEGRATING POST-PRODUCTION TOOLS AND DIVERSE SOURCE MATERIALS

Level: 3

Code: UC0949_3

Professional Realizations and Realization Criteria:

RP 1: Operate with the various assembly/editing teams according to the needs and resources of the audiovisual project production.

CR 1.1 The mechanical and/or electronic operation of the equipment to be used is checked according to the parameters required by the project.

CR 1.2 Non-linear editing computer equipment, electronic equipment of linear editions and the mechanics of film assemblies are configured and operated according to the needs of the project and according to the format of the recorded material.

CR 1.3 The different image and sound shots are handled properly, preventing their deterioration and loss of quality.

CR 1.4 The mount/edit points are precisely located and marked, depending on the post-production part.

CR 1.5 The assembly/editing is done by ensuring the narrative continuity and the expressive needs of the audiovisual project by introducing, if necessary, the appropriate transitions.

CR 1.6 The result of the mount/edit operation is visited and approved according to the director/performer.

CR 1.7 The sound mixture, when the sonorization (construction of the soundtrack) is carried out by the assembler/editor, it is realized, together with the director/director, the achievement of the narrative results and Desired aesthetics.

CR 1.8 The sound mixture, when the sonorization (construction of the soundtrack) has been done in an external sound room, is synchronized and turns on the final assembly/editing of the image by making the corresponding adjustments to be checked, together with the director/director, that the desired narrative and aesthetic results are achieved.

CR 1.9 The maintenance of use of the various equipment and materials required for assembly/editing is executed in accordance with the established procedure.

RP 2: Generate effects with own tools, or with tools external to the specific editing system, to be introduced into the project.

CR 2.1 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.

CR 2.2 The adequacy of the materials is checked according to the tools to be used, making them the appropriate format if necessary.

CR 2.3 The effect is generated and animation is applied if necessary, validating the different phases of the execution process.

CR 2.4 The result obtained is visited by checking its quality and adaptation to the requirements set by address/realization.

CR 2.5 The generated effect is introduced into the assembly by checking that it conforms to the desired format, definition, and rhythm under the direction/realization monitoring.

CR 2.6 Effects from external tools to the post-production system are introduced into the assembly and approved by direction/realization.

RP 3: Check the results of assembly/editing and post-production, introducing corrections if needed, to ensure the achievement of aesthetic and narrative integration according to the objectives of the audiovisual project.

CR 3.1 The result of the first assembly/editing 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.

CR 3.2 The deficiencies, if any, are detected by establishing the appropriate solutions with direction/realization.

CR 3.3 The overall rhythm of the narration is evaluated with direction/realization, with possible changes or substitutions.

CR 3.4 The recording of extra shots at the intended ones is valued along with the director/performer obtaining the intended narrative intent.

CR 3.5 The expected duration and the obtained duration is compared and, if necessary, the result of the assembly/edition is adapted to the expected time.

CR 3.6 The result of the assembly is corrected scene to scene maintaining continuity in luminosity and chromaticity.

CR 3.7 The planes that require specific luminosity and chromaticity corrections are selected and the corresponding effect is applied, by means of masks or selection of specific tones, applying "tracker" when it is required.

CR 3.8 The scene-to-scene chromaticity applies to the final assembly, depending on the subjective sensations of the color, the narrative intent of the director/performer, and the technical indications of the director of photography.

RP 4: Manage and manage data and materials on computer media to enable your exchange in editing/editing processes on other systems other than editing or post-production.

CR 4.1 The availability of all necessary materials and attachments is ensured to carry out additional or complementary work on different assembly/editing and post-production platforms.

CR 4.2 Documents based on the most standardized information exchange protocols are elaborated by facilitating the work on external platforms.

CR 4.3 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.

CR 4.4 The import and conformed of the data and exchange materials is checked for approval.

CR 4.5 The data that constitutes the mount/edit project is saved by favoring subsequent adjustments, updates, and follow-ups.

Professional Context:

Production media:

Video and audio post-production room, video and/or audio storage media (hard drives, memory cards, blue laser disks), video and audio postproduction equipment, audio playback systems (headphones, monitors), audio recording and storage systems (DAW, field recorders, among others), intercom systems, video monitors, specific software (for video and audio editing and postproduction, composition of 2D/3D effects, infographic, etalonage, among others), negative scanners, projectors, magnetoscopes, video mixing table, audio mixing table, video monitors, audio monitors, effects generator, synchronism generator, exchange network, film assembly equipment (moviolas, numerator, winders, Film material meters and meters).

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, 2D and 3D animations, master, sound bands, repon. Materials and final products: audiovisual products for cinema, video, television and multimedia devices, incorporation of special effects, graphics, headers.

Information used or generated:

Mount and post-production plans. Dashes. Scalets. Script parts. 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. Recording list of extra shots. "storyboard".

COMPETITION UNIT 4: COORDINATE THE FINAL ASSEMBLY AND POST-PRODUCTION PROCESSES TO GENERATE THE FINAL AUDIOVISUAL PRODUCT

Level: 3

Code: UC0919_3

Professional Realizations and Realization Criteria:

RP 1: Draw up documents with instructions that include effects and tricks to be performed by laboratories or other complementary post-production rooms.

CR 1.1 The material from a previous "off-line" edition is physically assembled by making material localization listings of all the media that are involved in the assembly/editing.

CR 1.2 The photochemical support planes that are involved in the assembly/editing are selected by requesting the laboratory for their preparation and cleaning before they can be scanned.

CR 1.3 The graphics needed to scan the photochemical are made and provided to the appropriate laboratory by monitoring the work.

CR 1.4 The listings necessary for the conformation of the original material, whether it is original photochemical, electronic or digital, are elaborated, leaving them ready to perform the conformation, including the effects of assembly/editing and replacing the new procedures with special post-production effects.

CR 1.5 The shaping process is done by providing the necessary information and tracking it if it runs on external teams.

CR 1.6 The listings that allow the localization of the original material, photochemical, electronic or digital, for the realization of special effects of post-production of a previous edition "off-line", are elaborated by the criteria for obtaining masks, image stabilization, 2D/3D animations, rotoscopy works and for the composition and integration of images from different sources.

CR 1.7 The material needed for the realization of special post-production effects is gathered and provided to the corresponding team, making the necessary conversions of the image files and delivering all the properly labelled material.

CR 1.8 The criterion for monitoring the most favourable duplication process for photochemical, electronic or digital originals is adopted and applied in all intermediate steps.

CR 1.9 The result of the conformation process is verified with the off-line edition of the source, ensuring that it is done with the original top quality files.

CR 1.10 The information and materials required by each team involved in the image and sound assembly/editing are provided during the post-production process.

RP 2: 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.

CR 2.1 The criteria and method of image and sound synchronization are provided, taking into account the rules established in each of the processes and formats.

CR 2.2 The listings for the conformation of the original sound material of a previous "off-line" edition are elaborated, ensuring that the audio clips correspond to their originals.

CR 2.3 The timely conversions of the sound files are prepared and carried out to be used in the audio post production, ensuring their compatibility and the required quality.

CR 2.4 The compilation of the soundtrack (music, effects and dialogs) is verified by checking that the tracks have been mixed according to the exchange standards in order to prepare the master's distribution for versions in different languages.

CR 2.5 The quality regulations applicable to the different display and sound recording formats generated in the audio postproduction process, as well as the distribution material, are applied by verifying compliance.

RP 3: Generate the final master copy by valuing its result, documenting and archiving all the material used.

CR 3.1 The result of the final assembly/editing is verified by verifying that the aesthetic and narrative integration defined for the audiovisual product is achieved.

CR 3.2 The result of the final mount is dumped on the target media or media, obtaining the master copy.

CR 3.3 The master copy is visited by checking that the media does not have physical defects or technical errors occurred during the final conversion process.

CR 3.4 Image, sound, infographic and animations 2D/3D materials, used and generated in the post-production process, are verified, identified and classified for their file.

CR 3.5 Physical media is recycled for later use, and the unnecessary computer files are removed by freeing the storage units from space.

CR 3.6 The information and data generated during the mount/edit process is ordered and archived for location and foreseeable use later.

RP 4: Apply the specific technical requirements to deliver the end product to the customer.

CR 4.1 The 'mastering' format best suited to the project application is chosen, taking into account its display window (cinema, television, multimedia devices, internet, among others).

CR 4.2 The most convenient post-production methodology for obtaining the target aspect ratio is proposed based on the assessment of the different aspect ratios of the source material and its window display.

CR 4.3 The duplication or tracking work of the same is done by obtaining master's duplicates and emission/display copies.

CR 4.4 The film, videographic or multimedia display format for mobile devices or the internet most suitable for the application of the project is chosen, according to the objective pursued by the audiovisual product.

CR 4.5 The application of the technical standardisation criteria and the accompanying supplementary documentation of the master and copies of the emission/display, is performed and/or verified considering the requirements of the recipient.

CR 4.6 The layout of audio tracks on the different media is performed or verified in accordance with the requirements of the client, the multi-channel coding system or the emission chain.

CR 4.7 The placement of the customer or chain of emission claquettes in the place and information is performed or verified by adjusting to the different media.

CR 4.8 Final product copies are made by generating different distribution formats (DVD, Blu-ray, video on demand, "streaming", direct download or other exchange support), for viewing and/or evaluation.

rofesional p Context:

Production media:

Video and audio post-production room, video and/or audio storage media (hard drives, memory cards, blue laser disks), video and audio postproduction equipment, audio playback systems (headphones, monitors), audio recording and storage systems (DAW, field recorders, among others), video monitors, specific digital shaping software, negative scanners, projectors.

Products and results:

Material identification listings. DVD, Blu-ray, video on demand, streaming, direct download, or exchange media. Copies of broadcast or exhibition. Master and duplicates. Sound file conversions. Soundtracks.

Information used or generated:

Mount and post-production plans. Dashes. Scalets. Minutets. Rules of application to "masters" for television channels (ready for broadcast or broadcast). EDL and FCL listings. Instructions for external teams involved in the post-production of image and sound and performance of special effects.

TRAINING MODULE 1: MOUNT AND POSTPRODUCTION PLANNING

Level: 3

Code: MF0947_3

Associated with UC: Plan the process of mounting and post-production of an audiovisual product

Duration: 120 hours

Capabilities and evaluation criteria:

C1: To differentiate the main theories and techniques of the audiovisual assembly by 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 effects and transitions included in audiovisual productions.

CE1.4 Identify and define the technical documents (hyphen, scale, decorated floor, work plan, among others) interpreting its structure, codes and symbology used.

CE1.5 Deduct from the technical documentation (technical script, scale, decorated 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.

CE1.6 Explain the narrative underpinnings of the assembly according to the treatment of time, space, and idea or content.

CE1.7 Compare the various classic theories of the assembly by identifying their fundamental elements and concepts.

CE1.8 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 the 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 photochemical and digital 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.

-Mount on line and off line mount.

-Function of edit lists (EDLs).

-Composition of special effects.

-2D/3D Animations.

-Editing, postproduction, and mixing of the sound.

CE3.4 On editing and post-production equipment, specifying the performance and performance of the analog and digital equipment and tools used:

-In video editing.

-In the video image mixture.

-In generating video effects.

-In character generation.

-In the realization of graphism.

-To measure, control, adjust, and correct the video signal.

-In audio editing, mixing, and postproduction.

CE3.5 Explain the performance and performance of equipment and materials used in the assembly of audiovisual productions.

CE3.6 Describe the equipment of the realization control: monitors, magnetoscopes, mixing table, 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 post production of video programs and the generation synthetic images.

C4: Rate the characteristics of the different formats and systems of cinema, video and audio used in the production of audiovisual programmes.

CE4.1 Classify the different video formats, differentiating the technologies used, describing the functions and characteristics of their tracks and differentiating the different codecs that a format can use.

CE4.2 Identify and relate the most relevant features of different film formats.

CE4.3 Describe video compression systems, files, and formats as well as codecs 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 the recording characteristics of each format to different recording media (memory cards, blue laser disks, or hard drives).

CE4.6 Describe the multigeneration capabilities of different video and audio 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.

C5: Plan the processes of mounting/postproduction of a characterized project, preparing the corresponding technical documentation.

CE5.1 Express the different suitability criteria for different models of assembly rooms based on their capabilities and configuration.

CE5.2 Interpret the documents used in the audiovisual performance (scripts, escales, minuts).

CE5.3 Describe the necessary post-production phases and processes based on the type of mount.

CE5.4 Reflect on a standardized organizational plan the activities of the assembly and/or post-production, and the necessary resources, within the time limits foreseen in the project.

CE5.5 In a practical scenario of an audiovisual program properly characterized by a script or step and a work plan:

-Define the narrative and expressive intentionality of the hyphen.

-Identify the technical mounting/postproduction media.

-Identify the required documentary sources.

-Schedule the mount/postproduction, preparing the mount and post-production plan.

-Develop a report by justifying decisions taken

-Develop the technical documentation of the assembly/post-production process.

Capabilities whose acquisition must be completed in a real workbench:

C4 full; C5 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. The film, video and television industries

Industry companies.

Organizational structures.

Interrelation of companies or departments in the different phases of a project.

The audiovisual professions.

Systems and production strategies.

Film and audiovisual genres.

2. Audiovisual language and narrative

Composition rules.

Visual representation elements and their articulation.

Visual communication language.

Visual and sound codes in the cinematic narrative.

Time and space in audiovisual storytelling.

Audiovisual continuity elements and principles.

Movement and audiovisual rhythm.

3. The audiovisual assembly and its planning

Theoretical evolutions of the mount.

Assembly and soundtrack: expressive and narrative value of sound. Classification of the assembly according to the treatment of the mode of production, the time, the space and the idea or content.

Expressive and narrative value of effects and transitions of video and audio.

Types of mount scripts and auxiliary documentation.

Mount planning techniques.

The technical analysis of the hyphen.

Types and configuration of movie assembly rooms: equipment, functions, and selection criteria.

Types and configuration of analog and digital editing rooms and video postproduction: equipment, functions, and selection criteria.

Types and configuration of audio, video, and television take and post production rooms: equipment, functions, and selection criteria.

The human team.

The technical documentation of the assembly process.

4. Technological bases of cinema, video and television

The movie camera. The goals.

The film. The image takeover.

Mount and post-production.

Technological principles of television. Colorimetry.

The television camera.

Digital television.

The recording of video signals.

Formats and video systems.

The effects on post-production.

Distribution formats: memory cards, hard drives, blue laser disks, CDs, and DVDs.

Television studios.

The television broadcast.

5. Sound technology bases

Sound characteristics.

Analog and digital sound.

The fetch.

The recording.

Editing, postproduction, and mixing.

The construction of the soundtrack.

Sound for film, video and television.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the planning of the process of mounting and post-production of an audiovisual product, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

FORMATIVE MODULE 2: PREPARATION OF THE ASSEMBLY AND THE POSTPRODUCTION

Level: 3

Code: MF0948_3

Associated with UC: Preparing the materials and effects required for assembly and post-production

Duration: 150 hours

Assessment capabilities and criteria:

C1: Analyze, in audiovisual projects, the provision of the materials necessary for the assembly/post production to ensure their identification, compatibility, technical quality and/or possible errors and optimize the process of assembly.

CE1.1 In a practical scenario of an audiovisual product duly characterized by the dash, scale and camera parts, verify:

-The correct external identification of physical media (magnetic, optical, photosensitive) media.

-The correspondence of your content with the one indicated in the program documentation (dash, scale, camera parts).

-Time code mappings.

CE1.2 Perform compacted, display copies with screen time code, duplicates and/or format conversions of media physical media (magnetic, optical, photosensitive).

CE1.3 Minute and pertinently describe the contents of a physical media.

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 practical cases, the particularities and incidents that need to be taken into account in later processes such as error of code of times, "drops", digital artifacts, saturation or investment of audio tracks, physical defects in the image, among others.

C2: Determine and prepare, in the editing room, the architecture of the equipment, the connection of the peripherals and the configuration of the most common operating systems.

CE2.1 "Enrule" digital data streams and signals via "patch panels", arrays, distributors, switches, and computer networks.

CE2.2 Perform connection and configuration of network-ready computer equipment (IP, WLAN, LAN).

CE2.3 Synchronize by means of a waveform monitor and a vectorscope the technical quality of the images.

CE2.4 Verify the capacity and configuration of the server for the consumption of audiovisual material.

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, in order to allow for their unequivocal localization and, where appropriate, the reuptake of media.

CE3.2 Adjust input parameters in the capture system (signal type selection, compression ratio, sampling frequency, among others) based on the quality standard required by 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: Determine the effects of image, graphics and production labeling according to narrative criteria and availability of materials and resources.

CE4.1 Determine the most appropriate effects based on the narrative requirements expressed in the script and available images.

CE4.2 Select the most appropriate platform for obtaining a given effect.

CE4.3 Select additional software tools ("plug-in") necessary for the elaboration of a given effect.

C5: Prepare image effects, graphics, 2D/3D animation, and tag out to perform them on an editing system or on an external platform by selecting and facilitating the shipment of the materials.

CE5.1 Plan the process of making an effect even when it involves the partial realization of certain elements or phases, on different platforms.

CE5.2 Describe the process of generating masks, rotoscopies, or motion capture for image composition.

CE5.3 Describe the process of generating patterns and models of graphism, 2D and 3D animations and tag-out of the program.

CE5.4 Develop a report with the guidelines for the graphics, 2D and 3D animations and tag out of the program to be carried out on different platforms.

CE5.5 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.

C6: Organize selected image and sound materials based on their content for identification and use in the subsequent assembly process.

CE6.1 In a practical scenario of an audiovisual program duly characterized by the raw material of a recording or filming introduced in the system:

-Select the fragments corresponding to each valid take, identifying their content and scoring the relevant comments or, if necessary, moving the system log from the camera or "script" part to the system.

-Mark the entry and exit points of 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 these points that allows for more accurate later tuning.

-Classify video segments by sequences, valid shots, and durations, depending on the criteria set, so that they are easily reachable in the assembly session.

CE6.2 Synchronize the raw data from different sources that have performed a concurrent record on the timeline.

CE6.3 Select, classify, and identify image, audio, graphics, masks, among others, that have to be used for effect processing.

CE6.4 Classify and identify previously elaborated materials for tag-out, 2D/3D animation, and graphics.

CE6.5 Classify and identify audio materials generated in room or from pre-existing recordings.

CE6.6 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.

CE6.7 Prepare, classify, and make copies on a given support of the required takes or takes for audio bending sessions.

CE6.8 Organize and archive leftover materials and discard them so that their subsequent recovery is performed easily and quickly.

Capabilities whose acquisition must be completed in a real workbench:

C5 complete; C6 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Editing and editing

Video and audio playback equipment (magnetoscopes, computer equipment, and networked servers).

Time codes and control track.

The video, monitoring, tuning, and synchronization signal.

Equipment for adjusting and correcting the video signal.

Remote equipment control.

Audio treatment.

2. Configuring analog and digital systems

Signal and compatibility management.

Analog device conexion.

Digital Device Conexion.

3. Managing the flow of tokens and data

"Enruted" Signals.

Checking, preparing, and treating editing materials.

Media and material storage systems.

Networks.

4. Digital Edition. Connection and configuration

Non-linear edit. Connection. Working procedures. Sonorization.

Computer equipment. Configuration and element integration design.

Video editing software. 2D and 3D video effects composition software.

Audio editing and mixing software.

Schedule of the job. Procedures.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the preparation of materials required for assembly and post-production, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

TRAINING MODULE 3: MOUNT AND POSTPRODUCTION OPERATIONS

Level: 3

Code: MF0949_3

Associated with UC: Perform assembly by integrating post-production tools and diverse source materials

Duration: 150 hours

Assessment capabilities and criteria:

C1: Perform, in an editing room, the tuning and maintenance 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 the process of adjusting video and audio levels, checking that its quality and resolution are in line with the project's needs.

CE1.3 Verify that the configuration of network-ready equipment allows file shipments to be fluid.

CE1.4 Adequating resolution, aspect ratio, and coding features, among others, from the project to the recorded material.

C2: Perform the assembly/post-production of audiovisual products, operating the equipment with dexterity and applying the theories, codes and assembly techniques.

CE2.1 Verify that the technical characteristics of the timeline correspond to that of the project, modifying it if necessary.

CE2.2 Select input and output points in the raw material, which correspond to the plan to edit.

CE2.3 Intercaling video and audio clips on the timeline, adjusting their duration if necessary, with specific settings tools ("trimmer", "rolling", "slide", among others).

CE2.4 Operate a non-linear mounting system in the "insert", "assemble" modes, depending on the specific needs of the mounting process.

CE2.5 Perform an off line mount from a recording scale by generating the corresponding EDLs.

CE2.6 In an audio scenario of a given program properly characterized by the raw material of a recording or filming introduced in the system:

-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.

CE2.7 Perform an edition on an issue medium, following certain PPD rules (ready for broadcast or broadcast).

CE2.8 In a practical scenario of an audiovisual program duly characterized by its corresponding materials, perform the assembly/editing by valuing that the assembled product has:

-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 phases and tools required for the elaboration of a particular effect.

CE3.2 Set and generate the precise external keys to perform luminance and/or chrominance substitution on a given image, deciding the type (luminance, chrominance, 'matte', by difference) and processed more appropriate for each case.

CE3.3 Determine and generate the effects of masks, rotoscopy and motion capture needed in the audiovisual project.

CE3.4 Generate image speed variation effects (frozen, idle, accelerated) by determining the appropriate processing type for each case.

CE3.5 Generate a range of basic effects through the domain of specialized software programs.

CE3.6 Generate and insert required tag out of additional software or character-generating equipment into a mount sequence.

CE3.7 Generate 2D/3D animations according to the requirements of the audiovisual project.

CE3.8 Integrate and adapt effects from external platforms to mount.

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 luminance and chrominance of the scene-to-scene planes, determining the parameters to be modified and the level of image processing (with own tools or with additional equipment and software).

CE3.12 In a practical scenario of an audiovisual programme duly characterised by the script and recordings of various 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.

-Dote of a chromacity specifies each scene of the project.

C4: Evaluate the results of a particular mount to detect the gaps and perform the final rhythm and duration settings.

CE4.1 Contrasting the achievement of the program's communicative objectives with the project's communicative objectives.

CE4.2 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.

CE4.3 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.

CE4.4 Verify the maintenance of image and sound continuity between planes.

CE4.5 Rate the narrative and expressive functionality of the effects as well as their technical correction.

CE4.6 Control the perfect synchrony between the image and sound bands.

C5: Apply standardized information exchange protocols to materials that require post-production treatment on external platforms.

CE5.1 Describe the processes that ensure the availability of all the materials and attachments required to carry out additional or complementary work on different edition and post-production platforms.

CE5.2 Check the import and conformed of data and exchange materials.

CE5.3 Develop documents based on the most standardized information exchange protocols to facilitate work on other platforms.

C6: Classify the materials used during assembly for storage and subsequent use.

CE6.1 Describe the organization and file techniques of sound, image, and infographic materials used during assembly.

CE6.2 Organize and save the data that constitutes the mount project, to favor subsequent adjustments, updates, and follow-ups.

CE6.3 Verify and store the generated documents, on the various removable media, for transport or their availability on external platforms.

C7: Manage the computer storage units used in a particular project, optimizing their capacity and configuration.

CE7.1 Rate the need for recycling of the physical supports used in the assembly and post-production processes for later use.

CE7.2 Release space on storage drives by removing files.

CE7.3 Perform the maintenance and testing of computer storage systems for optimization.

Capabilities whose acquisition must be completed in a real workbench:

C2 complete; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Types and configuration of film and video assembly rooms

Configuring and optimizing the movie assembly room.

Configuring and optimizing editing rooms, and post-production video.

Setting up and optimizing audio and video capture and post production rooms for film, video, and television.

2. Maintenance of assembly and post-production equipment

Equipment failures and breakdowns: detection methods and corrective actions.

Preventive maintenance operations.

3. Assembly structure and process

Narrative Intentionality. Assembly and expressiveness.

Plan selection criteria and time adjustment.

Maintenance of continuity. An expressive value of punctuation and transition signs.

Music Assembly and Sound Band Construction.

Synchronism of the visual and sound planes.

4. Generation of effects

Effects types.

"Keys" overlay/scale: HUE and CLIP.

Types of effect processors.

2D/3D animations.

Rotoscopies, masks, and motion capture, among others.

5. Operations on non-linear edit systems

Scanning video and audio. Compression. Signal sampling. "Codecs".

The 'rendering'.

Construction of the mount on the timeline.

Color effects and tiering correction.

Motion Effects.

Transitions, dynamic video effects, and DVE.

Titling tools.

Graphism, 2D/3D animation, and tag out.

Audio Assembly. Application of effects. Mix of tracks.

'Masterized'.

Vertical composition. Tools and procedures.

Output Formats.

6. Quality control in assembly, editing, and post-production

Protection, classification, and documentation of the generated product.

Material exchange systems and protocols.

Material classification techniques.

Materials management and recycling.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the realization of the assembly by integrating post-production tools and materials of different origin, which will be accredited by one of the following two forms:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.

TRAINING MODULE 4: FINAL ASSEMBLY AND POSTPRODUCTION PROCESSES

Level: 3

Code: MF0919_3

Associated with UC: Coordinate final assembly and post-production processes to generate the final audio-visual product

Duration: 90 hours

Assessment capabilities and criteria:

C1: Recognize the finishing processes of films and video programs.

CE1.1 Identify post-production workflows in photochemical, electronic, and digital 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 listings: reissue, "on-line", linear and nonlinear, from original on tape, telecine, lab, scanner, and data conformation.

CE1.6 Recognize the techniques required for making masks, rotoscopies, and motion capture.

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.

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.

CE2.2 Ensure in a scenario 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 formats of video and audio exchange.

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.

-Issue TV.

-Video distribution, institutional, DVD, others.

-Film distribution (photochemistry and electronics).

-Distribution on multimedia devices and the Internet.

CE3.2 Generate copies of an audiovisual product to the broadcast and/or evaluation support required according to the audiovisual product.

CE3.3 Describe the final production processes and materials for each distribution channel:

-Video distribution: master, 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.

Capabilities whose acquisition must be completed in a real workbench:

C1 full; C2 full; C3 complete.

Other capabilities:

Learn new concepts or procedures and effectively leverage training using knowledge acquired in the development of the activity.

Finish the job based on criteria of suitability, speed, economy and effectiveness.

Maintain the work area with the appropriate degree of order and cleanliness.

Demonstrate self-creativity in the development of work.

Demonstrate a degree of autonomy in the resolution of contingencies.

Communicate effectively with the right people at every moment, respecting established channels.

Contents:

1. Product finishing and presentation processes

Techniques and processes in product finishing: image stabilization, color correction, and monitoring systems.

Work processes and techniques in the offline edition.

Interchange Formats in Sound Treatment.

Master tape protection features and systems.

Generation of backups and video mirroring.

Presentation of the product.

Postproduction final balance: assessment criteria.

Managing intellectual property rights.

2. Product quality control

Distribution of sound tracks on video media.

Distribution of sound tracks on film media.

The international sound band.

Final assembly and sonization processes.

Quality standard maintenance.

PPD (Ready for broadcast or broadcast) rules.

Technical regulations applied to image and sound.

3. Product distribution and technical constraints

The broadcasting of audiovisual products by television.

The commercial distribution: multimedia devices, DVD, Blu-ray, among others.

The screening in movie theaters.

Training context parameters:

Spaces and installations:

The spaces and facilities will provide a response, in the form of a classroom, a workshop, a workshop of practices, a laboratory or a singular space, to the training needs, according to the Professional Context established in the Unit Partner competence, taking into account the applicable regulations of the production sector, risk prevention, occupational health, universal accessibility and environmental protection.

Professional or former trainer profile:

1.-Domain of knowledge and techniques related to the coordination of final assembly and post-production processes until the final audiovisual product is generated, which will be accredited by one of the two forms following:

-Level 2 academic training (Spanish Framework of Qualifications for Higher Education) or other higher level education related to the professional field.

-Professional experience of a minimum of 3 years in the field of competencies related to this training module.

2.-Accredited pedagogical competence according to what the competent administrations establish.