New York City College of Technology, CUNY Entertainment Technology Dept. 186 Jay Street, Room V-203 Brooklyn, NY 11201 (718) 260-5588 http://www.entertainmenttechnology.org/

ENT 4390 - Advanced 5 cl hrs, 4 lab hrs, 3 cr Pre-requisites: ENT 2290, ENT 3190

Course Description

In this upper level course, the role of the video/ editor for both motion picture and live entertainment will be examined. Students will perform intermediate and advanced techniques of modern non- software. They will also demonstrate facility in communicating and collaborating effectively with directors, producers and their clients. At the end of the course, students will possess in- depth knowledge of the theory and practice of editing moving images. The course includes lectures and laboratory exercises.

Course Objectives

INSTRUCTIONAL OBJECTIVES ASSESMENT

For the successful completion of this course, students should be able to: Evaluation methods and criteria:

Demonstrate the operation and maintenance of signal routing Written tests and practical operation through and between equipment

Laboratory exercises and projects Demonstrate ability to manage and control continuity

Demonstrate effective use of transitions, effects, color correction, and titles Laboratory exercises and projects Make effective decisions on pacing and timing in an edited piece Laboratory exercises and projects

Practical examination Synchronize a video sequence to a musical soundtrack or dialogue

Use editing techniques to reveal and heighten emotional content Laboratory exercises and projects and audience involvement

Evaluate various editing styles and employ them based on Class discussion, written tests, and generally accepted standards and conventions homework assignments

Apply industry-recognized criteria for organizing audio and visual Laboratory exercises media to elicit predetermined responses in users

Use critical thinking skills to compare various editing and pacing Class discussion, written tests, and techniques omework assignments

Apply editing philosophies to make informed decisions in the Project-based labs post-production process

Previous Student Knowledge

Students taking this course will be expected to have an introductory to intermediate level of experience with existing non-linear digital video editing. They should also have some experience with audio production, and been involved with video preproduction and production projects.

Teaching/Learning Methods

Lecture/readings, Demonstration, Project-based labs, Research Assignments, Blackboard

Required Texts

Murch, W. (2001). In the Blink of an Eye (2nd ed.). Los Angeles: Silman-James Press. Plummer, M. (2013) 6: Part 1 Editing

Essential Free Download: The Oxford History of World Cinema https://archive.org/details/The_Oxford_History_Of_World_Cinema.PDF

Grading

Labs & Projects 20% Quizzes 10% Midterm 20% Final Exam 20% Final Project 20% Participation 10% GENERAL EDUCATION OBJECTIVES

Apply critical thinking skills to interpret, evaluate, and make Class discussion, written tests, and homework assignments informed editing decisions

Communicate effectively with producers, clients, and the Lecture, discussion, practical laboratory exercises post-production team.

Analyze and evaluate visual Project based labs and class discussion and aural forms to make aesthetically correct decisions

Course Schedule:

Week Lecture Topic Lab Assignment

Murch, “Foreword by Francis Coppola” & “Preface” Course overview/Features of Avid MC v8 https://archive.org/details/The_Oxford_History_ Week 1 Introductions Of_ World_Cinema.PDF Read pp 3-5, pp 6-23 Intro to History of Cinema Viewing: Porter’s The Great Train Robbery, Griffin’s Intolerance first 30 min. Murch, “Cuts and Shadow Cuts” & “Why do Cuts Work?” Plummer, “Lesson 2 Assembling A Basic Sequence”, “Exercise 2” Early Cinema and Film https://archive.org/details/The_Oxford_History_ Technology Of_ World_Cinema.PDF pp. 23-42

Porter and the Births of Assignment 1: Re-edit a classic silent film Week 2 Working with Director Modern Modern Editing focusing on using “ technique and parallel action. Parallel Action vs. Cutting on Action Film available for download on Blackboard

Viewing: Un Chien Andalou, Strangers On A Train

Film Movement: Murch, “ Out the Bad Bits” & “Most With Surrealism The

German Expressionism Least” Plummer, “Lesson 3 Ingesting File Based Media”, Exercise 3 New Challenges to Week 3 https://archive.org/details/The_Oxford_History_ Narrative Conventions Of_ World_Cinema.PDF pp. 43-62

Assignment 3: Edit a scene in the style of Surrealist Film Movement

View: Cabinet of Doctor Caligari, Fritz Lang’s M

Different cutting styles Murch, “The Rule of Six” & “Misdirection”

Italian Neo-Realism From Dancyger’s MTV Influence on Editing

http://www.creativemac.com/articles/viewarticl Film Movements e.jsp?id=1 4525 Week 4 Continue https://archive.org/details/The_Oxford_History_ Of_ World_Cinema.PDF pp. 73-77

Plummer, “Lesson 4 Manual Timeline Editing”, “Exercise 4” Assignment 4: Re-edit a film scenes in the style of Italian Neo-Realism

Viewing: Dangerous Liaisons Murch, “The Decisive Moment” Viewing Lecture excerpts:

Mick Audsley Editing Master Class https://www.youtube.com/watch?v=tBblLN Film Noir AX_68&list= UUdJ- Understanding subtext & EDtE6yIKjewyl07ErdA Week 5 Aesthetics aesthetics

Plummer, “Lesson 7 Customizing Media Assign Project I Composer”, “Exercise 7”

Assignment 5: Re-edit a scene in the style of Film Noir

Viewing: Bourne Identity

Murch, “Methods and Machines: Marble and Clay” Lecture Viewing: David Freeman https://www.youtube.com/watch?v=1vXijl1 TLPs&list=U UdJ- Action/ EDtE6yIKjewyl07ErdA&index=14 Week 6 Understanding action, Dialogue plot, and beyond https://archive.org/details/The_Oxford_Hist ory_Of_ World_Cinema.PDF Read pp 86- 95

Plummer, “Lesson 5 Making Further Refinements”, “Exercise 5” Film Viewing: Roger and Me and Grey Gardens

Murch, “Test Screenings: Referred Pain”

Bershen, “A Question of Ethics

Documentary http://www.documentary.org/magazine/ques Understanding tion-ethics- relationship-between- Week 7 I background: Ethics, filmmaker-and-subject

Politics & Aesthetics Plummer, “Lesson 6 Refining and Mixing Midterm exam Audio”, “Exercise 6”

Viewing: Harlan County and Soul Food Junkies Murch, “Don’t Worry, It’s Only a Movie”

Gallo: Character Driven vs. Plot Driven

http://masteringfilm.com/character-driven- vs-plot-driven/ With or without narration Week 8 Documentary II Plummer, “Lesson 9 Creating Quick Titles a Project I Due and Basic Transitions”, “Exercise 9”

Assignment 5: Re edit a documentary sequence without narration to tell the story through images only. Film selections on Black Board

Murch, “Seeing Around the Edge of the Frame” and “Dreaming in Pairs” Plummer, “Lesson 8 Introduction to MultiCam Editing”, “Exercise 8” MTV Style Week 9 Pacing for different Assignment 6: Edit 30 Second Promo for Changes in Pace genres TV from using MTV style Black Board Film

Viewing: Terms of Endearment, Inception

Examining plot & Murch, “Team Work: Multiple Editors” Editing for Clarity/ character driven Plummer, “Lesson 10 Preparing for the Week 10 Emphasis storytelling Assign Final Output”, “Exercise 10” Film Viewing: project Apocalypse Now

Murch, “Dragnet” Continuity/ Week 11 Principles of Editing Coverage/Rhythm Viewing Sleuth

Murch, “Galaxy of Winking Dots” Editing for live Week 12 Work on Final Project entertainment I Viewing: Live Aid excerpts, Queen at Wembley Stadium 1986 Editing for live Murch, “Afterword: Digital Editing: Past, Week 13 Work on Final Project entertainment II Present, and Imagined Future”

Editing for live Final Project Week 14 entertainment III Presentation

Week 15 Final Exam Final Written and Practical Final

Bibliography

American Cinema Editors. (2011). Retrieved from http://ace-filmeditors.org Block, B. (2008). The visual story (2nd ed.). Boston: Focal Press. Chandler, G. (2006). Cut by cut: Editing your film or video. Studio City, CA: Michael Wise Production. Chandler, G. (2009). : great cuts every filmmaker and movie lover must know. Studio City, CA:

Michael Wise Production. Clark, B., & Spohr, S. J. (2002). Guide to postproduction for tv and film: Managing the process (2nd ed.).

Boston: Focal Press. Ondaatje, M. (2002). The conversations: Walter Murch and the art of editing. New York: Knopf. O’Steen, B. (2009). The invisible cut: How editors make movie magic. Studio City, CA: Michael Wise

Production. Pearlman, K. (2009). Cutting rhythms: Shaping the film edit. Boston: Focal Press. Pepperman, R. (2009). The eye is quicker: Film editing: making a good film better. Studio City, CA:

Michael Wise Production. Perkins, R. (2004). British film editors. London, UK: bfi publishing. Reisz, K., & Millar, G. (2009). Technique of film editing. (2nd ed.). Boston: Focal Press.

V - 2018