DOCSLIB.ORG

Avid Media Composer 6.X Cookbook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Avid Media Composer 6.X Cookbook Free ebooks ==> www.ebook777.com www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com Avid Media Composer 6.x Cookbook Over 160 highly effective and practical recipes to help beginning and intermediate users get the most from Avid Media Composer 6 editing Benjamin Hershleder BIRMINGHAM - MUMBAI www.it-ebooks.info Free ebooks ==> www.ebook777.com Avid Media Composer 6.x Cookbook Copyright © 2012 Packt Publishing All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the prior written permission of the publisher, except in the case of brief quotations embedded in critical articles or reviews. Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book. Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information. First published: December 2012 Production Reference: 1131212 Published by Packt Publishing Ltd. Livery Place 35 Livery Street Birmingham B3 2PB, UK. ISBN 978-1-84969-300-4 www.packtpub.com Cover Image by Benjamin Hershleder ([email protected]) www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com Credits Author Project Coordinator Benjamin Hershleder Michelle Quadros Reviewers Proofreaders Oliver Peters Jonathan Todd Michael Phillips Lauren Tobon Roger Shufflebottom Indexers Acquisition Editor Hemangini Bari Kartikey Pandey Rekha Nair Tejal Soni Lead Technical Editor Sweny M. Sukumaran Production Coordinator Nitesh Thakur Technical Editors Kaustubh S. Mayekar Cover Work Devdutt Kulkarni Nitesh Thakur Copy Editor Insiya Morbiwala www.it-ebooks.info Free ebooks ==> www.ebook777.com About the Author Benjamin Hershleder (Hershleder.com) currently freelances as an Avid Editor and Director. He has been teaching Avid Media Composer since 1995, and became an Avid Certified Instructor in 1997. He teaches as an adjunct professor at the American Film Institute in Los Angeles, at Avid Authorized Training Partner institutions, and also provides private, customized training to individuals and facilities. Hershleder is an award-winning Producer-Director and accomplished Editor. He has produced and/or directed a variety of projects for such companies as Shapiro/West, The Spark Factory, and Old Fashioned Pictures. This work includes co-writing and directing the award-winning (including an Emmy and the Gold Ebenseer Bear) short film "Paul McCall" and directing and editing the Telly award-winning documentary "The Bronx Boys – Hosted by Carl Reiner", which aired on PBS and as part of the Cinemax anthology series "Reel Life". Benjamin is currently completing the follow-up to this film. It is again hosted by Carl Reiner and is titled "The Bronx Boys – Still Playing At 80". His other credits include developing, producing, and directing the pilot of "Spoilers" (not to be confused with Kevin Smith's new production of the same name), serving as a Consulting Producer on comedian Andy Kindler's concert film "I Wish I Was Bitter", and editing Paramount Studios' "The Original Latin Kings Comedy" (George Lopez, Paul Rodriguez, Cheech Marin). His background in post-production also includes editing the indie-feature film "Hollywood Capri", two years as an editor for E! Entertainment Television, and editing an hour-long pilot episode of "In Search Of…" for Fox. www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com Acknowledgement I would like to thank Michael Phillips, Oliver Peters, and Roger Shufflebottom, who were Technical Reviewers on this book. I would also like to thank Andrew Balis, Steve Bayes, George Bellias, Christie Carr, Bryan Castle, Cecil Daniels III, Ron Diamond, Ron Friedman, Nini Hadjis, Doug Hansel, Alex Hepburn, Jim Hershleder, Stan Hershleder, Robert Jones, Tamera Martin, Mike McNulty, Patty Montesion, Eric Naughton, Paul Petschek, Tom Quick, Katie Riccio, Leah Riccio, Samantha Riccio, Tom Riccio, R. Bandit Rivera, George Rizkallah, Larry Rubin, Ben Rock, Carolyn Rae Schultz, Jeff Sengpiehl, Wes Sewell, Greg Staten, Alan Stewart, Todd Smelser, Tracy Smith, Paul Stephan, Rik Swartzwelder, Jim Turner, and Paul Valdez. Thanks to all those with the willingness and patience to teach me throughout my life. Thanks to all my students over the many years; I learned a lot from you, too. www.it-ebooks.info Free ebooks ==> www.ebook777.com About the Reviewers Oliver Peters has worked in the television, film, and entertainment industries since 1970. He has accrued a diverse range of experience in all facets of production, post-production, instructional development/design, and project management. His credits include national and international TV and film projects, which have won awards such as the NATPE Iris, Telly, ITS Monitor, a national Addy, and others. During his career, he worked for numerous years at Century III, the resident post-production facility at Universal Studios, Florida, which he helped design and manage. He currently owns his own post-production services company, working as an Independent Project Manager, Editor, and Colorist. He is also a contributing Editor to Digital Video magazine and the Creative Planet websites, writing and lecturing about editing and post-production technologies and products. Other books that he has reviewed, include The Art and Technique of Digital Color Correction, Steve Hullfish, Focal Press; Mastering MultiCamera Techniques, M. Jacobson, Focal Press; and The Avid Handbook, Steven Bayes and Greg Staten, Focal Press. Michael Phillips is an award-winning Filmmaker, Producer, Editor, and Industry Technologist. Michael's contributions to the industry have been for the co-invention and design of Avid's Media Composer, Film Composer, and Symphony product lines, which offer professional digital online and offline editing, and finishing, earning him a 1994 Academy Award® for Scientific and Engineering Achievement from the Academy of Motion Picture Arts and Sciences. In 1999, Michael and Avid were rewarded with an Oscar® for their continued efforts in enhancing and developing the Avid Film Composer. That same year, Michael was recognized with a Massachusetts Innovator of the Year award. www.ebook777.comwww.it-ebooks.info Free ebooks ==> www.ebook777.com His producing and editing credits include, "Johnny Slade's Greatest Hits", "Patriots", "Jack in the Box" for editing, and "Leon" (The Professional), "Milk", and the award-winning documentary "Cinematographer Style" for digital post consultation and supervision; and recently completing the DI conform on "The Iceman". Michael has lectured around the world on the ever-changing nature of digital processes, spoken at industry forums, and conducted workshops on digital post-production. He co-wrote the book "Digital Filmmaking, The Changing Art Form of Making Movies". He has been awarded over 10 patents from the United States Patent Office for digital synchronization of picture and sound, and other editing technologies pertaining to 24 frame editing, as well as compositing, interactive media (transmedia), and surround sound technologies. Michael is currently developing tools for story discovery. Michael was chosen as the Post Supervisor for the Sundance Institute Director's Summer Labs 2012. Michael is currently CTO of Cineworks, a full service film and digital cinema facility with locations in New Orleans, Los Angeles, Miami, Baton Rouge, and Shreveport. Michael is directing research and development of new technology solutions for the digital production process extending workflow consulting to Cineworks clients as well as industry manufacturers on workflow. Roger Shufflebottom is an Editor living and working in the United Kingdom. He started editing documentaries and TV series on 16-mm film and got his hands on an Avid system for the first time in 1992. He proudly says that he never did any tape-to-tape editing professionally! He became one of the first cohort of UK Avid Certified Instructors in the 1990s and has since run training courses in Europe, the Middle East, Africa, and the USA. He has written Media Composer, NewsCutter, Unity and Interplay training courseware for Avid in the U.K, and Focal Press published his book Video Editing with Avid in 2001. He now teaches editing in the Media School at Bournemouth University, Dorset, U.K. www.it-ebooks.info Free ebooks ==> www.ebook777.com www.PacktPub.com Support files, eBooks, discount offers and more You might want to visit www.PacktPub.com for support files and downloads related to your book. Did you know that Packt offers eBook versions of every book published, with PDF and ePub files available? You can upgrade to the eBook version at www.PacktPub.com and as a print book customer, you are entitled to a discount on the eBook copy. Get in touch with us at [email protected] for more details. At www.PacktPub.com, you can also read a collection of free technical articles, sign up for a range of free newsletters and receive exclusive discounts and offers on Packt books and eBooks. http://PacktLib.PacktPub.com Do you need instant solutions to your IT questions? PacktLib is Packt's
Load more

Recommended publications
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 3. Master the Camera
    mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included.
    [Show full text]
  • Beginners Guide to Video - JMBS
    Beginners Guide to Video - JMBS This guide is intended for anyone who wishes to use a video camera for news gathering or documentary work. Although it is written for the complete novice there should also be something here for the more experienced. Camera Technique Books have been dedicated to this but there are a few things that are very useful to consider. • The most reliable way of getting good shots is to turn the lens to as wide an angle as possible and get as close to the subject/action as possible. • Treat the camera as if it were a stills camera. Avoid panning(left/right), tilting(up/down) and zooming unless it is absolutely necessary. Simple shots are best and they are easier to pull off. • Use a tripod or monopod wherever possible and if not try to find something to lean against. • If you have to change the camera angle do it as slowly (and smoothly) as possible. It is much better to have something briefly out of shot than to be continually/rapidly changing the camera angle. Ideally it should be done so slowly that the audience does not notice. • If you are panning over a long distance or following quick moving action generally speaking things should be in shot for at least five seconds. • When shooting without a tripod bear in mind the wider the angle you are shooting the steadier the shot. If possible move in closer rather than zooming in. To help steady the camera push the eyepiece to your eye and press your elbows against the bottom of your ribs.
    [Show full text]
  • Videography Terminology Continuity
    Videography Terminology Continuity This is an important concept to keep in mind during recording of video/audio and later in post-production. Continuity means that if something is in one position or state-of-being in one shot, it needs to be the same way in the next shot unless it has purposely been changed for storytelling purposes. Some examples of lack of continuity are changes in a subject’s clothing, hair style, body position, or position of objects on the set between two shots that are supposed to be occurring within the same time frame. Another example is when in one shot a subject is traveling in one direction, but in the next shot the movement is in the opposite direction. Continuity changes can also occur with audio if scenes are shot in different locations or at different times but are supposed to be occurring in the same location. Framing Your Shot Rule of thirds: Divide the image in the viewfinder into horizontal and vertical thirds like placing a tic-tac-toe grid over it. Place a key part of the image on one of the intersecting points. This keeps the picture interesting and creates a pleasingly balanced image. Head room: The space between the top of the head and the upper edge of the picture or television screen. Breathing room: The space in front of a person’s face when recorded in profile. Classroom Video Production: Videography Terminology © KET 2015 1 Lead room: The space in front of a moving object or person. Types of Shots Wide shot (WS): A shot taken from a distance to show a landscape, building, or large crowd, such as the view of New York City from the Ellis Island.
    [Show full text]
  • Avid Film Composer and Universal Offline Editing Getting Started Guide
    Avid® Film Composer® and Universal Offline Editing Getting Started Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Film Composer and Universal Offline Editing Getting Started Guide • Part 0130-04529-01 • Rev. A • August 2000 2 Contents Chapter 1 About Film Composer and Media Composer Film Composer Overview. 8 About 24p Media . 9 About 25p Media . 10 Editing Basics . 10 About Nonlinear Editing. 10 Editing Components. 11 From Flatbed to Desktop: Getting Oriented. 12 Project Workflow . 13 Starting a Project . 14 Editing a Sequence . 15 Generating Output . 16 Chapter 2 Introduction Using the Tutorial. 17 What You Need . 19 Turning On Your Equipment . 19 Installing the Tutorial Files . 20 How to Proceed. 21 Using Help. 22 Setting Up Your Browser . 22 Opening and Closing the Help System . 22 Getting Help for Windows and Dialog Boxes. 23 Getting Help for Screen Objects . 23 Keeping Help Available (Windows Only) . 24 3 Finding Information Within the Help . 25 Using the Contents List . 25 Using the Index . 25 Using the Search Feature . 26 Accessing Information from the Help Menu. 27 Using Online Documentation . 29 Chapter 3 Starting a Project Starting the Application (Windows). 31 Starting the Application (Macintosh). 32 Creating a New User . 33 Selecting a Project . 33 Viewing Clips . 34 Using Text View. 35 Using Frame View. 36 Using Script View . 37 Chapter 4 Playing Clips Opening a Clip in the Source Monitor. 39 Displaying Tracking Information . 40 Controlling Playback. 44 Using the Position Bar and Position Indicator . 45 Controlling Playback with Playback Control Buttons . 46 Controlling Playback with Playback Control Keys .
    [Show full text]
  • Avid EDL Manager User's Guide
    Avid® EDL Manager User’s Guide Release 9.0 for the Windows NT® Operating System a tools for storytellers™ © 1995-1996, 1998-1999 Avid Technology, Inc. All rights reserved. Avid EDL Manager User’s Guide for the Windows NT Operating System • Part 0130-04226-01 Rev. A • August 1999 2 Contents Chapter 1 Working with EDLs EDLs and the EDL Manager. 9 Online and Offline Editing. 9 What the EDL Manager Does . 9 Starting EDL Manager. 10 Using Help. 11 Creating or Reading an EDL . 11 Creating an EDL from a Sequence in a Bin, Existing EDL, or OMFI File . 12 Creating an EDL from an Active Sequence . 14 Reading an Existing EDL from an RT-11 Disk . 14 Saving an EDL. 15 Saving an EDL as a Text File or an OMFI Composition . 15 Saving an EDL to an RT-11 Disk . 16 Verifying an RT-11 Save . 17 Formatting an RT-11 Disk . 17 Printing an EDL . 19 Copying an EDL Between Storage Locations . 19 Using EDL Manager with Your Avid Editing System. 20 Creating an EDL from the Active Sequence . 21 Creating a Sequence from an EDL. 21 Viewing a List of Tapes in the Source Table . 22 3 Chapter 2 Customizing EDLs EDL Manager Option Settings . 25 Changing Settings in the EDL Manager Window . 25 Changing the Title of an EDL . 26 Defining Video Tracks and Audio Channels. 27 Including or Excluding Specific Tracks. 28 Redefining a Track. 28 Combining or Isolating Tracks . 30 Creating Stereo Channels. 31 Choosing a Format for the Audio Channels . 31 Displaying Different Views of an EDL .
    [Show full text]
  • Film Analysis
    Film Analysis I Shots Extreme long shot (ELS) / panoramic shot (Panoramaeinstellung): The camera is far away from the subject, emphasising the surroundings (Umgebung) e.g. a tiny group of riders in a vast landscape in a western. Long shot (LS) (Totale): A human usually takes up less than half the height of the frame (Bild), often used to show the setting of a scene. Medium shot (MS) (Halbnah): The subject and the surroundings have about equal importance. The picture shows e.g. the upper body of a person. Close-up (CU) (Großaufnahme): The subject fills most of the frame (e.g. the entire head) and little of the surroundings is shown. Close-ups are often used to show a character’s feelings. Extreme close-up (ECU) (Detailaufnahme): For example only the eyes or a certain object (like a knife or a gun) are shown. Establishing shot (Anfangseinstellung): Usually a long shot or an extreme long shot, which “estab­ lishes”, i.e. shows the setting (Schauplatz) often at the beginning of a film. POV shot (point-of-view) (subjektive Kamera): The camera adopts (übernehmen) the per­ spective of a character. We see what a character sees and therefore often identify with him/her. Reaction shot: Someone’s face reacting to an event, for example when a villain (Bösewicht) comes into a saloon. Before we see him we see the fearful expression on the faces of some of the guests. Camera Positions Top shot: The camera looks down at a 90° angle, you can see only head and shoulders of a person.
    [Show full text]
  • Peter Svarinský
    Peter Svarinský TELEVÍZNA PRODUKCIA I. – IV. (Učebné texty pre poslucháčov Katedry produkcie FTF VŠMU) VYSOKÁ ŠKOLA MÚZICKÝCH UMENÍ FILMOVÁ A TELEVÍZNA FAKULTA Peter Svarinský TELEVÍZNA PRODUKCIA I. – IV. (Učebné texty pre poslucháčov Katedry produkcie FTF VŠMU) Obsah 1 Televízia, jej história vo svete a u nás 3 2 Televízny program, televízna relácia 4 3 Televízna produkcia, výrobný štáb 5 3.1 Režisér (director) 8 3.2 Vedúci výrobného štábu – vedúci produkcie (production manager) 9 3.3 Asistent produkcie (production assistant) 11 3.4 Lokačný manažér (location manager) 11 3.5 Asistent réžie (assistant director, AD) 11 3.6 Skript (continuity) 12 3.7 Klapka (clapper) 12 3.8 Kameraman (camera operator) 12 3.9 Architekt, výtvarník (art director, set designer, production designer) 13 3.10 Kostýmový výtvarník (costume designer) 14 3.11 Umelecký maskér (make up-artist) 14 3.12 Zvukový majster (sound designer) 14 3.13 Strihač (editor) 15 4 Etapy tvorby a výroby televízneho programu 16 4.1 Dramaturgická príprava 16 4.2 Etapa prípravných prác 17 4.3 Etapa nakrúcania – realizácie 18 4.4 Etapa dokončovacích prác a likvidácie 19 4.4.1 Nahrávanie dialógov – postsynchróny 20 4.4.2 Nahrávanie ruchov – šlapačiek 20 4.4.3 Nahrávka a nástrih atmosfér 20 4.4.4 Nahrávka alebo výber hudby 20 4.4.5 Záverečná mixáž 21 4.4.6 Likvidačné, záverečné práce 21 5 Televízne technológie – rozdelenie 22 5.1 Podľa spôsobu nakrúcania 22 5.1.1 Záberová technológia 22 5.1.2 Sekvenčná technológia 22 5.2 Podľa použitého nosiča, na ktorý sa nahráva televízna relácia: 22 5.2.1
    [Show full text]
  • 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.
    [Show full text]
  • Diploma in Film and Tv Production
    TARABA STATE POLYTECHNIC DIPLOMA IN FILM AND TV PRODUCTION NOTES ON FTP 105: EDITING I By Kyantirimam R. Ukwen I. An Overview of Editing Editing is the selection, timing and arrangement of given shots into a film continuity. In essence it requires ‘cutting’ out portions of recorded video, discarding the ones not needed and taking the relevant ones to the position where it can help to tell a film story in a sequence that will help the viewer understand it. I. An Overview of Editing So, what is a sequence? It is a serial arrangement in which things follow a logical order. It is therefore an order or arrangement of anything at all, e.g numbers: 1,2,3,4,5. If it is not sequential, it could be 2,4,3,5,1 or 3,5,1,4,3. If it is a sequence, it takes you easily through from beginning to the end. I. An Overview of Editing Let us look at another example. An order of Esther’s daily chores at home whenever she wakes up in the morning: She 1. prays, 2. uses the toilet 3. brushes her teeth 4. sweeps the kitchen 5. fetches water 6. blows the fire 7. cooks breakfast 8. takes her bath 9. eats her breakfast I. An Overview of Editing However, Esther could choose to begin with any of these chores thus distorting the sequence in which she usually does them, thus: She 5. fetches water 2. uses the toilet 3, brushes her teeth 4. sweeps the kitchen 1. prays 8.
    [Show full text]
  • On the Meaning of a Cut : Towards a Theory of Editing
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity.
    [Show full text]