Editing Techniques an Analysis on Action Scenes in Road Action Films in Malaysia
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CTE: Get Real! Student Filmmaker Toolkit This Guide Will Teach You How to Create a Promotional Video for Your CTE Classes
CTE: Get Real! Student Filmmaker Toolkit This guide will teach you how to create a promotional video for your CTE classes. Here’s what’s included in this guide: ◦ A sample video to guide you. ◦ An overview of all the footage you will need to shoot. ◦ Best practices for setting up, interviewing, and how to get the footage you need. ◦ How to cut this footage down to your final video. 2 Career and Technical Education is hands-on learning that puts students at the center of the action! But not everyone knows how CTE: • Connects to career opportunities like employer internships and job shadows. • Puts students on a path that leads toward a career, college, and education after high school. • Delivers real world skills that make education come alive. 3 Table of Contents 1. Video Basics 6 2. How to tell your CTE story 9 3. Preparing for an interview 13 4. How to interview students, teachers, and employers 24 5. How to capture B-Roll action shots 39 6. How to edit your footage 43 7. Wrap it up! 57 5 We’ve included a sample video to help you create your own video. Click here to view it now. We will refer to specific times in this sample video. Quick Checklist ◦ Pick a CTE class or two to focus on. ◦ Interview students and teachers. ◦ Interview local employers with careers that connect to the CTE class. ◦ Shoot action shots of general classroom activity. ◦ Shoot action shots of employer, or of their employees doing work. ◦ Use a music track. Let’s get started! 4 1 Video Basics 6 Video Basics Six Basic Tips 1. -
The Sound Effect
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sound Effect: a Study in Radical Sound Design Ian Robert Stevenson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Architecture, Design & Planning The University of Sydney 2015 ABSTRACT ABSTRACT This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. -
Graphic Design and the Cinema: an Application of Graphic Design to the Art of Filmmaking
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2016 Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking Kacey B. Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Graphic Design Commons Recommended Citation Holifield, Kacey B., "Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking" (2016). Honors Theses. 403. https://aquila.usm.edu/honors_theses/403 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Graphic Design and the Cinema: An Application of Graphic Design to the Art of Filmmaking by Kacey Brenn Holifield A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Fine Arts of Graphic Design in the Department of Art and Design May 2016 ii Approved by _______________________________ Jennifer Courts, Ph.D., Thesis Adviser Assistant Professor of Art History _______________________________ Howard M. Paine, Ph.D., Chair Department of Art and Design _______________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract When the public considers different art forms such as painting, drawing and sculpture, it is easy to understand the common elements that unite them. Each is a non- moving art form that begins at the drawing board. -
Tayangan Filem Cereka 2018
TAYANGAN FILEM CEREKA 2018 NO TARIKH MULA JUDUL FILEM PENGARAH NAMA SYARIKAT STATUS ASTRO SHAW SDN. BHD 1. 11.01.2018 BUSKER KYE FARIZ SELESAI TAYANGAN . TEDDY CHIN & EDEN LOMO PICTURES SDN. 2. 18.01.2018 BEST STORY (MANDARIN) SELESAI TAYANGAN WAN BHD ACE MOTION 3. 25.01.2018 BUKAN CINTA MALAIKAT AZIZ M. OSMAN PRODUCTION SDN. SELESAI TAYANGAN BHD DHANANWOODD FILMS 4. 01.02.2018 MAKRIFAT CINTA KAMAL G SELESAI TAYANGAN SDN. BHD PROFESSOR DR. A. LOMO PICTURES SDN. 5. 15.02.2018 BADANG SELESAI TAYANGAN RAZAK MOHAIDEEN BHD LOMO PICTURES SDN. 6. 15.02.2018 A HOUSE OF HAPPINESS JY TENG SELESAI TAYANGAN BHD JAGUAR LIM FILMS & 7. 22.02.2018 AMAZING TITANMAN (MANDARIN) EDDIE TIGER SELESAI TAYANGAN PROD. (M) SDN. BHD GLOBAL SOLUTION 8. 22.02.2018 SURF THIS LOVE WAAN HAFIZ SELESAI TAYANGAN RESOURCES SDN. BHD YKS FILM MAKER SDN. 9. 01.03.2018 BIDONG THE BOAT PEOPLE YUSOF KELANA SELESAI TAYANGAN BHD VIPER STUDIOS SDN. 10. 08.03.2018 KL SPECIAL FORCE SYAFIQ YUSOF SELESAI TAYANGAN BHD 11. 08.03.2018 GET HARD (MANDARIN) CHAN WAI CHEONG STORIDEAS SDN. BHD SELESAI TAYANGAN KS ARMADA MEGAH 12. 15.03.2018 33KM FROM KL (TAMIL) KS UMAAGAANTHAN SELESAI TAYANGAN SDN. BHD 13. 15.03.2018 LEE CHONG WEI RISE OF THE LEGEND (MANDARIN) TENG BEE CB PICTURES SDN. BHD SELESAI TAYANGAN AIFA MOTION PICTURES 14. 22.03.2018 HANTU WANGAN AHMAD IDHAM SELESAI TAYANGAN SDN. BHD RANGKAIAN MELATI 15. 29.03.2018 ENJIN NO 9 RAJA AZMI SELESAI TAYANGAN PRODUCTION SDN. BHD GVKM ELEPHANT 16. 19.04.2018 VILLAVAN VASSAN KUMARAN SELESAI TAYANGAN PICTURES SDN. -
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. -
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. -
Lesson 1: How Can We Hear So Many Different Sounds from Across the Room
Lesson 1: How can we hear so many different sounds from across the room when we spin the record? Teacher Guide- Middle School Unit: How Can I Hear Different Sounds From Across The Room? This Lesson….What we are doing now: This is the first lesson in the series. Students will observe a perplexing anchoring event: when a sewing needle taped to a cone, is dragged over the surface of a plastic disc spun under it, voices and musical notes are heard coming from it. You will help student use the observations from this phenomena to think about other sound related phenomena, which in turn will lead them to form a broader set of questions about sound to form a driving question board. Then you will help students brainstorm ways for the class to investigate these questions. These questions and ideas for investigations will motivate and guide the direction of many future lessons throughout the unit. Lesson Phenomena Lesson Performance What We Figure Out (CCCs & DCIs), New Questions and Next Steps Question Expectation(s) L1: How can we When a sewing needle Develop an initial model From spinning the record we noticed that: hear so many taped to a cone, is to describe phenomena ● We could hear voices, words, and instruments playing songs coming from the different sounds dragged over the and unobservable cone/record/needle apparatus. from across the surface of a plastic disc (causes) The closer we were to the record the louder the sound was. mechanisms ● room when we spun under it, voices that help explain “how ● How fast you spin the record affects some aspects of the sounds we spin the record? and musical notes are you can hear so many heard. -
KAEDAH PEROLEHAN RANCANGAN TELEVISYEN DI RTM: ISU DAN CABARAN SYARIKAT PRODUKSI TEMPATAN Arizah Jamil, Zairul Anuar Md. Dawam &A
KAEDAH PEROLEHAN RANCANGAN TELEVISYEN DI RTM: ISU DAN CABARAN SYARIKAT PRODUKSI TEMPATAN Arizah Jamil, Zairul Anuar Md. Dawam & Mohd Nor Shahizan bin Ali ABSTRAK Sejak tahun 1984, Radio dan Televisyen Malaysia (RTM) melalui Unit Perolehan Rancangan telah menetapkan beberapa syarat dan kaedah kepada pembekal-pembekal rancangan atau syarikat produksi yang ingin memasarkan dan menjual rancangan televisyen mereka di RTM 1 (TV1), RTM 2 (TV2) dan TVi. Kaedah perolehan rancangan televisyen bermula dengan sistem agihan jam, sistem tender terbuka, sistem konsortium, sistem tender terhad dan yang terkini adalah mengikut sistem pitching. Namun begitu, setiap kaedah perolehan tersebut telah menimbulkan beberapa isu seperti isu monopoli, isu pengagihan slot jam yang tidak jelas, kewujudan syarikat yang menjual slot jam yang diperoleh kepada syarikat lain (Ali baba), isu pengelasan syarikat dan isu penilaian ketika proses pembentangan dilakukan. Malah, isu-isu yang berlaku ketika pelaksanaan tersebut menyebabkan perubahan sistem pengurusan dalam kaedah perolehan yang dilakukan oleh RTM. Isu-isu ini telah memberikan cabaran kepada pihak penerbit atau syarikat produksi dalam usaha untuk memasar dan menjual produk atau rancangan televisyen mereka ke RTM. Justeru, artikel ini membincangkan lima jenis sistem pengurusan dalam kaedah perolehan rancangan yang pernah dilaksanakan oleh pihak RTM dan seterusnya isu dan cabaran yang dihadapi oleh syarikat produksi tempatan dalam setiap pelaksanaan kaedah perolehan tersebut. Artikel ini diharap dapat membantu para penerbit memahami kaedah perolehan rancangan televisyen yang dilakukan oleh RTM, sekali gus membantu mereka memperoleh slot televisyen yang ditawarkan. Kata kunci: RTM, kaedah perolehan rancangan televisyen, penerbit tempatan, slot televisyen. Gendang Alam, Jilid 6, 2016 ABSTRACT Since 1984, RTM through the Procurement Unit Plan has set a number of conditions and methods to the suppliers design or production companies who want to market and sell their television program on TV1, TV2 and TVi. -
Analisis Semiotik Makna Syirik Dalam Film Khurafat
ANALISIS SEMIOTIK MAKNA SYIRIK DALAM FILM KHURAFAT SKRIPSI Diajukan kepada Fakultas Ilmu Dakwah dan Ilmu Komunikasi untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Sosial (S.Sos.) Oleh: Waqid Setyo Budi Utomo NIM. 11140510000067 PROGRAM STUDI KOMUNIKASI PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1440 H / 2019 M ABSTRAK Waqid Setyo Budi Utomo Analisis Semiotik Makna Syirik Dalam Film Khurafat Film merupakan media komunikasi yang sampai saat ini masih menjadi media efektif dalam menyampaikan pesan dan memberikan pengaruh kepada masyarakat luas. Film menampilkan penggambaran adegan yang mengandung berbagai macam pesan, baik itu pesan moral, sosial, budaya hingga pesan- pesan dakwah keagamaan. Film Khurafat merupakan film bergenre horor pertama karya Syamsul Yusof. Film Khurafat merupakan film yang mendapat nominasi sebagai film dengan skenario terbaik, kisah asli terbaik, dan pengeditan terbaik diajang Festival Film Malaysia ke 24 pada tahun 2011. Film yang menceritakan tentang keluarga yang terus mendapatkan teror atau gangguan makhluk gaib akibat perjanjiannya dengan dukun. Seperti film horor pada umumnya, identik dengan adegan-adegan seram. Namun, film ini berbeda dengan film horor Indonesia yang identik dengan adegan yang berbau pornografi. Di film ini, justru menampilkan adegan yang harus dihindari dan dilarang dalam ajaran agama Islam. Berdasarkan latar belakang di atas, maka telah dirumuskan pertanyaan penelitian diantaranya bagaimana makna denotasi, konotasi, dan mitos yang terdapat dalam film Khurafat? Metodologi penelitian ini menggunakan paradigma konstruktivisme dan pendekatan kualitatif. Sedangkan metode yang digunakan adalah analisis semiotik Roland Barthes. Teknik pengumpulan data menggunakan teknik observasi dan dokumentasi. Dalam analisis semiotik Roland Barthes, makna denotasi merupakan makna nyata yang ditampilkan oleh penanda terhadap objek. -
Cheat Sheet Video Editing
The Ultimate Video Editing Cheat Sheet /SunnyLenarduzzi Video & Social Media Coach, Consultant, YouTuber, Speaker and Broadcaster. Step 1: Pre-Production Did you know that the editing process begins before you even turn on your camera? Consider the following pre-production elements: Script Write a loose script that you'll use to guide you and the flow of your video. Break the script into sections i.e. intro, point #1, point #2, outro. If you promote your video across social platforms, write scripts that are specific to: Instagram: 15 sec. maximum Twitter: 30 sec. maximum Facebook: 20 min. maximum www.SunnyLenarduzzi.com Pre-Production Titles & Graphics To add a unique look and feel to your videos, be sure to create your intro graphic or animation that you can use in all of your videos moving forward. You can easily make these yourself in Canva or PicMonkey. Or you can hire someone to do it for as low as $5.00 on Fiverr. Shot List For each portion of your script, think about the visuals you'll need to support your points i.e. photos, extra video footage (b-roll), props, interviews, etc. Collect those creative elements and store them in a folder so they're organized for when it comes time to edit your video. Group shots with the same locations together to make the filming process easier; it's ok to film your video out of order. www.SunnyLenarduzzi.com Step 2: Production Lights, camera, action! Now that you have your ducks in a row, it's time to shoot your masterpiece.