Using the Color Page 24 Using the Color Page
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Cinematic Technique Intended Effect and Purpose Film Examples Shots
WRITING A STYLE ANALYSIS ESSAY Name ___________________________________ Cinematic Techniques Due Date ________________________________ Cinematic Technique Intended Effect and Purpose Film Examples Shot: A single piece of film, uninterrupted by cuts. Establishing Shot: Often a This is used to establish setting long shot or a series of and to show transitions shots that sets the scene. between locations. Long Shot (LS): A shot from It may suggest the isolation or some distance (also called vulnerability of a character. a full shot). A long shot of a person shows the full body. Medium Shot (MS): The The effect is to ground the most common shot. The story. camera seems to be a medium distance from the object being filmed. A medium shot shows a person from the waist up. Close-up Shot (CU): The Shots and Framing Shots image being shot takes up at least 80% of the frame. Extreme Close-up Shot (ECU): The image being shot is part of the whole, such as an eye or a hand. Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally, it is used in scenes where interaction between the two characters is important. Cinematic Technique Intended Effect and Purpose Film Examples Eye Level: A shot taken Ninety to ninety-five percent from a normal height – that of the shots seen are eye level is, at the character’s eye because it is the most natural level. angle. High Angle: The camera is This angle usually has the above the subject. effect of making the subject look smaller than normal, giving the character the appearance of being weak, powerless, and/or trapped. -
Video Editing Guidelines
VIDEO EDITING GUIDELINES Log and Label your Shots You can pay me now or you can pay me later. It will take a little time to log and label all your shots in the beginning, but it will pay off in the long run. Use a topic and descriptor for each shot, i.e. Capitol Front, Med, Pan R Common Descriptors: Wide MW (Medium Wide) Med (Medium) C/U (Close) XC (Extreme Close up) Pan R Pan L Tilt Up Tilt Down Zoom In Zoom Out Low (Low Angle) High (High Angle) C/A (Cut Away) 2 Shot Rev (Reverse Angle) Tell a Story With Your Video The same way you would construct a story with words, construct your video with building blocks to develop the visual story. Each Frame is a Word Each Shot is s Sentence Each Sequence is a Paragraph Multiple Sequences make a Chapter Choose the Best Footage It may sound a little silly, but be selective. It is common to shoot more footage than you actually need and choose only the best material for the final edit. Often you will shoot several versions (takes) of a shot and then choose the best one when editing. If a shot it too shaky, don’t use it. If it’s out of focus, don’t use it. Develop Your Sequences A basic sequence might be: Wide Shot Medium Shot Close Up Extreme Close Up Cut Away/Transition Shot Repeat But you could just as easily do: Medium Shot Medium Shot Close Up Medium Wide Shot Extreme Close Up Close Up Medium Shot Wide Shot Cut Away/ Transition Shot Think about continuity when building your story. -
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. -
Class Video Editing.Key
SCULPTING WITH SOUNDS, IMAGES AND WORDS VIDEO EDITING VIDEO TOOLKIT CONTINUITY EDITING: cutting style that maintains a sense of continuous space and time https://www.youtube.com/watch?v=6uahjH2cspk&index=22&list=PLrMEncyd64BdPt-iWyxiAdo19tYm7myf1 ~ 13 min VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between long, medium and close-up shots varying duration pacing through panning and zooming shots VIDEO TOOLKIT TYPES OF VIDEO SHOTS Extreme Long Shot Long Shot Medium Long Shot Medium Shot Medium Close-up Close-up Extreme Close-up from https://www.asu.edu/alti/ltlab/tutorials/video/basics/types.htm https://vimeo.com/blog/category/video-school VIDEO TOOLKIT Extreme Long Shot (ELS / EWS) • Also known as extreme wide shot (EWS). • Covers a wide area. • Shows the whole figure of your subject as well as his surroundings. • Provides context for your scene. VIDEO TOOLKIT Long Shot (LS / FS) • Also known as full shot (FS). • Frames the whole figure of your subject, from the head to the toes. • Places the subject in relation to the environment and the people around it. • The point of the focus is the subject but the environment is also visible. • Shows action rather than emotion. VIDEO TOOLKIT Medium Long Shot (MLS) • Also known as a three-quarters shot. • Frames the whole subject from the knees up. • An intermediate shot between the long shot and the medium shot. • Shows the subject in relation to the surroundings. • May be used when you have 2 or 3 persons in the frame. -
Screenflow 8.2 User Guide
User Guide ScreenFlow 8.2 User Guide ScreenFlow User Guide | 266727 October 2018 3 Contents Preface 9 Copyrights and Trademark Notices 9 Telestream Contact Information 15 About ScreenFlow 17 Record, Edit, Share 18 ScreenFlow Trial Mode 18 Making Movies in ScreenFlow 19 Making Slide Shows in ScreenFlow 19 Opening ScreenFlow 19 Installing ScreenFlow 23 Platform Requirements 24 Installing ScreenFlow via Telestream Web Store 25 Unlocking ScreenFlow via Telestream Web Store 26 Activating Your Telestream Web Store License 27 Installing Telestream Audio 28 Upgrading Telestream Audio 28 Uninstalling Telestream Audio 29 Deactivating Your ScreenFlow License 29 Removing ScreenFlow from Your Computer 31 Removing ScreenFlow Files Upgraded from Version 2.0 31 Removing ScreenFlow Files Upgraded from Version 3.0 31 Removing ScreenFlow Files from Version 4.0 32 Removing ScreenFlow Files from Version 5.0 32 Removing ScreenFlow Files from Version 6.0 32 Removing ScreenFlow Files from Version 7.0 33 Getting Started 35 Tour 1: Recording With ScreenFlow 36 Configuring Your Recording 37 4 Contents Beginning Your Recording 38 Partial Screen Capture 39 Advanced Settings 39 Tour 2: Editing Your Screencast 41 The Editing Window 41 Canvas Cropping 42 Image Cropping 43 Actions 43 Video Properties 44 Screen Recording Properties 46 Callout Properties 47 Touch Callout Properties 48 Media Library 49 Tour 3: Publishing Your Screencast 51 Publishing 52 Recording Media in ScreenFlow 53 How ScreenFlow Records and Saves Media 54 Setting Recording Preferences 55 Configuring -
Video & Audio Editing #3 (200-286)
Section3 PHOTO - VIDEO - PRO AUDIO Video & Audio Editing Analog Editing Equipment ............202-205 Live DV Capture .............................206-207 ADS Technology..............................208-209 Adobe ...............................................210-211 Avid...................................................212-213 Apple Computer..............................214-221 LaCie Hard/Optical Drives ............222-224 Canopus ...........................................225-233 Matrox..............................................234-235 Pinnacle Systems.............................236-241 Sony..................................................242-244 CineForm ................................................243 Red Giant.................................................245 Section 3a Audio for Video Editing .................246-286 VIDEONICS MXPRO/MXPRODV 10-Bit Digital Video Mixers The MXPro is a professional four-input video mixer with powerful features and performance. It offers unmatched 10-bit digital 4:2:2 video quality as well as a S/N ratio over 60 dB and a video band- width of 5.5 MHz. It has over 500 digital video effects and transitions including dissolves, trailing effects and multiple picture-in-picture. There are shape wipes, soft wipe edges and easy to use ‘banks’ of effects with user-defined favorites. All shape effects can be enhanced with soft edges, colored borders and drop shadows for 3-D like impact. Frame synchronizer and dual-field infinite-window time base corrector (TBC) allow clean transitions, including the ability to hold an image frozen through a transition. Unique preview screen shows miniature copies of all four inputs in your choice of formats and sizes, so you can work with just one or two monitors. Digital effects include freeze, black and white, negative, mosaic, paint and flip. Has a chroma keyer and a color corrector that remembers settings for each channel. Built-in audio mixer includes a special background music VIDEO & AUDIO EDITING feature that lets you manipulate audio tracks independent of video. -
13 Creative Editing Techniques Every Video Editor Should Know
13 CREATIVE VIDEO EDITING TECHNIQUES From quick-cut transitions to flash-bulb cuts and freeze frames, there are many ways to put together a story on any screen. Once you master the different edit types, you can create an editing style of your own that reflects your creative side. But first, you have to learn them... 1 STANDARDSTANDARD CUTCUT Also known as a hard cut, this is the basic and most common cut. It just puts two clips together, connecting the last frame of one and the beginning frame of the next. 2 JUM P CUT This is a cut that pushes forward in time. It’s normally done within the same frame or composition, and many times it’s used within montages. 3 A montage uses quick cuts between scenes, usually underscored by music, to show the passing of time, allowing for rapid development in your storyline. 4 A cross dissolve can also signify time passing, or it can use its overlapping “layers” or dissolves to show multiple stories or scenes happening at once, but shot at different times. SCENE 1 CROSS DISSOLVE SCENE 2 HELPFUL TIP Don’t use cross dissolves for standard editing. There needs to be creative motivation behind the dissolve. 5 E WIP A wipe is a transition that uses an animation to “wipe” a scene away into the next one. There are basic wipes and there are more complex ones, but they can often be seen as corny. FADE IN/OUT 6 Simply fade out one clip and fade in the other. Like many of the other techniques, this often implies time passing, like a night-to-day switch or someone falling asleep. -
Media Composer and Film Composer Effects Guide
Avid® Media Composer® and Film Composer® Effects Guide Contents Chapter 1 Effects Editing Displaying the Effect Palette . 16 Installing Third-Party Plug-In Effects . 19 Settings for Effects . 20 User Settings . 20 Effect Settings . 20 Render Settings . 22 Timeline View Settings. 24 Trim Settings. 25 Effect Types . 26 Real-Time Effects . 26 Playing Real-Time Effects . 27 Overlapping Real-Time Effects on the Same Track. 27 Overlapping Real-Time Effects and Non-Real-Time Effects 28 Overlapping Real-Time Effects on Multiple Tracks . 28 Applying Effects to a Sequence. 29 Displaying Effect Icons . 30 Applying a Single Effect . 30 Applying Multiple Effects. 31 Selecting Multiple Transitions . 31 Selecting Multiple Segments. 33 Selecting Multiple Layers . 35 Applying a Third-Party Plug-In Effect . 35 Deleting Effects in a Sequence . 36 ii Working with Transition Effects . 38 Types of Transition Effects . 38 Applying a Dissolve Effect . 38 Using the Effect Palette. 39 Using the Transition Parameters. 39 Using the Add Dissolve Button . 40 Sizing the Effect to Fit the Media. 42 Trimming a Transition Effect . 43 Adjusting Transitions in the Timeline . 44 Customizing a Transition Effect. 44 Working in Effect Mode . 45 Understanding the Effect Mode Window. 45 Effect Mode Buttons . 46 Selecting a New or Replacement Effect . 49 Selecting a Parameter . 50 Changing a Parameter . 50 Adjusting a Color Parameter. 51 Adjusting the EffectÕs Position . 51 Adjusting the EffectÕs Size . 53 Cropping an Effect . 53 Accessing an EffectÕs Additional Parameters. 54 Reversing an EffectÕs Direction . 55 Changing the EffectÕs Display Quality . 55 Displaying the Safe Title/Action Guidelines . 56 Displaying the Aspect Ratio Grid for Film . -
P. 800-869 Non-Linear
Section13 PHOTO - VIDEO - PRO AUDIO Non-Linear Applied Magic ...............................................800-801 Digital Origin.................................................802-805 Aurora ....................................................................806 Apple Computer............................................807-810 AIST .................................................................811-813 Sony.................................................................814-815 DPS ..................................................................816-819 Newtek ...........................................................820-823 Canopus..........................................................824-829 SourceBook Video Pinnacle Systems...........................................830-843 Matrox ............................................................844-853 In-Sync ............................................................854-857 Avid .................................................................858-869 Media 100 ......................................................870-881 Play..................................................................882-887 Inscriber .........................................................888-889 Boris FX ..........................................................890-891 Hollywood FX ................................................892-893 Adobe..............................................................894-897 Puffin Design.................................................898-901 DigiEffects......................................................902-905 -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
The Changing Poetics of the Dissolve in Hollywood Film
EMPIRICAL STUDIES OF THE ARTS, Vol. 29(2) 149-169, 2011 THE CHANGING POETICS OF THE DISSOLVE IN HOLLYWOOD FILM JAMES E. CUTTING KAITLIN L. BRUNICK JORDAN E. DELONG Cornell University, New York ABSTRACT Most films contain many shots knit together by several types of transitions, and by far the most prevalent is the cut. Over the last 70 years, fades and wipes have become increasingly rare. Dissolves have also diminished in frequency but, unlike the others, they remain an important part of the general visual narrative and have shown a small increase in contemporary film. We tracked the usage of dissolves in 150 films released from 1935 to 2005. We found: (a) that after a lull between 1970 and 1990, dissolves have become more numerous, although not nearly so common as during the studio era; (b) that shots surrounding single dissolves are fairly long compared to the median shot lengths of a given film, suggesting visual preparation for scene change before a dissolve, and a re-acceleration after; and (c) that after their nadir, dissolves have increasingly reappeared in clusters reflecting a rebirth of the Hollywood montage. We also discuss the functions and meanings of these montage sequences in the stream of a film’s narrative, with more contem- porary films focusing on setups, altered mental states, and celebrations rather than older films’ focus on travel and time gaps of various sizes. The function of the dissolve is mainly to facilitate transition. In its simplest form it can carry us from one place to another or from one time to another.