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Media Production

Media Production. Richard Trombly Contact : Email : richard@trombly.com Wechat and phone: +86 13818837641. Introduction. The importance of editing In art, economy is always beauty. --Henry James Video editors “rewrite” the movie, re-direct it. A critical job.

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Media Production

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  1. Media Production Richard Trombly Contact : Email : richard@trombly.com Wechat and phone: +86 13818837641

  2. Introduction The importance of editing In art, economy is always beauty. --Henry James Video editors “rewrite” the movie, re-direct it. A critical job. I suppose some editors are failed writers; but so are most writers. --T. S. Eliot

  3. Introduction The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy. – Francis Ford Coppola

  4. Editing Editing

  5. Editing Editing - to prepare (something written) to be published or used : to make changes, correct mistakes, etc., in (something written) : to prepare (a film, recording, photo, etc.) to be seen or heard : to change, move, or remove parts of (a film, recording, photo, etc.)

  6. Editing Montage Combine [images] together Juxtapose Cut from one thing to another (Russian experiment)

  7. Editing Montage Combine [images] together Juxtapose Cut from one thing to another (Russian Lev Kuleshov experiment)

  8. Editing Film editing allows us to use cutaways to transcend the space and time of the place filmed. Editing can create the illusion of reality or can wildly break from reality.

  9. Editing Editing is a “blink”. Turning your head , you naturally blink. Reduces disorientation so your brain opens on a new image. It allows the brain to rationalize the sudden change in image. Editing copies that.

  10. Editing Hollywood chose a more continuity style than juxtaposed montage

  11. Editing Storytelling is done finally by the editor Can be as important as the director

  12. Editing Storytelling Script, Three acts, understanding the story and 'beats' But editor finds the powerful moments and uses those or ads in other elements to add power to a story. GUIDED BY-- BUT NOT LIMITED TO THE SCRIPT

  13. Editing Sequence You can just edit together the shots from the camera into a sequence and Perhaps remove unnecessary bits from the front and back end of each shot. Fade in , shots shots shots, fade out.

  14. Editing Transitions denote a large change in time or place

  15. Editing Continuity editing The invisible knife Continuity

  16. Editing Continuity the maintenance of continuous action and self-consistent detail in the various scenes of a movie or broadcast ***uninterrupted

  17. Editing Continuity the maintenance of continuous action and self-consistent detail in the various scenes of a movie or broadcast ***uninterrupted

  18. Editing Rarely shot in order. For budget reasons all the shots in one location – years apart in the story – shot at one time. Or night shots all shot on the same night in different locations.

  19. Editing Cut on the action from one camera angle to another is the most common thing *directing note Actors must do the same actions at the same point in the script no matter the shot or camera angle.

  20. Editing When continuity fails. Cut to : a close up , a reaction shot or a cut away

  21. Editing Jump cuts Can remove time in cuts but this gives a disturbing feeling. It can enhance certain kinds of stories.

  22. Editing Coverage Having overlapping shots of each part of the script Gives editor choices Script supervisor or continuity supervisor

  23. Editing screen DIRECTION and the 180 degree LINE rule If you shoot two people across a table from each other with camera on opposite sides it seems they are both looking in the same direction NOT AT EACH OTHER.

  24. Editing screen DIRECTION motion When a character walks off the right side of the screen We expect the action to come in from the left in the next scene

  25. Editing Intercutting Allows us to follow what is going on in multiple places

  26. Editing Dialogue Less is more Remove any unneeded dialogue There might be more in a script but once a director shot well , the lines are obvious... I AM STANDING UP AND WALKING OUT THIS DOOR. Is not necessary if the character does get up and walk out.

  27. Editing Dialogue rearranging speech. Lines can be reversed in order sometimes to be more powerful Also remove the imperfections and repetitions To cut from one shot to another one cutways and reaction shots are useful

  28. Editing You do not have to remain on a person while they are talking Documentary – often introduce a person, they start to talk then cuts to documentary footage that enhances their speech.

  29. Editing You do not have to remain on a person while they are talking Drama – you can watch the other person [people] in a conversation, cut to things or actions in the background, glances and reactions of others. Anything This can allow you to compress a long dialogue but also BUILD INTENSITY

  30. Editing Know whose story it is . Instead of staying on who is talking, know who is the most important at any point …

  31. Editing Replacing dialogue Nothing you hear in a Hollywood movie Is actually from the original shoot They will usually replace every sound with sound effects and the dialogue is fully ADR Automatic Dialogue Replacement or LOOPING

  32. Editing ADR usually done is short segments Actors must “re-act” the lines while watching a loop of the film sequence *This is one reason that kills the idea that “overplanning” kills spontaneous acting... actors need to do it again anyway.

  33. Editing Schedule Usually starts during the filming cycle Dailies onsite Features take about one day for every two days of shooting.

  34. Editing Organization There are many many shots and many takes of a shot that go into a film They must be organized and logged for ease and speed or access Script supervisor's log is the start

  35. Editing Shot selection the shot log will include director's original choices and notes on shots that had problems. [that footage still may be used] Editor is a fresh perspective Rewatch and do not just follow the director

  36. Editing Organize bins View the dailies Assembly edit Fine cutting Reel continuity – list scenes and the run time ….

  37. Editing Reel continuity – list scenes and the run time …. Make cards Scenes and their time help to adjust pace and flow Can reorganize and trim on paper before making changes

  38. Editing Test screening. Other eyes …

  39. Editing Non-linear editing Old process with film involved having to scroll through the film clips Modern video editing Software is designed to go directly to the frame you want

  40. Editing Cut and paste In film or even in newspapers and magazines We used to use a razor blade and paste or tape...

  41. Editing Backups backups backups Like having film negatives. Editing does not affect the original file The editing project file is actually just making instructions where the cuts are or the added effects. Only on output does it actually use the real file . ***BUT STILL MAKE BACKUPS

  42. Editing Backups backups backups Like having film negatives. Editing does not affect the original file The editing project file is actually just making instructions where the cuts are or the added effects. Only on output does it actually use the real file . ***BUT STILL MAKE BACKUPS

  43. Editing What file format was the video in ? Mpeg? H264? AVCHD? Assure that your camera can shoot in a format that your editing software can read. Less of a problem with modern software If not you must TRANSCODE (change the format of the file.

  44. Editing What format should your project be in? OUTPUT Assure your software can output that format and the project is set to that from the beginning Frames per second and video format 1080p, h264, etc.

  45. Editing Offline and online editing Offline – cut and shape the movie. Once the time line is locked there in only online editing Online editing. Sound editing and ADR and VFX will be added after the online phase. .. there is no need to dub scenes cut. And VFX the output is expensive so you do not want to have to re-render the FX.

  46. Editing Multiple tracks of video and of sound Digital editing software allows unlimited tracks to organize the work as you make cuts. Sequences You can make sequences that will later be combined into the final timeline

  47. Editing The software allows simple cutting and pasting and moving clips from one place to another. You can stretch the image out to see if there is good footage before or after the clip that was imported. Ripple edit - affects the whole timeline after the ripple edit!!!

  48. Editing What is on the screen The software monitor is usually showing a lower resolution image to avoid lag time in editing To see the actual footage, it is necessary to RENDER and output the video. New powerful computers can show hi-resolution images during editing

  49. Editing Always separate background sound or FOLEY [natural or fx] from DIALOGUE or MUSIC / SOUND TRACK MIXING the levels so dialogue remains clearly heard In the film is dubbed into another language only the dialogue track needs to be replaced

  50. Editing Output DVD Encoding and burning Software takes the output from editing program and compresses or encodes it to fit onto the disc space and then the deck can “burn” discs – Make sure you have the proper region for the audience you want to play to

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