AlbertoConti
Formerly Professor of Cinematography 1, Editing Techniques and Technologies, Digital Modelling Techniques – 3D Computing and Basic Information Technology at the Academy of Fine Arts in Naples, he has been a member of the teaching staff at the Academy of Fine Arts in Rome since the 2022/23 academic year.
He is an expert in Audiovisual Languages and Techniques, in the production of immersive audiovisual content (VR), and in Digital Animation techniques.
Author of technical articles for the periodical AITech, Ambiente Innovazione e Tecnologia (2009–2015).
He graduated in Foreign Languages and Literatures from the University of L’Aquila and studied Spanish Language and Literature at the University of Salamanca. He holds professional qualifications in IT and has also specialised in NLE hardware/software systems.
He has worked in the private and public television broadcasting sector as a writer, director, cameraman and video editor, as well as a software developer and trainer for public and private companies.
From the 2004–2014 academic years, he was an adjunct lecturer at the Academy of Fine Arts in L’Aquila, where he taught courses in Video Editing, Filming Techniques and Digital Video for the three-year and two-year courses, as well as the Co Ba course. S. Li. D.
Alberto Conti (1964). Formerly Professor of Photography and Web Techniques, Digital Elaboration, Computer 3D and Foundation of Information Technology at the Academy of Fine Arts of Naples, since the 2022–23 academic year, he has been a member of the staff of the Academy of Fine Arts of Rome. He is an expert in audiovisual languages and techniques, immersive audiovisual production for virtual reality, and computer animation. He holds a degree in Foreign Languages and Literature from the University of L’Aquila. He has worked in the field of public and private television broadcasting as a writer, director, cameraman and video editor, as well as a software developer and trainer for public and private companies. Alberto Conti has worked for, among others:
Ortel Spa, Panini Spa, Record Service Spa, FKV Spa, Irpe Spa, Mondadori Spa, Corriere Della Sera, Eletta Mondadori, Hachette Gruppo Rusconi, Domus Spa, Pagine Italia Gruppo Fininvest, TV Sorrisi e Canzoni; Fininvest Spa, Avon Spa, Banca Intesa, Whirlpool Europe Spa, Carrefour Spa, Rinascente Italia Spa, ITR Spa, Beni Culturali Regione Puglia, RAI 3 Geo & Geo, INAIL Lombardia, INAIL Piemonte, Aeranti–Corallo and more.
THREE-YEAR COURSE
Knowledge and skills to be acquired
Editing connects the end of one shot with the beginning of the next. The space and time of the film take shape, usually following a script. By delving deeper into the study of the language of film and television, the course provides a pathway for research and experimentation in the field of Invisible Art. The course focuses in particular on the editing techniques typically used in audiovisual productions; on recognising patterns, transitions and links; and then on the process of creating the digital product.
Content
This course, which is part of the Editorial Graphic Design specialisation, enables students to acquire theoretical and practical skills useful for creating audiovisual products.
The first part of the course is dedicated to the language of cinema, the analysis and genres of audiovisual works, and film scriptwriting. The second part covers the editing of audio-visual content, the functions of editing, the discontinuity of cuts and the psychological integration of the narrative, filmic continuity, and editing models. The third part, dedicated to research and experimentation, focuses on the editing workflow, which comprises the pre-editing of the footage, the editing itself, and the finalisation of the finished product. The third part of the course primarily involves the use of the non-linear editing software DaVinci Resolve 18 Free for editing, colour correction and audio mixing.
Texts/Reading List
D. Cassani, F. Centola, Manuale del montaggio. Tecnica dell’editing nella comunicazione cinematografica e audiovisiva. Tecnica dell’editing nella comunicazione cinematografica e audiovisiva. UTET Università 2013.
Additional lecture notes will be provided during the course.
An integral part of the programme is the viewing of the films listed in the filmography.
Recommended texts/bibliography (Also available in digital formats such as eBook, Kindle, etc.)
A. Costa, Saper vedere il cinema. Milan, Bompiani, 2011.
F. Truffaut, Il cinema secondo Hitchcock, Milan, il Saggiatore, 2014.
Christian Uva, Cinema digitale, Le Lettere, Florence, 2012.
Teaching methods
Lectures supported by video materials, viewing and analysis of film sequences; practical exercises involving audiovisual production, post-production and finalisation.
Assessment methods
The examination consists of the production of a short audiovisual work (the genre and format to be agreed upon with the lecturer), which is periodically reviewed, and a multiple-choice test, the successful completion of which grants access to the subsequent oral interview. The audiovisual work must be submitted 15 days before the discussion, which will take place during the oral exam. The method of submission and the required format will be explained by the lecturer during the course.
Important information
Students not attending lectures must contact the lecturer in good time and supplement their studies with W. Murch, In the Blink of an Eye. Una prospettiva sul montaggio cinematografico nell’era digitale. Turin, Lindau 2018. They must produce an analysis of a film (to be agreed with the lecturer), which must be submitted 15 days before the discussion that will take place during the oral examination.
Recommended filmography
1. The Shape of Water, Guillermo del Toro (2017)
2. Fantastic Beasts and Where to Find Them, David Yates (2016)
3. Steel Jeeg: The Crimes of Dr. Wily, Gabriele Mainetti (2015)
4. The Martian, Ridley Scott (2015)
5. Interstellar, Christopher Nolan (2014)
6. The Lord of the Rings: The Fellowship of the Ring, Peter Jackson (2001)
7. 2001: A Space Odyssey, Stanley Kubrick (1968)
8. Suburra, Stefano Sollima (2015)
9. Gomorra, Matteo Garrone (2008)
10. Full Speed, Daniele Vicari (2002)
11. Ecco Fatto, Gabriele Muccino (1998)
12. The Last Kiss, Gabriele Muccino (2001)
13. Seven Souls, Gabriele Muccino (2008)
TWO-YEAR COURSE
Knowledge and skills to be acquired
Editing links the end of one shot to the beginning of the next. The space and time of the film take shape, usually following a script. By delving deeper into the study of television and cinematographic language, the course offers a pathway for research and experimentation in the field of Invisible Art. The course focuses in particular on the editing techniques typically used in audiovisual productions; on recognising patterns, transitions and links; and then on the process of creating the digital product.
Content
The course falls under the specialisations of Art Education, Communication and Promotion of Artistic Heritage, and New Languages of Art. It enables students to acquire theoretical and practical skills useful for creating audiovisual products to promote and enhance cultural heritage, as well as skills that complement the conservation work carried out by cultural heritage agencies, foundations and museums active in the fields of historical heritage, the landscape and contemporary art.
The first part of the course is dedicated to the language of cinema, the analysis and genres of audiovisual works, and film scriptwriting. The second part covers the editing of audio-visual material, the functions of editing, the discontinuity of cuts and the psychological integration of the narrative, film continuity, and editing models. The third part, dedicated to research and experimentation, focuses on the editing workflow, which involves the pre-editing of selected footage, the editing process itself, and the finalisation of the footage as a finished product. During the course, students will explore in depth various topics related to computerised data storage systems and technologies, image correction, non-linear editing software, and software for colour correction and 2D/3D graphics and animation. The third part of the course focuses primarily on the use of the non-linear editing software DaVinci Resolve 18 Free for editing, colour correction and audio mixing, as well as the simplified use of 3D modelling software such as 3D Maxon Cinema 4D v.25 and Blender v3.3.1 for Virtual Environments and Virtual Heritage applications.
Texts/Reading list (Also available in digital formats such as eBook, Kindle, etc.)
F. Vitella, Il montaggio nella storia del cinema, Venice, Marsilio 2009.
Additional lecture notes will be provided during the course.
An integral part of the programme is the viewing of the films listed in the filmography.
Teaching methods
Lectures supported by video materials, viewing and analysis of film sequences; practical exercises involving audio-visual production, post-production and finalisation.
Assessment methods
The examination consists of the production of a short audiovisual work (the genre and format to be agreed upon with the lecturer), which is periodically reviewed, and a multiple-choice test which, if passed, grants access to the subsequent oral interview. The audiovisual work must be submitted 15 days before the discussion, which will take place during the oral exam. The method of submission and the required format will be explained by the lecturer during the course.
Important information
Students not attending lectures must contact the lecturer in good time and must supplement their studies with Christian Uva, Cinema digitale, Le Lettere, Florence, 2012. They must produce an analysis of a film (to be agreed with the lecturer), which must be submitted 15 days before the discussion that will take place during the oral examination.
Recommended filmography
1. The Shape of Water, Guillermo del Toro (2017)
2. Fantastic Beasts and Where to Find Them, David Yates (2016)
3. Steel Jeeg: The Crimes of Dr. Wily, Gabriele Mainetti (2015)
4. The Martian, Ridley Scott (2015)
5. Interstellar, Christopher Nolan (2014)
6. The Lord of the Rings: The Fellowship of the Ring, Peter Jackson (2001)
7. 2001: A Space Odyssey, Stanley Kubrick (1968)
8. Suburra, Stefano Sollima (2015)
9. Gomorra, Matteo Garrone (2008)
10. Full Speed, Daniele Vicari (2002)
11. Ecco Fatto, Gabriele Muccino (1998)
12. The Last Kiss, Gabriele Muccino (2001)
13. Seven Souls, Gabriele Muccino (2008)