Continuity Editing for 3D Animation
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Rosamunde Pilcher and Englishness
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Diplomarbeit Titel der Diplomarbeit Rosamunde Pilcher and Englishness Verfasserin Helena Schuhmacher Angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, im Dezember 2010 Studienkennzahl lt. Studienblatt A 190 344 353 Studienrichtung lt. Studienblatt UF Englisch (und UF Spanisch) Betreuerin ao. Univ. Prof. Dr. Monika Seidl I would like to seize the opportunity to express my warmest thanks to all those people who have encouraged me or lent me an ear in the course of my studies. I would like to thank my parents who have always let me decide on my own and who have made it possible for me to take up and complete my university studies. Furthermore, my warmest thanks are reserved for Prof. Seidl, without whom I would have not arrived at the idea of writing the current thesis. Moreover, I would like to thank her for all her words of advice and encouragement. Table of Contents 1. Introduction ................................................................................................................... 1 2. Theoretical Framework ........................................................................................... 3 2. 1. Nation as an imagined community ...................................................................... 3 2. 2. Collective memory and nostalgia in the heritage film ..................................... 8 2. 3. Englishness ............................................................................................................18 -
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. -
Cutting and Framing in Bauer's and Kuleshov' S Films
YURI TSIVIAN Cutting and framing in Bauer's and Kuleshov' s Films This article deals with what looks like the most intriguing aspect of silent cinema in Russia as it passed from its pre-revolutionary period to the period known as the clas sical Soviet montage school. In terms of style filmmakers seemed to have run from one extreme to another. Almost overnight, long shots and long takes, typical for Russian films of the 1910s, gave way to close framing and fast cutting. In this article I am going to address the issue of cutting rate as related to the emerging notion of 'effi cient narrative' and that of closer framing as conflicting with previously established ways of representing the filmic space. Yevgeni Bauer and Lev Kuleshov have been picked out as contrasting figures; besides, in the last years of Bauer's lifetime Kules hov had been his devoted pupil, so the change in style is set off by the continuity of generations. 1. Face versus Space What was the chronology of the facial close-up in early Russian cinema? An exami nation of existing archival holdings is not very rewarding - only about ten per cent of all Russian film output of the teens has survived, and, what is still worse, this percen tage does not equally represent different studio productions. Khanzhonkov's studio style is fairly well known, while we have almost no idea what was the close-up policy of, say, Thieman and Reinhardt studio directors. Memoir sources are interesting but particularly unreliable in regards to close ups. -
Choices in the Editing Room
Choices in the Editing Room: How the Intentional Editing of Dialogue Scenes through Shot Choice can Enhance Story and Character Development within Motion Pictures Presented to the Faculty of Liberty University School of Communication & Creative Arts In Partial Fulfillment of the Requirements for the Master of Arts in Strategic Communication By Jonathan Pfenninger December 2014 Pfenninger ii Thesis Committee Carey Martin, Ph.D., Chair Date Stewart Schwartz, Ph.D. Date Van Flesher, MFA Date Pfenninger iii Copyright © 2014 Jonathan Ryan Pfenninger All Rights Reserved Pfenninger iv Dedication: To Momma and Daddy: The drive, passion, and love that you have instilled in me has allowed me to reach farther than I thought I would ever be able to. Pfenninger v Acknowledgements I would like to thank my parents, Arlen and Kelly Pfenninger, for their love and support throughout this journey. As you have watched me grow up there have been times when I have questioned whether I was going to make it through but you both have always stood strong and supported me. Your motivation has helped me know that I can chase my dreams and not settle for mediocrity. I love you. Andrew Travers, I never dreamed of a passion in filmmaking and storytelling before really getting to know you. Thank you for the inspiration and motivation. Dr. Martin, your example as a professor and filmmaker have inspired me over the last three years. I have gained an incredible amount of knowledge and confidence under your teaching and guidance. I cannot thank you enough for the time you have invested in me and this work. -
EDITING TECHNIQUES for FILM the Editing Process
EDITING TECHNIQUES FOR FILM The Editing Process Shots are edited together to create scenes. Scenes can be edited together to tell a story. Editing Many regard it as the single most important creative step in determining the look an shape of the finished film Dede Allen - BONNIE AND CLYDE, REDS A good editor can save a poorly directed film A bad editor can damage the work of even the finest director Thelma Schoonmaker - RAGING BULL, THE DEPARTED Watching a film is like putting together a puzzle… Overall picture emerges when all the little pieces have been fit together Each piece is a shot When put together properly, the viewer sees the whole picture and not just the pieces Lev Kuleshov Kuleshov said that editing a film was like constructing a building. Brick-by-brick (shot- by-shot) the building (film) is erected. Just as two images joined together form a third meaning not inherent in either of the two images alone… …the way the many images making up a film are put together creates a meaning not inherent in the individual shots Viewers infer meaning based on context. The viewers didn't realize it, but the emotion and the story they felt were the result of the human need to fill in the blanks. Sample of EditingTechniques 1. Master 2. Match cut 3. Continuity editing 4. Jump Cut 5. Montage 7. Shot Reverse Shot Master shot A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. -
CEET Itunes U Moviestorm Made Easy
Moviestorm Made Easy– from the Community of Expertise in Educational Technology – CEET http://ceetbc.ning.com/ CEET iTunes U Moviestorm Made Easy This collection is derived from a March 2013, CEET MoodleMeet: Moviestorm Made Easy, originally designed by David LeBlanc with Clint Surry and additional content by Elizabeth Wellburn. You can go to http://ceetbc.ning.com to participate in a community where these ideas are being discussed. This document is an introduction to using the software “Moviestorm” to enhance learning. Moviestorm is a fast, fun, easy software application that lets anyone make 3d animated movies on their computer. The CEET Meet in March, 2013, showed how you can make a simple movie from start to finish. It covered set building, character creation, directing, dialog, filming, editing, visual effects, sound and music, titles & credits, and rendering. This document gives some context for why you'd want to do this, examples of completed student projects and highlights of the processes involved. This document also links to detailed explanations provided by the software creators. Everything you need to get motivated and to start creating! A Case for Filmmaking in the Classroom Gail Desler has written a compelling post describing six reasons you'd want to use filmmaking as a tool for learning in the K-12 classroom. She cites six important reasons: • Addressing ethical use of the Internet • Promoting critical media consumption • Providing students with multiple ways to access core content Page 1 Moviestorm Made Easy– from the -
The Space of Editing: Playing with Difference in Art, Film and Writing
The space of editing: playing with difference in art, film and writing Grant Stevens Bachelor of Fine Arts (Honours) (QUT) Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2007 Visual Arts Creative Industries Faculty Queensland University of Technology ii Abstract This research project explores the creative and critical functions of editing in art, film and writing. The written component analyses the histories and discourses of ‘cutting and splicing’ to examine their various roles in processes of signification. The artistic practice uses more speculative and open-ended methods to explore the social ‘languages’ that inform our inter-subjective experiences. This project argues that editing is a creative methodology for making meaning, because it allows existing symbolic systems to be appropriated, revised and rewritten. By emphasising the operations of spacing, questioning and play, it also identifies editing as an essential tool for critically engaging with the potentials of art and theory. iii Keywords art; collage; creative practice; cutting; deconstruction; Derrida; difference; editing; Eisenstein; film; graft; grammatology, language; montage; play; postproduction; post-structuralism; signification; spacing; splicing; structuralism; text; trace; video; writing iv Table of contents Abstract....................................................................................................................... iii Keywords ....................................................................................................................iv -
The Camcorder
TELEVISION PRODUCTION II Program Overview: The TV Production classes at Grosse Pointe North and South High Schools provide a studio setting for those students with a serious interest in pursuing a career in communications. The studio and editing room is equipped with up to date industry standard equipment, enabling students to become familiar with all aspects of broadcasting and the ability to create programs of community-wide interest. Course Description: Beginning Advanced Video Production students will be introduced students to the fundamental, technical, and creative aspects of video editing using the AVID Media Composer Non-Linear editing system. Students will learn the news field reporting, fundamentals of shooting footage in the field with a camcorder, editing footage into a news package. In addition to the editing component, our daily news broadcast will be created using skills developed in TV Production I classes. Advanced Video Production students III-V students also will collaborate with the Advanced Video Production II students in the production of GPTV News. However, they will be responsible for the execution of all the components to the program. As producers, students will insure that materials, projects, scripts, and sports and weather sections are ready prior to taping. They will function as a team leader to set program goals, creatively produce a TV product by applying their knowledge of current TV technology. This course is designed with a focus on the studio workshop & video production. It will provide students with opportunities to experience the total process of television production with a daily objective. Further, it is important for students to learn by doing, inquiring, and discovering. -
Video Production 101: Delivering the Message
VIDEO PRODUCTION VIDEO PRODUCTION 101 101 Delivering the Message Antonio Manriquez & Thomas McCluskey VIDEO PRODUCTION 101 Delivering the Message Antonio Manriquez & Thomas McCluskey Video Production 101 Delivering the Message Antonio Manriquez and Thomas McCluskey Peachpit Press Find us on the Web at www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Copyright © 2015 by Antonio Jesus Manriquez and Thomas McCluskey Senior Editor: Karyn Johnson Development Editor: Stephen Nathans-Kelly Senior Production Editor: Tracey Croom Copyeditor and Proofreader: Kim Wimpsett Compositor: Danielle Foster Indexer: Jack Lewis Interior Design: Danielle Foster Cover Design: Aren Straiger Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the authors nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. -
1 Introduction
JACSM 2016, Vol. 8, No. 1, pp. 29 - 40 10.1515/jacsm-2016-0003 SELECTED EXAMPLES OF APPLICATIONS OF NEW GRAPHICS AND ANIMATION TECHNOLOGIES Zbigniew Filutowicz, Krzysztof Przybyszewski, Józef Paszkowski IT Institute, University of Social Sciences, Łódź, Poland (zfilutowicz, kprzybyszewski)@spoleczna.pl Abstract In recent years there has been a marked increase in the competitiveness of some very interesting (user) applications software within the field of computer graphics and animation. This paper presents an analysis of selected examples of the use of graphic applications software designed for professional use within various areas of human activity, and also focusses on the potential for further development of this software. Graphic applications software that makes use of motion capture, performance capture, time-lapse, morphing, Augmented Reality and the use of avatars in human-computer communication has become increasingly popular, cheap and simple. Key words: computer graphics, computer animation, performance capture, human-computer communication 1 Introduction In the past, the market for (user) applications software was monopolized by a few leading and well-known companies. The market valued cult products, and the data recording formats associated with them. The last decade has seen the spread of the use of cloud computing, which allows end users to run computer programs online in a web (internet) browser. Previously, all programs had to be installed on one’s own computer and were run from the desktop. Since the prices of user programs of that time were a result of the laws of supply and demand, they differed significantly from the cost of production. It turned out that for entry-level companies it paid to provide them on the cloud for free to a certain extent or even completely. -
Best Video Cropping Software Free Download Top 7 Best Video Cutter Software in 2021
best video cropping software free download Top 7 Best Video Cutter Software in 2021. These days people are easily making videos through smartphones, digital cameras, webcams, TV/Car DVRs or screen recording programs. It is a new phenomenon all around the world. The problem is that the file size of these videos is very large and it will take a long time to edit or upload videos to YouTube. In these cases, you have to use a professional video cutter program that allows you to cut parts of video quickly while maintaining the quality of the original video. There are lots of good video cutting programs that can get your job done with the most satisfying results. We have researched and compared the 7 best video cutters to help you find an ideal fit for your needs. Comparison of Video Cutters - Speed, Quality and Frame/Keyframe. Product Cutting Speed Video Quality Cut by Frame Pros and Cons 1. Bandicut Video Cutter 4 sec. Great (221MB) Cut by frame - Pros: precisely and quickly cut videos without re-encoding. 2. Boilsoft Video Cutter 4 sec. Great (2 min. limitation) Cut by frame - Pros: precisely and quickly cut videos without re-encoding. - Cons: The output file is limited to 2 minutes. 3. Gihosoft Free Video Cutter 3 min. and 44 sec. Good (213MB) Cut by keyframe - Pros: Simple UI, Free - Cons: Slow cutting speed 4. Apowersoft Video Converter 7 min. and 24 sec. Good (282MB) Cut by frame - Pros: Very good video converter - Cons: Slow cutting speed 5. VirtualDub 2 min. and 30 sec. -
Editing A/B Rolling
Editing Continuity editing - The majority of film sequences are edited so that time seems to flow, uninterrupted, from shot to shot. Within a ‘continuity editing’ sequence, only cuts will be used. Continuity editing can also involve ‘cross-cutting’, where a sequence cuts between two different settings where action is taking place at the same time. Montage - In montage, different images are assembled to build up an impression. This is often used in title sequences. The most famous example of this technique is the Odessa Steps sequence from Battleship Potemkin. Transitions describe the way in which one shot replaces the previous one: Cut - One image is suddenly replaced by another, without a visible transition. Cross-dissolve One image dissolves into another. This can be used to make a montage sequence - eg the title sequence - flow smoothly; it can also be used in continuity editing to show that we have moved forwards in time and/or space. Fade up - An image gradually fades in Fade out - An image gradually fades out. (Fades to and from black usually mean that time has passed ) Wipe - One image replaces another without dissolving, with the border between the images moving across or around the screen. A/B Rolling A/B rolling is a technique used in film editing to hide ugly splices. When a splice (two pieces of film stuck together with splicing tape or glued with cement) rolls through a projector, the area of tape or glue will appear fuzzy. To eliminate this nasty blip in a finished film, the negative is a/b rolled.