Browsing by Author "Luzuriaga Arias, Carlos Camilo"

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A doble cuadro: montaje en dos situaciones
(2015) Sánchez Ordóñez, Sebastián Marcelo; Luzuriaga Arias, Carlos Camilo
The SplitScreen is a visual resource,its main attraction is to exhibit two or more spaces of video while they are simultaneously playing. These spaces are organized within the original movie screen, video or any audiovisual production, ie, they share a similar cinematic space. This organization is fully associated to an earlier postproduction or editing process. Since its introduction, the split-screen was used to visually associate people in a phone call, this would become its most frequent application, however, over the years, other uses of the resource have been generated, which with its particular narrative and graphic aesthetic property has renewed the cinematic language. STEREO is a short film written and directed by Leonardo Espinoza and Sebastián Sánchez, its main visual attraction is established with the full implementation of the split-screen technique, this is complemented with the basis of the story, an allegory that corresponds to the matches. The protagonists are unaware of their physical contiguity, but the viewer is the unique witness of their latent emotional correlation.
“Analizando El Vacío”: análisis de los códigos que constituyen al cine como una forma de expresión que manipula la realidad e imagen en pos de su re-simbolización
(2014) Capelo Cando, Patricio Xavier; Luzuriaga Arias, Carlos Camilo
The following paper is an analytic path that will lead to the outline of an approach of a model of cinematographic analysis, applied in he short film called ¨El contenedor¨, developed during the film studies of Patricio Capelo and Carlos Castro. In the first section, there will be a review over topics that go from the ritualistic birth of theater, the archetypes, the collective unconscious, the constitutive features of mythologies, the path of the hero, the study of the Tarot, all to relate the way of creating and conceiving cinema in the present day and, therefore, understand how does those archaic mechanisms work in this contemporary medium. In the second section, it would be shown the way in which contemporary authors analyze film sequences, studying montage notions and some cinematic codes that have established both the basis to the way a movie is conceived, and the place the spectator occupies to perceive a work piece. In conclusion, this project intends to create an outline of a model of film analysis, trying to make the spectator aware of these codes. Using the concepts revised previously, it would be shown a way to read and receive a movie.
Diseño sonoro,el caso del cortometraje de ficción. Entre Dolores y Soledad
(2015) Cachiguango Vásquez, Yuric Maiya; Luzuriaga Arias, Carlos Camilo
The following paper will present the process of building the film’s sound Entre Dolores y Soledad, from preproduction to the sound recording production and to the post-production of this university film project. First, it starts with an introduction to the sound in the cinematic context, giving place and meaning to this appeal beyond simple misconception of audio recording, as usually happens, but as a film tool for building audiovisual as a complete work. This first part is supplemented with the references to film-making Entre Dolores y Soledad; these references will allow working between its scores and identifying opportunities to experience in the short film done. Then, every stage of production is presented with the respective sub-stages to full implementation of the filmmaking process as a collection of the steps taken and the technical and technological tool applied, according to the requirement in each stage production of the film. After completing the process of sound,the project is concluded determining the perceptions and emotions of the sound to building the soundtrack from any audiovisual project.
Efectos y ambientes sonoros como herramientas del subtexto en una obra cinematográfica
(2015) Velarde Mosquera, Andrea Cristina; Luzuriaga Arias, Carlos Camilo
This thesis aims to analyze the relationship of film sound design and the creation of subtext in movies. We proceeded to deconstruct the sound design of a series of film sequences, to identify its various elements, especially the sound effects and backgrounds, and understand the contribution of these to the creation of subtext. This thesis makes an inquiry into the sound construction of films, especially of two elements: ambience sounds, or backgrounds, and sound effects. These two elements are commonly used in creating soundtracks, but here, we explore their ability to create a special relationship with the viewer and the help they provide into perceiving the subtext of the film. The proposed hypothesis intends to prove or deny that the sound effects and backgrounds have the ability to create feelings in the viewer, and that they can work outside the conscious level of sound perception. In order to explore this hypothesis, multiple sequences of movies that have gained international recognition for their quality were decoded; this analysis was then contrasted with the collective perception of sound effects and backgrounds, by conducting a focus group.
Estudio de la reescritura de guión aplicado al cortometraje Cinco. Cero. Siete
(2015) Toledo Garzón, Juan Pablo; Luzuriaga Arias, Carlos Camilo
This investigative project aims to communicate, by means of an objective perspective, some of the methods that were followed during the study and application of the rewriting of the script Cinco.Cero.Siete. It is supported theoretically by several writers that have addressed the same topic from a different viewpoint, including: Parker, Field and McKee, among others. In turn, the project is fed by examples that are based on the rewriting process of the script Cinco.Cero.Siete, which demonstrate the changes that have been made in its various versions.
Tratamiento de sonido y banda sonora del cortometraje ‘Stereo’
(2016) Díaz Jairala, Christopher Brian; Luzuriaga Arias, Carlos Camilo
The Following thesis is a conceptual description of the sound processing in the film “Stereo”, which was directed by Leo Espinoza and Sebastian Sánchez. The sound treatment was designed by the autor of this thesis, Christopher Diaz. Since this is a short film that uses a unique montage process that divides the screen into two parts, the sound design is also adapted in a similar manner, since on each side of the screen different sounds are heard, for each half. This film, shot in 2013, is to propose a different look, including sound as part of that image, fragmenting into two halves sound and visual ideas.