EDITING Terms and Techniques Basic video elements Basic video elements Frame - single still "picture" (U.S. standard = 30 frames/second) Frame - single

EDITING Terms and TechniquesEDITING Terms and Techniques

Basic video elements Basic video elements Frame - single still "picture" (U.S. Frame - single still "picture" (U.S.

standard = 30 frames/second)standard = 30 frames/second) - consists of two "fields” consists of two "fields”

- a field is the record/play head passing - a field is the record/play head passing across the tapeacross the tape

- 60 fields/ second (U.S. standard - 60 fields/ second (U.S. standard

Basic video elements Basic video elements Frame - single still "picture" (U.S. Frame - single still "picture" (U.S.

standard = 30 frames/second)standard = 30 frames/second) - consists of two "fields” consists of two "fields”

- a field is the record/play head passing - a field is the record/play head passing across the tapeacross the tape

- 60 fields/ second (U.S. standard - 60 fields/ second (U.S. standard

EDITING Terms and TechniquesEDITING Terms and TechniquesNTSC U.S. standardNTSC U.S. standardPAL and SECAM are used in other PAL and SECAM are used in other

countries countries Shot - visual image recorded from the Shot - visual image recorded from the

time the camera starts recording to the time the camera starts recording to the time that it stopstime that it stops

Scene - logically connected series of Scene - logically connected series of shotsshots

Sequence - logically connected series Sequence - logically connected series of scenesof scenes

NTSC U.S. standardNTSC U.S. standardPAL and SECAM are used in other PAL and SECAM are used in other

countries countries Shot - visual image recorded from the Shot - visual image recorded from the

time the camera starts recording to the time the camera starts recording to the time that it stopstime that it stops

Scene - logically connected series of Scene - logically connected series of shotsshots

Sequence - logically connected series Sequence - logically connected series of scenesof scenes

EDITING Terms and TechniquesEDITING Terms and Techniques

Field logField logList of shots with notes created in the List of shots with notes created in the

field, at the shootfield, at the shoot(Can use shot log form, or notebook (Can use shot log form, or notebook

paper)paper) Include production notes: best take, Include production notes: best take,

excellent shot, etc...excellent shot, etc...

Field logField logList of shots with notes created in the List of shots with notes created in the

field, at the shootfield, at the shoot(Can use shot log form, or notebook (Can use shot log form, or notebook

paper)paper) Include production notes: best take, Include production notes: best take,

excellent shot, etc...excellent shot, etc...

EDITING DocumentationEDITING Documentation

Shot logShot logPrecise list of shots on a tape, in order Precise list of shots on a tape, in order

(catalog of shots on a piece of tape)(catalog of shots on a piece of tape)Shots listed in order by Shots listed in order by time codetime code ( (inin

and and outout points of the shots ) points of the shots )Notes included: quality of shot, audio; Notes included: quality of shot, audio;

production notes; production notes; in cuesin cues and and out cuesout cuesCreated in the off-line studio/edit suite Created in the off-line studio/edit suite

afterafter the shoot the shoot

Shot logShot logPrecise list of shots on a tape, in order Precise list of shots on a tape, in order

(catalog of shots on a piece of tape)(catalog of shots on a piece of tape)Shots listed in order by Shots listed in order by time codetime code ( (inin

and and outout points of the shots ) points of the shots )Notes included: quality of shot, audio; Notes included: quality of shot, audio;

production notes; production notes; in cuesin cues and and out cuesout cuesCreated in the off-line studio/edit suite Created in the off-line studio/edit suite

afterafter the shoot the shoot

EDITING DocumentationEDITING Documentation

Shot logShot logPurposePurposeList all shots on tapesList all shots on tapesReview content of tapes for editingReview content of tapes for editingStart planning/selecting shots to be Start planning/selecting shots to be

used in final projectused in final project Interviews should be logged verbatimInterviews should be logged verbatim

Shot logShot logPurposePurposeList all shots on tapesList all shots on tapesReview content of tapes for editingReview content of tapes for editingStart planning/selecting shots to be Start planning/selecting shots to be

used in final projectused in final project Interviews should be logged verbatimInterviews should be logged verbatim

Edit decision list (EDL)Edit decision list (EDL)Created from the shot log, Created from the shot log, very specific, very specific,

exactexactCreative decisions of shots to include in Creative decisions of shots to include in

the final program and in what orderthe final program and in what orderA "written outline" of the program, shot A "written outline" of the program, shot

by shotby shotMakes editing much more efficientMakes editing much more efficientCompleted before editing can beginCompleted before editing can begin

Created from the shot log, Created from the shot log, very specific, very specific, exactexact

Creative decisions of shots to include in Creative decisions of shots to include in the final program and in what orderthe final program and in what order

A "written outline" of the program, shot A "written outline" of the program, shot by shotby shot

Makes editing much more efficientMakes editing much more efficientCompleted before editing can beginCompleted before editing can begin

EditingEditing ( (interinter shot coding) shot coding) Transitions between shots, how Transitions between shots, how

images are connected togetherimages are connected together Can set the pace of the film regardless Can set the pace of the film regardless

of the action in front of the cameraof the action in front of the camera

EditingEditing ( (interinter shot coding) shot coding) Transitions between shots, how Transitions between shots, how

images are connected togetherimages are connected together Can set the pace of the film regardless Can set the pace of the film regardless

of the action in front of the cameraof the action in front of the camera

TRANSITIONSTRANSITIONS

Editing - types of editsEditing - types of edits

CUTCUT – basic transition – basic transition Instant “cut” between images Instant “cut” between images

Most common, a must in news, reality, Most common, a must in news, reality,

documentarydocumentary By itself, no inherent meaningBy itself, no inherent meaning Many fast cuts yields fast “pace” Many fast cuts yields fast “pace” independentindependent of of

the content of the shotsthe content of the shots In Studio TV it is called a TAKEIn Studio TV it is called a TAKE

CUTCUT – basic transition – basic transition Instant “cut” between images Instant “cut” between images

Most common, a must in news, reality, Most common, a must in news, reality,

documentarydocumentary By itself, no inherent meaningBy itself, no inherent meaning Many fast cuts yields fast “pace” Many fast cuts yields fast “pace” independentindependent of of

the content of the shotsthe content of the shots In Studio TV it is called a TAKEIn Studio TV it is called a TAKE

CutCut

CutCut

Coding Techniques, Schemes continuedCoding Techniques, Schemes continued

DISSOLVE — sssllllooowww transition DISSOLVE — sssllllooowww transition BETWEEN images BETWEEN images

Called a MIX in multi-camera live or live-to-Called a MIX in multi-camera live or live-to-tape TV tape TV

**Often signals changes of time or place **Often signals changes of time or place

DISSOLVE — sssllllooowww transition DISSOLVE — sssllllooowww transition BETWEEN images BETWEEN images

Called a MIX in multi-camera live or live-to-Called a MIX in multi-camera live or live-to-tape TV tape TV

**Often signals changes of time or place **Often signals changes of time or place

DissolveDissolve

DissolveDissolve

DissolveDissolve

Coding Techniques, Schemes continuedCoding Techniques, Schemes continued

Wipe – shot B Wipe – shot B pushes pushes shot A off the screen (circle, shot A off the screen (circle, diagonal, roll) News/sports. diagonal, roll) News/sports.

Seldom in film (trademark of cheesy 1970s films)Seldom in film (trademark of cheesy 1970s films)

Wipe – shot B Wipe – shot B pushes pushes shot A off the screen (circle, shot A off the screen (circle, diagonal, roll) News/sports. diagonal, roll) News/sports.

Seldom in film (trademark of cheesy 1970s films)Seldom in film (trademark of cheesy 1970s films)

Wipe - 4 spokesWipe - 4 spokes

Wipe - circleWipe - circle

Wipe - diamondWipe - diamond

Wipe - cube spin rightWipe - cube spin right

Wipe - news flashWipe - news flash

Wipe - push upWipe - push up

Wipe - blinds horizontalWipe - blinds horizontal

FadeFade

Fade - up or down from black (or a color)Fade - up or down from black (or a color)NOT the same as dissolve!! NOT the same as dissolve!! Fade down and up signals change in Fade down and up signals change in

time/placetime/place

Fade - up or down from black (or a color)Fade - up or down from black (or a color)NOT the same as dissolve!! NOT the same as dissolve!! Fade down and up signals change in Fade down and up signals change in

time/placetime/place

FadeFade

FadeFade

Fade - up or down from black (or a color) Fade - up or down from black (or a color)

NOT the same as dissolve!! NOT the same as dissolve!! Fade down and up signals change in Fade down and up signals change in

time/plactime/plac

Fade - up or down from black (or a color) Fade - up or down from black (or a color)

NOT the same as dissolve!! NOT the same as dissolve!! Fade down and up signals change in Fade down and up signals change in

time/plactime/plac

Transitions - guidelinesTransitions - guidelines

Transitions between two shots should Transitions between two shots should be smoothbe smooth

Edits should not call attention to Edits should not call attention to themselvesthemselves

The shots should be significantly The shots should be significantly different in angle, closeness to subject, different in angle, closeness to subject, framingframing

If shots are too similar, subject appears If shots are too similar, subject appears to "jump" if the edit is a cutto "jump" if the edit is a cut

Transitions between two shots should Transitions between two shots should be smoothbe smooth

Edits should not call attention to Edits should not call attention to themselvesthemselves

The shots should be significantly The shots should be significantly different in angle, closeness to subject, different in angle, closeness to subject, framingframing

If shots are too similar, subject appears If shots are too similar, subject appears to "jump" if the edit is a cutto "jump" if the edit is a cut

Transitions - jump cutsTransitions - jump cuts

2 very similar shots adjacent to each 2 very similar shots adjacent to each otherother

Avoid by using... Avoid by using... Cover video - B-roll video to "cover" the Cover video - B-roll video to "cover" the

editeditAn appropriate wipe (e.g., a page turn, An appropriate wipe (e.g., a page turn,

white flash frame on an interview)white flash frame on an interview)Vary the A and B shots significantlyVary the A and B shots significantly

2 very similar shots adjacent to each 2 very similar shots adjacent to each otherother

Avoid by using... Avoid by using... Cover video - B-roll video to "cover" the Cover video - B-roll video to "cover" the

editeditAn appropriate wipe (e.g., a page turn, An appropriate wipe (e.g., a page turn,

white flash frame on an interview)white flash frame on an interview)Vary the A and B shots significantlyVary the A and B shots significantly

Jump cutJump cut

Jump cutJump cut

Jump cut - too similar in composition and angleJump cut - too similar in composition and angle

Avoid jump cutsAvoid jump cuts

Vary angle and/or closeness of adjacent Vary angle and/or closeness of adjacent shotsshots

Vary angle and/or closeness of adjacent Vary angle and/or closeness of adjacent shotsshots

Avoid jump cutsAvoid jump cuts

Substantial change in composition or angleSubstantial change in composition or angle

System terms - Non-linearSystem terms - Non-linear

Digital, computer-based editing Digital, computer-based editing Images copies/transferred from tape to Images copies/transferred from tape to

computer hard drive (digitized/captured)computer hard drive (digitized/captured) Images manipulated in digital form in Images manipulated in digital form in

the computerthe computer””Non-linear" because it is not tape-to-Non-linear" because it is not tape-to-

tape and can be manipulated in digital tape and can be manipulated in digital formform

Digital, computer-based editing Digital, computer-based editing Images copies/transferred from tape to Images copies/transferred from tape to

computer hard drive (digitized/captured)computer hard drive (digitized/captured) Images manipulated in digital form in Images manipulated in digital form in

the computerthe computer””Non-linear" because it is not tape-to-Non-linear" because it is not tape-to-

tape and can be manipulated in digital tape and can be manipulated in digital formform


Hardware requirements:Hardware requirements:Huge hard drive to save videoHuge hard drive to save videoFast processor to create and 'render' Fast processor to create and 'render'

effectseffectsComputer card to digitize (input) and Computer card to digitize (input) and

output video and audio signalsoutput video and audio signals””Firewire" to load Firewire" to load digital videodigital video directly directly

into the computer IEEE 1394into the computer IEEE 1394

Hardware requirements:Hardware requirements:Huge hard drive to save videoHuge hard drive to save videoFast processor to create and 'render' Fast processor to create and 'render'

effectseffectsComputer card to digitize (input) and Computer card to digitize (input) and

output video and audio signalsoutput video and audio signals””Firewire" to load Firewire" to load digital videodigital video directly directly

into the computer IEEE 1394into the computer IEEE 1394


SoftwareSoftware Adobe Premiere, Adobe Premiere, Final Cut ProFinal Cut Pro, , Avid Media Avid Media

ComposerComposer, , Avid ExpressDVAvid ExpressDV, , Media 100Media 100 Prices range from a few hundred to many Prices range from a few hundred to many

thousand dollarsthousand dollars Differences: speed, quality, amount of video, Differences: speed, quality, amount of video,

features (special effects, text, audio etc...),features (special effects, text, audio etc...), Real time Real time editing (no editing (no renderingrendering) [effects ) [effects

processed in real time, do not need to processed in real time, do not need to digitally recreate them]digitally recreate them]

SoftwareSoftware Adobe Premiere, Adobe Premiere, Final Cut ProFinal Cut Pro, , Avid Media Avid Media

ComposerComposer, , Avid ExpressDVAvid ExpressDV, , Media 100Media 100 Prices range from a few hundred to many Prices range from a few hundred to many

thousand dollarsthousand dollars Differences: speed, quality, amount of video, Differences: speed, quality, amount of video,

features (special effects, text, audio etc...),features (special effects, text, audio etc...), Real time Real time editing (no editing (no renderingrendering) [effects ) [effects

processed in real time, do not need to processed in real time, do not need to digitally recreate them]digitally recreate them]

System terms - Linear editing System terms - Linear editing

Copying or dubbing from tape to tape in Copying or dubbing from tape to tape in a "linear" fashiona "linear" fashion

Actually copies video and audio from Actually copies video and audio from deck to deck, requires two decksdeck to deck, requires two decks

Controlled with an edit controller or Controlled with an edit controller or computer computer

Still common in news productionStill common in news productionCan be either "on" or "off-line"Can be either "on" or "off-line"

Copying or dubbing from tape to tape in Copying or dubbing from tape to tape in a "linear" fashiona "linear" fashion

Actually copies video and audio from Actually copies video and audio from deck to deck, requires two decksdeck to deck, requires two decks

Controlled with an edit controller or Controlled with an edit controller or computer computer

Still common in news productionStill common in news productionCan be either "on" or "off-line"Can be either "on" or "off-line"

On-line linear system On-line linear system

Edit system combined with video mixer Edit system combined with video mixer and character generator to allow A-B and character generator to allow A-B roll editing (mixing of more than one roll editing (mixing of more than one tape.) tape.)

Also includes various VTRs and audio Also includes various VTRs and audio inputs. Final mixes made here. inputs. Final mixes made here.

Edit system combined with video mixer Edit system combined with video mixer and character generator to allow A-B and character generator to allow A-B roll editing (mixing of more than one roll editing (mixing of more than one tape.) tape.)

Also includes various VTRs and audio Also includes various VTRs and audio inputs. Final mixes made here. inputs. Final mixes made here.

Off-line linear system Off-line linear system

Cuts only system, only allows cuts Cuts only system, only allows cuts between shots, no other mixes, maybe between shots, no other mixes, maybe titling. titling.

Used for rough cuts, basic edits, news Used for rough cuts, basic edits, news package editing.package editing.

Cuts only system, only allows cuts Cuts only system, only allows cuts between shots, no other mixes, maybe between shots, no other mixes, maybe titling. titling.

Used for rough cuts, basic edits, news Used for rough cuts, basic edits, news package editing.package editing.

Video tape - technical elementsVideo tape - technical elements

Mylar (plastic-type) material backing Mylar (plastic-type) material backing with metal/magnetic coatingwith metal/magnetic coating

As tape passes record heads, magnetic As tape passes record heads, magnetic particles aligned to store informationparticles aligned to store information

Analog tape - stores information in Analog tape - stores information in analog form (e.g., audio cassettes, analog form (e.g., audio cassettes, VHS, S-VHS, 3/4", Beta)VHS, S-VHS, 3/4", Beta)

Mylar (plastic-type) material backing Mylar (plastic-type) material backing with metal/magnetic coatingwith metal/magnetic coating

As tape passes record heads, magnetic As tape passes record heads, magnetic particles aligned to store informationparticles aligned to store information

Analog tape - stores information in Analog tape - stores information in analog form (e.g., audio cassettes, analog form (e.g., audio cassettes, VHS, S-VHS, 3/4", Beta)VHS, S-VHS, 3/4", Beta)

Video tape - technical elementsVideo tape - technical elements

Digital tape - stores information digitally, Digital tape - stores information digitally, binary code (e.g., 1s and 0s)binary code (e.g., 1s and 0s)

Analog and digital similar in design Analog and digital similar in design (coated mylar tape), different in the way (coated mylar tape), different in the way information is stored.information is stored.

Digital tape - stores information digitally, Digital tape - stores information digitally, binary code (e.g., 1s and 0s)binary code (e.g., 1s and 0s)

Analog and digital similar in design Analog and digital similar in design (coated mylar tape), different in the way (coated mylar tape), different in the way information is stored.information is stored.

Record formatsRecord formats

Elements of the video signal:Elements of the video signal:Color (chrominance) andColor (chrominance) andBrightness (luminance/contrast)Brightness (luminance/contrast)NTSCNTSC = US video engineering standard = US video engineering standard [NTSC link 2][NTSC link 2]PAL = European video engineering PAL = European video engineering

standardstandard

Elements of the video signal:Elements of the video signal:Color (chrominance) andColor (chrominance) andBrightness (luminance/contrast)Brightness (luminance/contrast)NTSCNTSC = US video engineering standard = US video engineering standard [NTSC link 2][NTSC link 2]PAL = European video engineering PAL = European video engineering

standardstandard

Video Tape - Generation loss Video Tape - Generation loss

Loss in quality when a tape is copied Loss in quality when a tape is copied (analog only)(analog only)

Occurs in linear editing, dubbingOccurs in linear editing, dubbingEach time a tape is copied, quality goes Each time a tape is copied, quality goes

down: colors bleed, clarity is reduced, down: colors bleed, clarity is reduced, grain increasesgrain increases

Original, 2nd generation, 3rd generation Original, 2nd generation, 3rd generation

Loss in quality when a tape is copied Loss in quality when a tape is copied (analog only)(analog only)

Occurs in linear editing, dubbingOccurs in linear editing, dubbingEach time a tape is copied, quality goes Each time a tape is copied, quality goes

down: colors bleed, clarity is reduced, down: colors bleed, clarity is reduced, grain increasesgrain increases

Original, 2nd generation, 3rd generation Original, 2nd generation, 3rd generation

Video Tape - Generation loss Video Tape - Generation loss

VHS starts looking very bad by the 3rd VHS starts looking very bad by the 3rd generation, sometimes by the 2ndgeneration, sometimes by the 2nd

Limit number of generations if possibleLimit number of generations if possibleNOT an issue in digital editing NOT an issue in digital editing image is digital, no generation loss from image is digital, no generation loss from

tape to computer to tape. tape to computer to tape. (Compression IS an issue, however.)(Compression IS an issue, however.)

VHS starts looking very bad by the 3rd VHS starts looking very bad by the 3rd generation, sometimes by the 2ndgeneration, sometimes by the 2nd

Limit number of generations if possibleLimit number of generations if possibleNOT an issue in digital editing NOT an issue in digital editing image is digital, no generation loss from image is digital, no generation loss from

tape to computer to tape. tape to computer to tape. (Compression IS an issue, however.)(Compression IS an issue, however.)

Videotape - information stored Videotape - information stored on tapeon tapeVideotape - information stored Videotape - information stored on tapeon tape

All tapes include three types of All tapes include three types of informationinformation

1. Video signal1. Video signalstored diagonally as heads pass across stored diagonally as heads pass across

tapetape2. Audio signal 2. Audio signal audio stored linearly at top or bottom 2 audio stored linearly at top or bottom 2

to 4 tracksto 4 tracks

All tapes include three types of All tapes include three types of informationinformation

1. Video signal1. Video signalstored diagonally as heads pass across stored diagonally as heads pass across

tapetape2. Audio signal 2. Audio signal audio stored linearly at top or bottom 2 audio stored linearly at top or bottom 2

to 4 tracksto 4 tracks


3. Control track OR Time Code3. Control track OR Time Code Invisible and mysterious! Invisible and mysterious! Electronic signals recorded on the tape Electronic signals recorded on the tape

along with the videoalong with the videoEnables consistent tape speedEnables consistent tape speedSignifies location on the tapeSignifies location on the tape

3. Control track OR Time Code3. Control track OR Time Code Invisible and mysterious! Invisible and mysterious! Electronic signals recorded on the tape Electronic signals recorded on the tape

along with the videoalong with the videoEnables consistent tape speedEnables consistent tape speedSignifies location on the tapeSignifies location on the tape


a. Control track ** a. Control track ** Term for electronic "blips" or "clicks" on Term for electronic "blips" or "clicks" on

tapetapeAddress not absolute, relative Address not absolute, relative VHS, home systems where the time can VHS, home systems where the time can

be "reset”be "reset”Not Not frame accurateframe accurate

a. Control track ** a. Control track ** Term for electronic "blips" or "clicks" on Term for electronic "blips" or "clicks" on

tapetapeAddress not absolute, relative Address not absolute, relative VHS, home systems where the time can VHS, home systems where the time can

be "reset”be "reset”Not Not frame accurateframe accurate


b. Time codeb. Time codeSpecific absolute address for each Specific absolute address for each

frame on the tapeframe on the tapeHours, minutes, seconds, framesHours, minutes, seconds, frames03:12.16.20 is always the same, 03:12.16.20 is always the same,

recorded on the taperecorded on the tapeUsually Usually frame accurateframe accurate

b. Time codeb. Time codeSpecific absolute address for each Specific absolute address for each

frame on the tapeframe on the tapeHours, minutes, seconds, framesHours, minutes, seconds, frames03:12.16.20 is always the same, 03:12.16.20 is always the same,

recorded on the taperecorded on the tapeUsually Usually frame accurateframe accurate

Tape Formats Y/C Component ("S-video")Tape Formats Y/C Component ("S-video")

Component Y/CComponent Y/CY and C separated, greater resolution & Y and C separated, greater resolution &

clarityclarity- Luminance (Y) and chrominance ( C) - Luminance (Y) and chrominance ( C)

are separated during encoding and are separated during encoding and decoding (laid together on the tape) decoding (laid together on the tape)

Component Y/CComponent Y/CY and C separated, greater resolution & Y and C separated, greater resolution &

clarityclarity- Luminance (Y) and chrominance ( C) - Luminance (Y) and chrominance ( C)

are separated during encoding and are separated during encoding and decoding (laid together on the tape) decoding (laid together on the tape)

Tape Formats Y/C Component ("S-video")Tape Formats Y/C Component ("S-video")

S-VHS, Hi=8, BetacamSP, MII (M2), Digital-S S-VHS, Hi=8, BetacamSP, MII (M2), Digital-S Better than typical home video, holds up Better than typical home video, holds up

during editingduring editingSignal carried through a four-pin "S" Signal carried through a four-pin "S"

cable (pins are delicate, treat them cable (pins are delicate, treat them carefully)carefully)

S-VHS, Hi=8, BetacamSP, MII (M2), Digital-S S-VHS, Hi=8, BetacamSP, MII (M2), Digital-S Better than typical home video, holds up Better than typical home video, holds up

during editingduring editingSignal carried through a four-pin "S" Signal carried through a four-pin "S"

cable (pins are delicate, treat them cable (pins are delicate, treat them carefully)carefully)

Tape Formats RGB-ComponentTape Formats RGB-Component

Component RGBComponent RGBRed, Green & Blue separatedRed, Green & Blue separatedHigh quality color and resolution High quality color and resolution

Component RGBComponent RGBRed, Green & Blue separatedRed, Green & Blue separatedHigh quality color and resolution High quality color and resolution

Tape Formats RGB-ComponentTape Formats RGB-Component

Red, green, blue portions of the signal Red, green, blue portions of the signal kept separate, even on the tape. kept separate, even on the tape. "Professional" broadcast systems - "Professional" broadcast systems - separate cables for each signalseparate cables for each signal

D1, D5, Digital Betacam, DVCPRO, D1, D5, Digital Betacam, DVCPRO, DVCCAMDVCCAM

Red, green, blue portions of the signal Red, green, blue portions of the signal kept separate, even on the tape. kept separate, even on the tape. "Professional" broadcast systems - "Professional" broadcast systems - separate cables for each signalseparate cables for each signal

D1, D5, Digital Betacam, DVCPRO, D1, D5, Digital Betacam, DVCPRO, DVCCAMDVCCAM

Tape Formats - Composite Tape Formats - Composite

Composite - all signals blended into oneComposite - all signals blended into oneChroma and LumaChroma and LumaLower quality, home video standard due Lower quality, home video standard due

to interferenceto interferenceAnalogous to "mono" audioAnalogous to "mono" audio low initial quality, worse during editinglow initial quality, worse during editing

Composite - all signals blended into oneComposite - all signals blended into oneChroma and LumaChroma and LumaLower quality, home video standard due Lower quality, home video standard due

to interferenceto interferenceAnalogous to "mono" audioAnalogous to "mono" audio low initial quality, worse during editinglow initial quality, worse during editing

Tape Formats - CompositeTape Formats - Composite

Composite - all signals blended into oneComposite - all signals blended into oneColors not clearly defined, tend to bleedColors not clearly defined, tend to bleedLooks like "home video”Looks like "home video”VHS, 8mm, U-matic (3/4"), D2, D3VHS, 8mm, U-matic (3/4"), D2, D3Signal carried through RCA or RF Signal carried through RCA or RF

cablescables

Composite - all signals blended into oneComposite - all signals blended into oneColors not clearly defined, tend to bleedColors not clearly defined, tend to bleedLooks like "home video”Looks like "home video”VHS, 8mm, U-matic (3/4"), D2, D3VHS, 8mm, U-matic (3/4"), D2, D3Signal carried through RCA or RF Signal carried through RCA or RF

cablescables

Film Editing Glossary Film Editing Glossary

cut A visual transition created in editing in which one shot is instantaneously replaced on screen by another.

continuity editing Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer.

cut A visual transition created in editing in which one shot is instantaneously replaced on screen by another.

continuity editing Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer.


cross cuttingCutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously.

dissolve A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one.

cross cuttingCutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously.

dissolve A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one.


editing The work of selecting and joining together shots to create a finished film.

errors of continuity Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots.

establishing shot A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.

editing The work of selecting and joining together shots to create a finished film.

errors of continuity Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots.

establishing shot A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.


eyeline match The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.

fade A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place.

eyeline match The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.

fade A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place.

Film Editing Glossary Film Editing Glossary final cut The finished edit of a film, approved by the director and the producer. This is what the audience sees.

iris Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films.

jump cut A cut that creates a lack of continuity by leaving out parts of the action.

final cut The finished edit of a film, approved by the director and the producer. This is what the audience sees.

iris Visible on screen as a circle closing down over or opening up on a shot. Seldom used in contemporary film, but common during the silent era of Hollywood films.

jump cut A cut that creates a lack of continuity by leaving out parts of the action.


matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action.

montage Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.

matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action.

montage Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.


rough cut The editor's first pass at assembling the shots into a film, before tightening and polishing occurs.

sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing.

rough cut The editor's first pass at assembling the shots into a film, before tightening and polishing occurs.

sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing.


shot reverse shot cuttingUsually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking.

wipe Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.

shot reverse shot cuttingUsually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking.

wipe Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.

Documents

EDITING Terms and Techniques Basic video elements Basic video elements Frame - single still "picture" (U.S. standard = 30 frames/second) Frame - single