Television Production I Session 7 Presented by Diana Nicolae Presented by Diana Nicolae

This Week… Technical Video Aspects Editing Concepts Discuss PSA Project Newscast #2

Video Technical Overview Analog (e.g. VHS, S-VHS) vs. Digital (e.g. DV, DVCPro) –No “generational” quality loss when dubbing tapes with digital –Eases non-linear editing (analog video has to be converted) –Reduced dropouts (glitches); better for long-term archiving –Overall higher technical quality (generally) Professional Video vs. Consumer Video –Pro cameras generally have 3 CCDs, audio controls, good quality mic inputs (e.g. XLR), detachable lenses, less compression than consumer formats, and other features Compression is simply discarding parts of the video signal to fit into a data-limited space (e.g. onto a tape or other storage) Trend is moving towards lossless compression; tapeless storage

Editing Editing is the process of combining video and audio elements from various sources into a coherent whole –The switcher is “real-time” editing –Postproduction editing takes place after the video material has been gathered Linear vs. Non-linear –Linear editing uses videotape both as the source of the footage and as the recording medium (essentially recording from one tape to another) –Nonlinear editing stores video footage in digital form on a storage medium like a hard drive, and edits using a computer

Editing Aesthetics Continuity Editing - arranging the sequence of shots to suggest a progression of events –Should create for the viewer an uninterrupted sense of visual and aural progression –Keep in mind “what you think the audience expects to see” Allows for editor to use sequence of shots to: –Tell the story desired –Compress/Expand time –Alter the meanings by altering the sequence –Infer causality and/or relationships –Reveal motivations

Editing Aesthetics Compress/Expand Time –Time can be manipulated by eliminating inessential info (to compress), or adding other information (to expand time) –E.g. Woman below exits subway station; compressing time from several minutes (how long it would take in reality) to a few seconds by removing extraneous info

Editing Aesthetics Alter the meanings by altering the sequence –Sequence things are shown affects how audience perceives –E.g. Story seen differently based on how shots are arranged

Editing Aesthetics Alter the meanings by altering the sequence –Sequence things are shown affects how audience perceives –E.g. Story seen differently based on how shots are arranged

Editing Aesthetics Infer causality and/or relationships –Sequence of shots can have a cause-effect relationship –Showing shots in a particular sequence can make a statement about relationships or thematically

Editing Concepts Insert Shots –An insert shot is a close-up of something that exists within the basic scene Cutaways –Cutaways cut away from the main scene or action to add related material

Editing Concepts Relational Editing –Scenes that by themselves seem not to be related take on a cause-effect significance when edited together in a sequence Thematic/Montage Editing –communicate feelings or experiences by juxtaposing shots (even shots that are not necessarily related) Clip Battleship PotemkinBattleship Potemkin Parallel Cutting –When segments are cut together to follow multiple (different) story lines Clip The Godfather IIThe Godfather II

Editing Concepts Cutting on Action –Cut in the middle of the action –Distracts the viewer from the cut, and seems less obtrusive –Always shoot with overlapping action –If can’t match the action… Allow subject to leave frame; cut; allow subject to enter frame Use a cutaway

Editing Concepts Cutting on Form –Use shapes and on-screen cues to guide the cut Cutting for Information –The second shot reveals information that the first shot does not –e.g. Cut from a MS of a talk show host holding a book, to a CU of the book so that viewer can see title and cover Cuts should always be motivated; have a specific reason for each cut that you make

Editing Concepts (Things to Avoid) Jump Cuts –A confusing, unsettling transition—discontinuity Correct by: –Using a cutaway or another shot (with motivation) –Reaction shots or B-roll in an interview setting

Editing Concepts (Things to Avoid) Abrupt Changes in Image Size –An abrupt and major change in image size constitutes another type of jump cut e.g. Cutting from an Extreme Long Shot to a Close-Up

Editing Concepts (Things to Avoid) Abrupt Changes in Image Size –An abrupt and major change in image size constitutes another type of jump cut e.g. Cutting from an Extreme Long Shot to a Close-Up Correct by: –Having a logical progression of shot coverage, particularly when introducing scene –“1-2-3 Formula” LS, MS, CU

Editing Concepts (Things to Avoid) Ignoring the 30 degree rule –a new shot of the same subject matter can be justified only if you change the camera angle by at least 30 degrees Otherwise, subject will “jump” on-screen Crossing the Line –A particular jump cut resulting from crossing the eye line –Don’t cut to a shot more than 180° off of vector line of subjects WRONGRIGHT

PSA Project Work in assigned groups of 3-4 to create a :30 PSA about one area of Rowan: –Rec Center, Rowan Radio, Safe Walk and Ride, After Hours –Elements: Archived footage, music from library, recorded VO For next week –Review the project description to understand the individual and team assignments/deadlines –Write a :30 PSA script – post to the Google Doc (share it!) –Download and look at footage (begin logging if decide as team) from the TVData1 server –Begin reviewing tutorials for Adobe Premier at lynda.com

PSA Project Process Brand new for Spring 2013! –Project is the same as in your book, process and tools are new –Full details online in the project description, including links to forms and templates Project responsibilities: –Script (individual submission) –Voice-Over (individual submission)40% of grade –Footage Log (individual work, submit as team) –Rough Cut (individual submission) –Final Cut (team submission)60% of grade

Project Workflow PSA script – one script per group to be revised and recorded Footage Log – Each group member to log one footage file (approx 5m each); submit team log using online form EDL – As a team, complete an edit decision list (EDL) VO – each student to record 2 takes (recorded in either audio booth or using Marantz recorder in the lab) Music – Select a :30 track from music library Rough Cut – each student creates a rough cut using the submitted team EDL Final Edit – group collectively decides which rough cut to use for final cut, and then polish it for final submission as specified