Post-production

The Post-production programme offers industry specific and practical training, designed by commercially practicing professionals. The programme will expose students to ‘real life’ creative enterprise, working for external clients through the programme’s Industry Project as well as providing the unique opportunity to edit a feature film, all of which help students to jump start their careers with practical and highly effective credits and experience.

 

COURSE OVERVIEW

The department has two specializations: Film & TV Editing and Sound Design.
Sound design specialization is not focused only to the post-production but also to the production and the work of sound engineers on location, sound recording and sound mixing. Training of editors contains also the field of TV and life editing. The students are prepared as creative partners of film directors.

 

TUTORS

Tomash Dorushka is the FIOFA Head of Post-production. Other tutors include Asen Shopov, Elishka Luhanova, Erik Rosenzweig, Georgy Bagdasarov, Ivo trajkov, Jan Bernard, Marta Lamperova, Martin Dolensky, Martin Padivy, Pavel Marek, Tomash Dorushka, Tomash Petran, Tomash Samek, Tomash Hermann and Vojtech Hladky.

 

CURRICULUM

Students are working as film and TV editors and sound engineers on the exercises of the directing students. Apart from their own projects they will gain experience as assistants of their colleagues from higher class. Life editing and on location sound recording is based on common project with many theaters in Macedonia.

In the second year the students are working on the location drama with second year directing students. To allow the sound design students to finish properly the post-production and mixing of the second year on location drama exercise the final sound post-production is postponed to the third year as a graduation project. Editing student’s graduates with life editing exercise and one short film.
Graduation is also based on completion of a tutored dissertation.

 

ENTRY REQUIREMENTS

Post-production students come from a wide variety of visual and sound backgrounds, including theatre, architecture, illustration, fine art, digital design, interior design and 3D design. Your portfolio submission must demonstrate a strong visual and audio imagination, an aptitude for spatial and 3D design, an awareness of architecture and design for the moving image and exhibit a personal audio-visual language. Experience of film/TV work is not essential but a willingness to work collaboratively and an ability to motivate and lead a team are essential.

 

1. APPLYING REQUIREMENTS

  1. An audiovisual self-portrait (two minutes maximum, 3 GB of size via Youtube / WeTransfer).
  2. Structured CV with photo
  3. Written analysis of one important movie. Why this movie is judged as important, analysis of form, narration, structure, dramaturgical analysis. Apart from common general analysis the applicant is called to analyse the film from the perspective of his field of professional interest (work with actors, editing, soundtrack, and photography)
  4. List of 10 films and 10 books, judged by the applicant as important
  5. Letter of motivation
  6. One letter of recommendation from a current or previous teacher outlining the applicant’s abilities and study motivations
  7. Bachelor’s diploma (certified copy) or confirmation, that the bachelor´s study will end before the beginning of FIOFA master studies
  8. Any own auteur’s piece of work (short movie, collection of still photographs, literary art piece, short story screenplay, poetry, painting), which will represent the applicant as creative personality. This piece of art doesn’t replace the obligation to submit the film or collection of
    photographs or other item required by the department.

 

2A. POST-PRODUCTION EDITING DEPARTMENT REQUIREMENTS

  1. A storyboard (exactly 17 still photographs). Applicant demonstrates his skills to tell the short story by pictures. Each photograph represents one shot from the silent movie. The numbers on backside of the photographs indicates the order of shots. If the content of one shot changes distinctively during the shot (by the camera movement, action of actors), then will be represented by two photographs of significant moments, numbered as A,B (example: 3A, 3B). Photographs must be taken by the applicant himself.
  2. Set of still photographs (7 – 11). Exhibition collection with the common theme and aesthetic point of view. Collection is accompanied by the title and short explication or essay.
  3. A short feature or documentary (up to 10 minutes of duration, up to 10 GB of size via Youtube / WeTransfer).

Applicant is the editor of the movie regardless his involvement in other professions.
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2B. POST-PRODUCTION SOUND DEPARTMENT REQUIREMENTS

  1. A short feature or documentary (up to 10 minutes of duration, up to 10 GB of size via Youtube / WeTransfer).

Applicant is the director sound engineer and sound designer of the movie regardless his involvement in other professions.

  • Sound composition (1min30sec to 2min, no longer via Youtube / WeTransfer)
    Short narrative story based only on sounds, radio short novel. The soundtrack can contain more elements of expression – ambiance, diegetic sounds, music, dialogue, effects and must prove the ability of applicant to express the idea as well as his aesthetic feeling. Sounds should be partially used from archives, partially must be recorded by the applicant. The soundtrack is accompanied by the written explication of the idea, workflow, and list of originally recorded sounds. Explication also contains the name of applicant, title of the piece and indication of format (MONO, STEREO) and the precise length of composition.
    Soundtrack or sound composition is NOT the music composition!

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