Digital Video Editing
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DIGITAL Filmmaking an Introduction Pete Shaner
DIGITAL FILMMAKING An Introduction LICENSE, DISCLAIMER OF LIABILITY, AND LIMITED WARRANTY By purchasing or using this book (the “Work”), you agree that this license grants permission to use the contents contained herein, but does not give you the right of ownership to any of the textual content in the book or ownership to any of the information or products contained in it. This license does not permit uploading of the Work onto the Internet or on a network (of any kind) without the written consent of the Publisher. Duplication or dissemination of any text, code, simulations, images, etc. contained herein is limited to and subject to licensing terms for the respective products, and permission must be obtained from the Publisher or the owner of the content, etc., in order to reproduce or network any portion of the textual material (in any media) that is contained in the Work. MERCURY LEARNING AND INFORMATION (“MLI” or “the Publisher”) and anyone involved in the creation, writing, or production of the companion disc, accompanying algorithms, code, or computer programs (“the software”), and any accompanying Web site or software of the Work, cannot and do not warrant the performance or results that might be obtained by using the contents of the Work. The author, developers, and the Publisher have used their best efforts to insure the accuracy and functionality of the textual material and/or programs contained in this package; we, however, make no warranty of any kind, express or implied, regarding the performance of these contents or programs. The Work is sold “as is” without warranty (except for defective materials used in manufacturing the book or due to faulty workmanship). -
TFM 327 / 627 Syllabus V2.0
TFM 327 / 627 Syllabus v2.0 TFM 327 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill. -
Film Terminology
Film Terminology Forms of Fiction English 12 Camera SHOTS camera shot is the amount of space that is seen in one shot or frame. Camera shots are used to demonstrate different aspects of a film's setting, characters and themes. As a result, camera shots are very important in shaping meaning in a film. Extreme long shot A framing in which the scale of the object shown is very small; a building, landscape, or crowd of people would fill the screen. Extreme long shot/Establishing shot This shot, usually involving a distant framing, that shows the spatial relations among the important figures, objects, and setting in a scene. Long Shot A framing in which the scale of the object shown is very small A standing human figure would appear nearly half the height of the screen. It is often used to show scenes of action or to establish setting - Sometimes called an establishing shot Medium long shot A framing at a distance that makes an object about four or five feet high appear to fill most of the screen vertically Medium Shot A framing in which the scale of the object shown is of moderate size A human figure seen from the waist up would fill most of the screen Over the shoulder This shot is framed from behind a person who is looking at the subject This shot helps to establish the position of each person and get the feel of looking at one person from the other’s point of view It is common to cut between these shots during conversation Medium close up A framing in which the scale of the object is fairly large a human figure seen from the chest up would fill most the screen Close-up Shot A framing in which the scale of the object shown is relatively large; most commonly a person’s head seen from the neck up, or an object of a comparable size that fills most of the screen. -
Syllabus for M.Sc. (Film Production)| 1
Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc. -
After the Shooting Period the Editor Made a First Rough Cut of the Movie on His Own Only Guided by the Script and Some General Discussions with the Directors
After the shooting period the editor made a first rough cut of the movie on his own only guided by the script and some general discussions with the directors. This first rough cut was 2 hrs 40 min long. (the final film is near to an hour shorter) Below follows the director’s reactions to the first rough cut London/Amsterdam 22 april 2015 Ok Antonio below some notes please take them as a guidance not as a verdict, use them, abuse them and let them broaden your thinking instead of limiting the possibilities. Sc 1/2 – opening scenes The original plan was to not see Arthur and Vida together until they emerge on the rooftop sc 4 where they’re still partially disguised in their weird outfits. The underlying thought was that they were still hiding their souls towards each other and the audience’s journey was piggy bagging on their journey. The rave material does not support the above thought. We see them –I think—quite clearly and very often together. We should investigate your suggestion to ‘mix’ the intro shots of awakening London, the pigeons, the skin details and the rave, while hearing the voice-overs apres l’amour. The script –at the moment—does not challenge time concept, all is linear, but that shouldn’t stop us from trying. Sc 4 – Rooftop The intention is to capture that short moment in love where you don’t want to see each others demons yet, where the adrenaline rush of believing love is possible still rules. Goofing is the expression of that belief. -
Film Studies Film Studies
Summer School Film Studies Film Studies Progression to A Level Film Studies at Prior Pursglove College What is film studies? Film studies is an academic subject that aims to broaden your knowledge and understanding of film and the range of responses film can generate. We study mainstream American films from past and present, independent films, British films, non-English language films, silent films and significant film movements. You are assessed via 2 exams where you will have written a series of essays in response to questions, as well as a piece of coursework requiring you to make your own short film or write a screenplay for a short film and a written evaluation of your work. What makes an ideal film student? A passion for film, an interest in analysing the content of film, a keen essay writer, creative ideas. Preparing for film studies To help you prepare for the A Level a playlist has been compiled with 72 tasks on this worksheet to work through. We begin by learning the language of film – you will learn lots of new terminology covering camerawork, editing techniques, performance techniques, sound techniques and mise-en-scene features. We use these terms to analyse how films have been constructed. The first few videos in the playlist give examples of film language and teach you about their use and meaning. We explore representation in film – considering how ideas about the world are represented and how specific social groups are represented. Some videos have been included to explain representation in the media (including film) and what things to consider. -
Motion-Based Video Synchronization
ActionSnapping: Motion-based Video Synchronization Jean-Charles Bazin and Alexander Sorkine-Hornung Disney Research Abstract. Video synchronization is a fundamental step for many appli- cations in computer vision, ranging from video morphing to motion anal- ysis. We present a novel method for synchronizing action videos where a similar action is performed by different people at different times and different locations with different local speed changes, e.g., as in sports like weightlifting, baseball pitch, or dance. Our approach extends the popular \snapping" tool of video editing software and allows users to automatically snap action videos together in a timeline based on their content. Since the action can take place at different locations, exist- ing appearance-based methods are not appropriate. Our approach lever- ages motion information, and computes a nonlinear synchronization of the input videos to establish frame-to-frame temporal correspondences. We demonstrate our approach can be applied for video synchronization, video annotation, and action snapshots. Our approach has been success- fully evaluated with ground truth data and a user study. 1 Introduction Video synchronization aims to temporally align a set of input videos. It is at the core of a wide range of applications such as 3D reconstruction from multi- ple cameras [20], video morphing [27], facial performance manipulation [6, 10], and spatial compositing [44]. When several cameras are simultaneously used to acquire multiple viewpoint shots of a scene, synchronization can be trivially achieved using timecode information or camera triggers. However this approach is usually only available in professional settings. Alternatively, videos can be synchronized by computing a (fixed) time offset from the recorded audio sig- nals [20]. -
A Pr CC 1 Premiere Teach Multimedia Inc
SESSION A Pr CC 1 Premiere Teach Multimedia Inc. Copyright 2015 Teach Introduction and Digitizing Teachmultimedia.com LEARN DIGITAL VIDEO PRODUCTION Introduction to Adobe Premiere 1 Teach Multimedia Inc. Copyright 2015 Teach Basic Information, and DigitizingTeachmultimedia.com Video TeachMultimedia.com ADOBE PREMIERE 2 Introduction to Adobe Premiere objectives In This Session - OBJECTIVES In this session, you and your partner will explore the video production process, and the basics for operating the your Adobe Premiere digital editing system. What will you learn? - OUTCOMES When you are finished with this session, you will be able to do the following: • Identify the four main steps in Video Production Multimedia Inc. Copyright 2015 Teach • Understand the difference between Linear and Non-Linear editing. • Understand the concept of Continuity and how it can benefit your production. • Operate the Adobe Premier software. • Be able to import Video Clips into Adobe Premier Software. • What the difference between Close-up (CU), Medium Shot (MS), and Wide-Shot (WS) is. Equipment and Materials You will need the following equipment & materials as you complete this session. Teachmultimedia.com Adobe Premiere Session Digital Cirriculum Online Session 1: Continuity template #100 Session 1: Raw Footage template #101 Test Response Sheet PC Computer System Journal Pen or Pencil paper/notebook New Terms Introduction to Adobe Premiere 3 new terms Look for the following new terms as you complete this session video production tape-to-tape editing Raw Footage Fade-out linear editing Importing digital non-linear editing Mouse Output Adobe Premiere Menu Bar Preview Window Fade-in Storyboarding Editing Remember You and your partner need to work together as you complete the session in this session guide. -
Virtual Video Editing in Interactive Multimedia Applications
SPECIAL SECTION Edward A. Fox Guest Editor Virtual Video Editing in Interactive Multimedia Applications Drawing examples from four interrelated sets of multimedia tools and applications under development at MIT, the authors examine the role of digitized video in the areas of entertainment, learning, research, and communication. Wendy E. Mackay and Glorianna Davenport Early experiments in interactive video included surro- video data format might affect these kinds of informa- gate travel, trainin);, electronic books, point-of-purchase tion environments in the future. sales, and arcade g;tme scenarios. Granularity, inter- ruptability, and lixrited look ahead were quickly identi- ANALOG VIDEO EDITING fied as generic attributes of the medium [l]. Most early One of the most salient aspects of interactive video applications restric:ed the user’s interaction with the applications is the ability of the programmer or the video to traveling along paths predetermined by the viewer to reconfigure [lo] video playback, preferably author of the program. Recent work has favored a more in real time. The user must be able to order video constructivist approach, increasing the level of interac- sequences and the system must be able to remember tivity ‘by allowing L.sers to build, annotate, and modify and display them, even if they are not physically adja- their own environnlents. cent to each other. It is useful to briefly review the Tod.ay’s multitasl:ing workstations can digitize and process of traditional analog video editing in order to display video in reel-time in one or more windows on understand both its influence on computer-based video the screen. -
Jr. Video Editor / Digital Content Coordinator Location: Castle Rock, Colorado (WFCF Headquarters)
Where Food Comes From, Inc. 303.895.3002 wfcfcare.com wfcfstorybit.com Where Food Comes From Position: Jr. Video Editor / Digital Content Coordinator Location: Castle Rock, Colorado (WFCF Headquarters) Video Editing / Storytelling for WFCF Storybit Video Series (wfcfstorybit.com) • Establish a clear understanding of the storyline and be able to effectively tell a story • Editing includes interview cutdowns, adding graphics and text when needed and music selection based on story direction • Create initial storyboard drafts of videos • Edit video to ensure the correct formatting and presentation for finalized videos according to Where Food Comes From brand specifications and designated social media channel Social Media Coordinator • Coordinating social media posts and advertising campaigns • Creating graphics and video content for posts • Research and manage influencer brand relationships • Develop, implement and manage our social media strategy that includes content that is informative and appealing o Research industry-related topics to be used on social, blogs and external and internal communication • Collaborate with other WFCF divisions to develop engaging content • Measure the success of every social media campaign • Keep abreast of the latest social media best practices and technologies • Use social media marketing tools such as Hootsuite • Communicate with industry professionals and influencers via social media to create a strong network Requirements: • 1-2 years of creative experience in filmmaking and videography, specifically -
Prelude CC Help
ADOBE® PRELUDETM Help and tutorials October 2013 Contents What's new................................................................................................................................................... 1 What's new in Prelude CC......................................................................................................................................................2 What's New in Adobe Media Encoder CC............................................................................................................................ 10 What's New in Adobe Premiere Pro CC June 2013 release (version 7.0)........................................................................... 16 Getting Started tutorials.............................................................................................................................. 28 About Prelude.......................................................................................................................................................................29 Working with Adobe Prelude................................................................................................................................................ 31 Workspace and workflow............................................................................................................................32 Linking Adobe Story scripts with movie clips in Prelude.......................................................................................................33 The Prelude Workspace...................................................................................................................................................... -
Cinematic Storytelling
Cinematic Storytelling is handout is a compilation of notes from the timeless book Cinematic Storytelling: e 100 Most Powerful Film Conventions Every Filmmaker Must Know by Jennifer Van Sijll (2005). Even though we have probably seen these conventions used hundreds of times in Hollywood "lms, many of us lack the awareness and vocabulary to identify the types of techniques used to create the shots in a movie sequence. is handout is a crash course to enable you to create more effective storyboards by revealing many of the techniques at your disposal to tell your story. Thoughts on filmmaking “I can pick up a screenplay and "ip through the pages. If all I see is dialog, dialog, dialog, I won’t even read it. I don’t care how good the dialog is -- it’s a moving picture. It has to move all the time... It’s not the stage. A movie audience doesn’t have the patience to sit and learn a lesson...” -- Robert Evans, “e Biggest Mistake Writers Make” “In many of the #lms now being made, there is very little cinema; they are mostly what I call ‘photographs of people talking.’ When we tell a story in cinema, we should resort to dialog only when it’s impossible to do otherwise... It is essential… to rely more on the visual than on the dialog. Whichever way you choose to stage the action, your main concern is to hold the audience’s fullest attention.” -- Alfred Hitchcock Famous silent movies like e Great Train Robbery and Metropolis had to use non-dialog techniques to carry character and plot.