What Is Video Editing? ● Video Editing Is the Process of Manipulating and Rearranging Video Shots to Create a New Work
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Deconstructing the Editorial and Production Workflow
Deconstructing the Editorial and Production Workflow Bill Kasdorf Vice President, Apex Content Solutions General Editor, The Columbia Guide to Digital Publishing Metadata Subgroup Lead, EPUB 3.0 & 3.0.1 WG Chair, BISG Content Structure Committee We all know what the stages of the editorial and production workflow are. Design. Copyediting. Typesetting. Artwork. Indexing. Quality Control. Ebook Creation. Ummm. They’re usually done in silos. Which are hard to see into, and are starting to break down. Thinking of these stages in the traditional way leads to suboptimization. In today’s digital ecosystem we need to deconstruct them in order to optimize: Who does what? At what stage(s) of the workflow? How to best manage the process? Who Does What? Do it in-house? Outsource it? Automate it? You can’t answer these questions properly without deconstructing the categories. And the answers differ from publisher to publisher. At What Stage(s) of the Workflow? How do these aspects intersect? How do you avoid duplication and rework? How do you get out of “loopy QC”? Getting the right things right upstream eliminates a lot of headaches downstream. How Best to Manage the Process? Balancing predictability and creativity: where to be strict, and where to be flexible? How can systems and standards help? Buy vs. build vs. wing it? Your systems, partners, and processes should make it easy for you to do the right work and keep you from doing the wrong work. Let’s deconstruct two key workflow stages to see what options there are for optimizing them. Copyediting -
Dance Design & Production Drama Filmmaking Music
Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A. -
COM 320, History of the Moving Image–The Origins of Editing Styles And
COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9. -
Filmmaking High School 1AB High School
Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts. -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
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). -
A French Impressionist Critical Approach to Terrence Malick's
Life in Movement: A French Impressionist Critical Approach to Terrence Malick’s Films By Matthew Sellers Johnson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree Master of Arts in Film Victoria University of Wellington 2021 i ii Abstract Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close- ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. iii Acknowledgements The following thesis would not be possible without the academic and personal support of the following people. First and foremost, I would like to thank Dr. -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child. -
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. -
In ACTING for FILM
Two-Year Degree Program ASSOCIATE OF FINE ARTS in ACTING FOR FILM AFA Acting students prepare to perform a scene in collaboration with Filmmaking students. 222 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 223 AFA Acting for Film OVERVIEW here are numerous elements and skills that go into making a critically acclaimed flm that viewers will appreciate. Yet an audience’s connection to an actor’s performance is often the most immediate and intimate relationship one makes with a movie. A good performance must appear efortless, yet still convey a rich tapestry of emotion and depth to create a T convincing character. Unlike acting in the theater, when performing on a flm or television set, an actor must contend with a far more chaotic environment where numerous crew members are running about, high wattage lights are aimed directly at the actor, and one is expected to give a believable and engaging performance take after take. Regardless of an actor’s inherent talent, he or she must learn how to efectively handle the countless variables at work on a flm or television production. The Associate of Fine Arts (AFA) Degree Program in Acting for Film provides students with the opportunity to exclusively focus on their professional and artistic development as actors. Over the course of the four- semester, two-year program, students gain a strong foundation in acting principles through such classes as Scene Study, Acting for Film, Voice and Movement, Improvisation, and Audition Technique. Please Note: curriculum and projects are subject to change and may vary depending on location. -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Film Production Technology AS
Film Production Technology AS - 2510 Career Pathway: Arts, Humanities, Communication & Design (AHCD) Location(s): General education courses are available at all BC locations. Program specific courses for this program are offered at the A. Hugh Adams Central Campus Program Entrance Requirements: HS Diploma or GED Program Description: The Associate of Science degree in Film Production Technology is for students who seek entry-level employment in the field of film and video production and desire advancement. Some careers, to which this sequence may lead, are camera operator, video editor, film production crew, sound editor, film and video producer, director and cinematographer. Visit program’s website for additional information. Build Your Education Motion Picture Film Production Motion Picture Motion Picture Film Production Production Bachelor of Fundamentals Production Post Production Technology Management Applied Science (TC2) 6343 (TC3) 6344 (TC4) 6345 AS 2510 (TC1) 6346 Recommended Course Sequence Full Time Part Time Course ID Description Credits TC1 TC2 TC3 TC4 FIL1420C Introduction to Filmmaking 3 X X X X Term 1 FIL1552C Film Editing Fundamentals 3 X X X X Term 1 ENC1101 English Composition 3 Term 2 FIL1030 Film History 3 MGF1106 Foundations of Mathematical Reasoning 3 Term 3 FIL1100C Screenwriting Fundamentals 3 X X Term 2 FIL2438C Nonfiction Filmmaking 3 X X Term 4 FIL2537C Sound Design Fundamentals 3 X X Elective* Elective Course 3 FIL2680 Film Producing & Production 3 Term 3 Term 5 Management X X ARH2051 Art History: Renaissance