1. VIDEO EDITING

2. Aspects of Editing Creative Technical Planning shots Scripting
Shooting video
Technical
Recording sound
Editing using software

3. Video Editing Before (Linear)
BBC Editing circa 1960s

4. Video Editing Now Non-Linear Able to add special effects
Able to edit portions of a picture
Able to edit sound and video separately

5. Products Many products out there Looking at 3 major products
Final Cut Pro (Mac)
Adobe Premiere (PC)
Other product comparison
Wikipedia Article

6. Products Cost from FREE To Over $1,000
Windows Movie Maker, iMovie (on new Macs)
To Over $1,000
Final Cut Studio
Sophistication from basic for the at home user to high end for the broadcast professional.

7. Final Cut Pro

8. Factors to Consider Before Purchase
What are you taping?
Class review sessions
Guest speakers
Instructional video
Who will be the audience?
Internal
External
What format do you want to produce to?
DVD
Streaming
Download

9. Considerations Version of the Software Cost of add-ons?
We have Vegas 4, 5, 6 Also a Vegas +DVD
Final Cut Pro no longer sold individually, must buy Final Cut Studio.
Cost of add-ons?
Adobe Premiere $ for educational discount
Adobe After Effects, $799.00

10. Considerations Ability to Import HD formats Output Options:
Streaming Web, Quicktime, Windows Media, DVD, .mpg, HD formats, etc

11. Hardware Compatibility
Check each Website
Lists of compatibility include:
Cameras
DVD Burners
Analog Converters
Both Adobe and Sony list items that are “Full Support” and “Partial Support”

12. What to look for in a video editor
Ease of use?
Try downloading a trial version of the software, or use the software somewhere first.
Software should be self-explanatory.
Features
Be aware of included features such as sound effects, transitions, etc.
Some software packages require additional purchases to get the extras.

13. Example
Adobe Premiere uses a program called After Effects for special effects. This software costs EXTRA
Final Cut Pro Studio uses the program Motion to create special effects. Motion is now packaged with Final Cut Pro. Along with Soundtrack Pro and other add-ons. BUT, Final Cut Studio costs much more

14. What to look for? Help & Tutorials Adobe Premiere Final Cut Studio
Tutorial DVDs included
Extra manuals to purchase
e-seminars
Final Cut Studio
Self paced learning
Apple Pro Training
Certification

15. -Garbage in, garbage out.
-You can't make bricks without straw.
-You can’ make a fine silk purse out of a pigs ear.
-But-
-Bad workers always blame their tools.

16. PXL 2000 (Fisher Price)
Portions of the film Slackers were filmed with a PXL 2000

17. Stages of Filmmaking
The filmmaking production cycle consists of five main stages:
1. Development
2. Preproduction
3. Production
4. Post-production
5. Distribution

18. 1. Development
Idea
Script
Authorization (Green Light)

19. 2. Preproduction
Classically, acquiring the people and things required for making a film
Directors
Actors
Equipment- Cameras, Sound Equipment, Lighting, Green screens, etc
Storyboarding- before you shoot a scene, you need to think about exactly how it needs to come together, including how it will be edited.

20. 3. Production Actual acting and filming
Video Editing affected by, and affects
Camera location and movement
Audio characteristics
Order of shooting
Effects desired

21. Once the video is shot, editing begins.
Typical Editing Workflow
Review each shot, plan captures or imports.
Capture desired sections.
Assemble and refine sequence.
Add transitions and effects.
Add titles.
Mix audio.
Export.

22. Capture: Moving the video footage off the tape and onto the computer.
Not all editing software is compatible with all cameras. You may want to capture with one program but edit with another.

23. Capture:
Quality data transfer typically requires a Firewire (iLink) connection.
The type of files created are dependent upon the software. Different file types serve different purposes.
Batch logging and capture can save drive space.

24. File types
For quality production, always use a lossless video encoding method. A MUST for intermediate editing stages

25. File Size An hour of output may require many hours of video for input.
A non-compressed High Definition .avi can easily take up 20 GB or more per hour.
To save drive space, if quality is not much of an issue, use a lossy, high compression video format. A .wmv, seemingly perfect to the naked eye can take up 1/30th the space of an .avi. But always remember GIGO.
Basic Video Editing- removing excess, adding titles, making it exportableAssemble and Refine Shots

26. Adding Effects Generated Media, Titles Adjusting Colors
Multilayered Effects
Transitions

27. Film Editing 1920s: rise of editing as film technique
Early cinema often consists of one shot films
Hollywood films contain between 1,000-3,000 shots
Editing as coordination of one shot with another
Elimination of unwanted footage

28. Film Editing Strong influence of Soviet Montage School
Attempt to build film based upon certain editing devices
Create narrative via shots
Eisenstein—film as construction of editing
Initially opposed continuity editing
Used temporal discontinuities
Used temporal expansion
Created new relationships between time and space via editing

29. Film Editing Organization of desired shots
Joined via specific techniques
Fade-out—gradually darkens end of a shot to black
Fade-in—gradually lightens a shot from black
Dissolve—brief superimposition of end of one shot and beginning of next shot
Wipe—next shot replaces shot via boundary line moving across frame
Both images briefly on screen—don’t blend

30. Film Editing Cut—most common technique of connecting shots
Move directly from one shot to next
Uninterrupted segment of screen time or space
Instantaneous changes from one shot to another
Create marked and abrupt shifts
Enormous task of film editor
Use of storyboards
Planning of editing during shooting

31. Film Editing Four basic artistic choices and directions of editing
Graphic relations between one shot and another
Rhythmic relations between one shot and another
Spatial relations between one shot and another
Temporal relations between one shot and another

32. Film Editing
Interaction and integration of purely pictorial qualities of two shots
Elements of mise-en-scene and cinematography
Graphic similarities create graphic match
Similarities of shape, composition, and movement
Most typical of narrative cinema
Graphically discontinuous editing more noticeable

33. Film Editing Each shot as strip of film—certain measurement
Measured in film length
Measured in frames
Sound speed—24 frames/second
Editing allows control over duration of each shot
Editing thus controls filmic rhythm—accent, beat, and tempo
Patterning of shot length and style

34. Film Editing Editing constitutes metrical pace of film
Editing allows director to construct filmic space
Allows omniscience—can move from one spot to notably different
Allows relation of any two spots in space
Can create continuity and breakdown
Establishment of whole from component parts

35. Film Editing Allows spatial manipulation
Strong influence of Soviet Montage style
Kuleshov effect—series of shots (without establishing shot) that prompts spectator to infer spatial whole from parts
Editing cues establish single locale
Crosscutting—parallel editing technique used to establish variety of spaces
Editing can establish ambiguous spatial relations

36. Film Editing Temporal relations—allows manipulation of time
Common technique of flashback
Presentation of one or more shots out of their presumed story order
Usually interrupt present time
Flashforward—editing moves from present to future and returns
Tease audience with glimpses of future
Establish possible narratives
Possible to control duration of story via editing

37. Temporal Ellipsis
Presentation of action in manner that it consumes less time on screen than in story
Punctuation shot change—dissolve, wipe, or fade to demonstrate progress accomplished
Empty frames shots—characters or objects entering and/or exiting frame
Cutaway—shot of other event elsewhere that will not last as long as the elided action
2 locales that we connect via editing
Expansion—opposite of ellipsis
Eisentein’s use of overlapping editing to expand time
Overlapping editing allows presentation of time and space more than once

38. Continuity Editing
Dominant editing style throughout Western Film History
Rise of editing between
Used as method to establish coherent narrative
Narrative continuity
“smooth flow” between shots to create story

39. 180˚ System Space of scene constructed along axis of action
Center line
180˚ line
Scene’s action assumed to take place along discernible and predictable line
Axis of action determines half-circle (180˚ area) where camera can present action

40. 180˚ System Violation to shift to camera shot on opposite of axis
180˚ System ensures relative position of objects and characters remains consistent
180˚ System ensures consistent eyelines
180˚ System ensures consistent screen direction
Characters moving in logical and understandable ways

41. 180˚ System 180˚ System claims to organize space clearly
Viewers can trust location (and relative location) of characters
Viewers can trust their own locations and relative locations
180˚ System ensures and advances continuity system

42. 180˚ System Shot/Reverse-shot pattern Eyeline match
Shows one end point of axis and then the other
Shot of opposite end of axis of action
Usually shows ¾ view of subject
Eyeline match
Initial shot of character looking
Second shot of object of character’s gaze
Neither shot shows both spectator and object

43. 180˚ System
Directional quality of eyeline establishes spatial continuity
Object of gaze must be within gaze of spectator
Establishes continuity from shot to shot
Shot/Reverse-shot Pattern allows us to understand characters’ locations even when not in same frame
Reestablishing Shot—reestablishes overall space that was inferred in previous shots
Pattern of establishment/ breakdown/ reestablishment

44. 180˚ System Continuity editing subordinates space to action
Emphasizes dialogue and character movement
Match on action tactic—extra method for ensuring spatial continuity
Continuity of movement from one shot to next
Creates match on action
Carries a movement across the break of shots
Must consider mise-en-scene and cinematography

45. 180˚ System
Filmmaker can create new axis of action by rotating shots/reverse shot pattern
Axis of action allows for elimination of establishing shot
Cheat cut—mismatching slightly the positions of characters and/or objects in continuity editing
Significant role of POV shot in continuity editing
Allows/creates variety of eyeline-match editing

46. 180˚ System
Head-on Shot—action presented as moving directly toward camera
Crosscutting—parallel editing to create various spaces (presumably in same time)
Allows unrestricted access to causal, temporal, and spatial knowledge
Yet creates spatial discontinuity while creating cause and effect in temporal simultaneity
Builds up suspense
Allows temporal/spatial collision

47. Continuity Editing Appears invisible and/or natural
Usually presents plot consistently and chronologically
Chronological order—1-2-3 order
Common violation of flashback
One-for-one frequency—event shown once
Duration usually not expanded
Temporal continuity—narrative progression has no gaps

48. Continuity Editing
Use of diegetic sound—sound issuing from space of story
Creates spatial and temporal continuity
Temporal ellipsis—omission of time
Viewer must recognize passing of time to ensure continuity
Use of dissolves, fades, or wipes
Montage sequence—joining of various images, objects, characters, places, and times to compress series of actions into brief sequence
Usually still suggests continuity and one-for-one events

49. Non-Continuity Editing
Common in abstract and/or associational films
Often based on graphic and rhythmic qualities of film
Based on light, texture, shape, movement
Often subordinates space and time to rhythm
Narrative becomes less important

50. Non-Continuity Editing
Technique of jump cut—creates violation of spatial, temporal, and graphic continuity
Two shots of same subject cut together but not notably different in camera distance and angle
Creates notable jump on screen
Avoided in continuity editing
Nondiegetic Insert—cut from diegetic scene to metaphorical or symbolic shot outside time and space of film
Disturbs normal expectations about art and narrative

51. Non-Continuity Editing
More frequent use of expansion of temporal qualities
Jump cut
Nondiegetic insert
Expansion can be presented as formal aesthetic quality of film