VIDEO EDITING

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VIDEO EDITING
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Aspects of Editing

• Creative
• Planning shots
• Scripting
• Shooting video
• Technical
• Shooting video
• Recording sound
• Editing using software

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Video Editing Before (Linear)

• BBC Editing circa 1960s

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Video Editing Now

• Non-Linear
• Able to add special effects
• Able to edit portions of a picture
• Able to edit sound and video separately

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Products

• Many products out there
• Looking at 3 major products
• Final Cut Pro (Mac)
• Adobe Premiere (PC)
• Other product comparison
• Wikipedia Article

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Products

• Cost from FREE
• Windows Movie Maker, iMovie (on new Macs)
• To Over 1,000
• Final Cut Studio
• Sophistication from basic for the at home user to
  high end for the broadcast professional.

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Final Cut Pro
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Factors to Consider Before Purchase

• What are you taping?
• Class review sessions
• Guest speakers
• Instructional video
• Who will be the audience?
• Internal
• External
• What format do you want to produce to?
• DVD
• Streaming
• Download

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Considerations

• Version of the Software
• We have Vegas 4, 5, 6 Also a Vegas DVD
• Final Cut Pro no longer sold individually, must
  buy Final Cut Studio.
• Cost of add-ons?
• Adobe Premiere 299.00 for educational discount
• Adobe After Effects, 799.00

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Considerations

• Ability to Import HD formats
• Output Options
• Streaming Web, Quicktime, Windows Media, DVD,
  .mpg, HD formats, etc

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Hardware Compatibility

• Check each Website
• Lists of compatibility include
• Cameras
• DVD Burners
• Analog Converters
• Both Adobe and Sony list items that are Full
  Support and Partial Support

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What to look for in a video editor

• Ease of use?
• Try downloading a trial version of the software,
  or use the software somewhere first.
• Software should be self-explanatory.
• Features
• Be aware of included features such as sound
  effects, transitions, etc.
• Some software packages require additional
  purchases to get the extras.

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Example

• Adobe Premiere uses a program called After
  Effects for special effects. This software costs
  EXTRA
• Final Cut Pro Studio uses the program Motion to
  create special effects. Motion is now packaged
  with Final Cut Pro. Along with Soundtrack Pro
  and other add-ons. BUT, Final Cut Studio costs
  much more

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What to look for?

• Help Tutorials
• Adobe Premiere
• Tutorial DVDs included
• Extra manuals to purchase
• e-seminars
• Final Cut Studio
• Tutorial DVDs included
• Self paced learning
• Apple Pro Training
• Certification

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• -Garbage in, garbage out.
• -You can't make bricks without straw.
• -You can make a fine silk purse out of a pigs
  ear.
• -But-
• -Bad workers always blame their tools.

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PXL 2000 (Fisher Price)
Portions of the film Slackers were filmed with a
PXL 2000
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Stages of Filmmaking

• The filmmaking production cycle consists of five
  main stages
• 1. Development
• 2. Preproduction
• 3. Production
• 4. Post-production
• 5. Distribution

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1. Development

• Idea
• Script
• Authorization (Green Light)

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2. Preproduction

• Classically, acquiring the people and things
  required for making a film
• Directors
• Actors
• Equipment- Cameras, Sound Equipment, Lighting,
  Green screens, etc
• Storyboarding- before you shoot a scene, you need
  to think about exactly how it needs to come
  together, including how it will be edited.

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3. Production

• Actual acting and filming
• Video Editing affected by, and affects
• Camera location and movement
• Audio characteristics
• Order of shooting
• Effects desired

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Once the video is shot, editing begins.

• Typical Editing Workflow
• Review each shot, plan captures or imports.
• Capture desired sections.
• Assemble and refine sequence.
• Add transitions and effects.
• Add titles.
• Mix audio.
• Export.

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Capture

• Moving the video footage off the tape and
  onto the computer.
• Not all editing software is compatible with all
  cameras. You may want to capture with one
  program but edit with another.

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Capture

• Quality data transfer typically requires a
  Firewire (iLink) connection.
• The type of files created are dependent upon the
  software. Different file types serve different
  purposes.
• Batch logging and capture can save drive space.

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File types

• For quality production, always use a lossless
  video encoding method. A MUST for intermediate
  editing stages

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File Size

• An hour of output may require many hours of video
  for input.
• A non-compressed High Definition .avi can easily
  take up 20 GB or more per hour.
• To save drive space, if quality is not much of an
  issue, use a lossy, high compression video
  format. A .wmv, seemingly perfect to the naked
  eye can take up 1/30th the space of an .avi. But
  always remember GIGO.
• Basic Video Editing- removing excess, adding
  titles, making it exportableAssemble and Refine
  Shots

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Adding Effects

• Generated Media, Titles
• Adjusting Colors
• Multilayered Effects
• Transitions

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Film Editing

• 1920s rise of editing as film technique
• Early cinema often consists of one shot films
• Hollywood films contain between 1,000-3,000 shots
• Editing as coordination of one shot with another
• Elimination of unwanted footage

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Film Editing

• Strong influence of Soviet Montage School
• Attempt to build film based upon certain editing
  devices
• Create narrative via shots
• Eisensteinfilm as construction of editing
• Initially opposed continuity editing
• Used temporal discontinuities
• Used temporal expansion
• Created new relationships between time and space
  via editing

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Film Editing

• Organization of desired shots
• Joined via specific techniques
• Fade-outgradually darkens end of a shot to black
• Fade-ingradually lightens a shot from black
• Dissolvebrief superimposition of end of one shot
  and beginning of next shot
• Wipenext shot replaces shot via boundary line
  moving across frame
• Both images briefly on screendont blend

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Film Editing

• Cutmost common technique of connecting shots
• Move directly from one shot to next
• Uninterrupted segment of screen time or space
• Instantaneous changes from one shot to another
• Create marked and abrupt shifts
• Enormous task of film editor
• Use of storyboards
• Planning of editing during shooting

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Film Editing

• Four basic artistic choices and directions of
  editing
• Graphic relations between one shot and another
• Rhythmic relations between one shot and another
• Spatial relations between one shot and another
• Temporal relations between one shot and another

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Film Editing

• Interaction and integration of purely pictorial
  qualities of two shots
• Elements of mise-en-scene and cinematography
• Graphic similarities create graphic match
• Similarities of shape, composition, and movement
• Most typical of narrative cinema
• Graphically discontinuous editing more noticeable

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Film Editing

• Each shot as strip of filmcertain measurement
• Measured in film length
• Measured in frames
• Sound speed24 frames/second
• Editing allows control over duration of each shot
• Editing thus controls filmic rhythmaccent, beat,
  and tempo
• Patterning of shot length and style

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Film Editing

• Editing constitutes metrical pace of film
• Editing allows director to construct filmic space
• Allows omnisciencecan move from one spot to
  notably different
• Allows relation of any two spots in space
• Can create continuity and breakdown
• Establishment of whole from component parts

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Film Editing

• Allows spatial manipulation
• Strong influence of Soviet Montage style
• Kuleshov effectseries of shots (without
  establishing shot) that prompts spectator to
  infer spatial whole from parts
• Editing cues establish single locale
• Crosscuttingparallel editing technique used to
  establish variety of spaces
• Editing can establish ambiguous spatial relations

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Film Editing

• Temporal relationsallows manipulation of time
• Common technique of flashback
• Presentation of one or more shots out of their
  presumed story order
• Usually interrupt present time
• Flashforwardediting moves from present to future
  and returns
• Tease audience with glimpses of future
• Establish possible narratives
• Possible to control duration of story via editing

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Temporal Ellipsis

• Presentation of action in manner that it consumes
  less time on screen than in story
• Punctuation shot changedissolve, wipe, or fade
  to demonstrate progress accomplished
• Empty frames shotscharacters or objects entering
  and/or exiting frame
• Cutawayshot of other event elsewhere that will
  not last as long as the elided action
• 2 locales that we connect via editing
• Expansionopposite of ellipsis
• Eisenteins use of overlapping editing to expand
  time
• Overlapping editing allows presentation of time
  and space more than once

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Continuity Editing

• Dominant editing style throughout Western Film
  History
• Rise of editing between 1900-1910
• Used as method to establish coherent narrative
• Narrative continuity
• smooth flow between shots to create story

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180 System

• Space of scene constructed along axis of action
• Center line
• 180 line
• Scenes action assumed to take place along
  discernible and predictable line
• Axis of action determines half-circle (180 area)
  where camera can present action

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180 System

• Violation to shift to camera shot on opposite of
  axis
• 180 System ensures relative position of objects
  and characters remains consistent
• 180 System ensures consistent eyelines
• 180 System ensures consistent screen direction
• Characters moving in logical and understandable
  ways

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180 System

• 180 System claims to organize space clearly
• Viewers can trust location (and relative
  location) of characters
• Viewers can trust their own locations and
  relative locations
• 180 System ensures and advances continuity system

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180 System

• Shot/Reverse-shot pattern
• Shows one end point of axis and then the other
• Shot of opposite end of axis of action
• Usually shows ¾ view of subject
• Eyeline match
• Initial shot of character looking
• Second shot of object of characters gaze
• Neither shot shows both spectator and object

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180 System

• Directional quality of eyeline establishes
  spatial continuity
• Object of gaze must be within gaze of spectator
• Establishes continuity from shot to shot
• Shot/Reverse-shot Pattern allows us to understand
  characters locations even when not in same frame
• Reestablishing Shotreestablishes overall space
  that was inferred in previous shots
• Pattern of establishment/ breakdown/
  reestablishment

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180 System

• Continuity editing subordinates space to action
• Emphasizes dialogue and character movement
• Match on action tacticextra method for ensuring
  spatial continuity
• Continuity of movement from one shot to next
• Creates match on action
• Carries a movement across the break of shots
• Must consider mise-en-scene and cinematography

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180 System

• Filmmaker can create new axis of action by
  rotating shots/reverse shot pattern
• Axis of action allows for elimination of
  establishing shot
• Cheat cutmismatching slightly the positions of
  characters and/or objects in continuity editing
• Significant role of POV shot in continuity
  editing
• Allows/creates variety of eyeline-match editing

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180 System

• Head-on Shotaction presented as moving directly
  toward camera
• Crosscuttingparallel editing to create various
  spaces (presumably in same time)
• Allows unrestricted access to causal, temporal,
  and spatial knowledge
• Yet creates spatial discontinuity while creating
  cause and effect in temporal simultaneity
• Builds up suspense
• Allows temporal/spatial collision

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Continuity Editing

• Appears invisible and/or natural
• Usually presents plot consistently and
  chronologically
• Chronological order1-2-3 order
• Common violation of flashback
• One-for-one frequencyevent shown once
• Duration usually not expanded
• Temporal continuitynarrative progression has no
  gaps

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Continuity Editing

• Use of diegetic soundsound issuing from space of
  story
• Creates spatial and temporal continuity
• Temporal ellipsisomission of time
• Viewer must recognize passing of time to ensure
  continuity
• Use of dissolves, fades, or wipes
• Montage sequencejoining of various images,
  objects, characters, places, and times to
  compress series of actions into brief sequence
• Usually still suggests continuity and one-for-one
  events

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Non-Continuity Editing

• Common in abstract and/or associational films
• Often based on graphic and rhythmic qualities of
  film
• Based on light, texture, shape, movement
• Often subordinates space and time to rhythm
• Narrative becomes less important

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Non-Continuity Editing

• Technique of jump cutcreates violation of
  spatial, temporal, and graphic continuity
• Two shots of same subject cut together but not
  notably different in camera distance and angle
• Creates notable jump on screen
• Avoided in continuity editing
• Nondiegetic Insertcut from diegetic scene to
  metaphorical or symbolic shot outside time and
  space of film
• Disturbs normal expectations about art and
  narrative

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Non-Continuity Editing

• More frequent use of expansion of temporal
  qualities
• Jump cut
• Nondiegetic insert
• Expansion can be presented as formal aesthetic
  quality of film