EDITING Terms and Techniques

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EDITING Terms and Techniques. Basic video elements Frame - single still "picture" (U.S. standard = 30 frames/second) consists of two "fields - a field is the record/play head passing across the tape - 60 fields/ second (U.S. standard. EDITING Terms and Techniques. NTSC U.S. standard - PowerPoint PPT Presentation

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<ul><li><p>EDITING Terms and TechniquesBasic video elements Frame - single still "picture" (U.S. standard = 30 frames/second) consists of two "fields- a field is the record/play head passing across the tape- 60 fields/ second (U.S. standard </p></li><li><p>EDITING Terms and TechniquesNTSC U.S. standardPAL and SECAM are used in other countries Shot - visual image recorded from the time the camera starts recording to the time that it stopsScene - logically connected series of shotsSequence - logically connected series of scenes</p></li><li><p>EDITING Terms and TechniquesField logList of shots with notes created in the field, at the shoot(Can use shot log form, or notebook paper)Include production notes: best take, excellent shot, etc...</p></li><li><p>EDITING DocumentationShot logPrecise list of shots on a tape, in order (catalog of shots on a piece of tape)Shots listed in order by time code (in and out points of the shots )Notes included: quality of shot, audio; production notes; in cues and out cuesCreated in the off-line studio/edit suite after the shoot</p></li><li><p>EDITING DocumentationShot logPurposeList all shots on tapesReview content of tapes for editingStart planning/selecting shots to be used in final projectInterviews should be logged verbatim</p></li><li><p>Edit decision list (EDL)Created from the shot log, very specific, exactCreative decisions of shots to include in the final program and in what orderA "written outline" of the program, shot by shotMakes editing much more efficientCompleted before editing can begin</p></li><li><p>TRANSITIONSEditing (inter shot coding) Transitions between shots, how images are connected togetherCan set the pace of the film regardless of the action in front of the camera</p></li><li><p>Editing - types of editsCUT basic transitionInstant cut between images Most common, a must in news, reality, documentaryBy itself, no inherent meaningMany fast cuts yields fast pace independent of the content of the shotsIn Studio TV it is called a TAKE </p></li><li><p>Cut </p></li><li><p>Cut </p></li><li><p>Coding Techniques, Schemes continuedDISSOLVE sssllllooowww transition BETWEEN images Called a MIX in multi-camera live or live-to-tape TV **Often signals changes of time or place </p></li><li><p>Dissolve</p></li><li><p>Dissolve</p></li><li><p>Dissolve</p></li><li><p>Coding Techniques, Schemes continuedWipe shot B pushes shot A off the screen (circle, diagonal, roll) News/sports. </p><p>Seldom in film (trademark of cheesy 1970s films)</p></li><li><p>Wipe - 4 spokes</p></li><li><p>Wipe - circle</p></li><li><p>Wipe - diamond</p></li><li><p>Wipe - cube spin right</p></li><li><p>Wipe - news flash</p></li><li><p>Wipe - push up</p></li><li><p>Wipe - blinds horizontal</p></li><li><p>FadeFade - up or down from black (or a color)NOT the same as dissolve!! Fade down and up signals change in time/place</p></li><li><p>Fade</p></li><li><p>FadeFade - up or down from black (or a color) NOT the same as dissolve!! Fade down and up signals change in time/plac</p></li><li><p>Transitions - guidelinesTransitions between two shots should be smoothEdits should not call attention to themselvesThe shots should be significantly different in angle, closeness to subject, framingIf shots are too similar, subject appears to "jump" if the edit is a cut</p></li><li><p>Transitions - jump cuts2 very similar shots adjacent to each otherAvoid by using... Cover video - B-roll video to "cover" the editAn appropriate wipe (e.g., a page turn, white flash frame on an interview)Vary the A and B shots significantly</p></li><li><p>Jump cut</p></li><li><p>Jump cut</p></li><li><p>Jump cut - too similar in composition and angle</p></li><li><p>Avoid jump cutsVary angle and/or closeness of adjacent shots</p></li><li><p>Avoid jump cuts</p></li><li><p>Substantial change in composition or angle</p></li><li><p>System terms - Non-linearDigital, computer-based editingImages copies/transferred from tape to computer hard drive (digitized/captured)Images manipulated in digital form in the computerNon-linear" because it is not tape-to-tape and can be manipulated in digital form</p></li><li><p>System terms - Non-linearHardware requirements:Huge hard drive to save videoFast processor to create and 'render' effectsComputer card to digitize (input) and output video and audio signalsFirewire" to load digital video directly into the computer IEEE 1394</p></li><li><p>System terms - Non-linearSoftware Adobe Premiere, Final Cut Pro, Avid Media Composer, Avid ExpressDV, Media 100Prices range from a few hundred to many thousand dollarsDifferences: speed, quality, amount of video, features (special effects, text, audio etc...),Real time editing (no rendering) [effects processed in real time, do not need to digitally recreate them]</p></li><li><p>System terms - Linear editingCopying or dubbing from tape to tape in a "linear" fashionActually copies video and audio from deck to deck, requires two decksControlled with an edit controller or computerStill common in news productionCan be either "on" or "off-line"</p></li><li><p>On-line linear systemEdit system combined with video mixer and character generator to allow A-B roll editing (mixing of more than one tape.) Also includes various VTRs and audio inputs. Final mixes made here.</p></li><li><p>Off-line linear system Cuts only system, only allows cuts between shots, no other mixes, maybe titling. Used for rough cuts, basic edits, news package editing.</p></li><li><p>Video tape - technical elementsMylar (plastic-type) material backing with metal/magnetic coatingAs tape passes record heads, magnetic particles aligned to store informationAnalog tape - stores information in analog form (e.g., audio cassettes, VHS, S-VHS, 3/4", Beta)</p></li><li><p>Video tape - technical elementsDigital tape - stores information digitally, binary code (e.g., 1s and 0s)Analog and digital similar in design (coated mylar tape), different in the way information is stored.</p></li><li><p>Record formatsElements of the video signal:Color (chrominance) andBrightness (luminance/contrast)NTSC = US video engineering standard[NTSC link 2]PAL = European video engineering standard</p></li><li><p>Video Tape - Generation loss Loss in quality when a tape is copied (analog only)Occurs in linear editing, dubbingEach time a tape is copied, quality goes down: colors bleed, clarity is reduced, grain increasesOriginal, 2nd generation, 3rd generation </p></li><li><p>Video Tape - Generation loss VHS starts looking very bad by the 3rd generation, sometimes by the 2ndLimit number of generations if possibleNOT an issue in digital editing image is digital, no generation loss from tape to computer to tape. (Compression IS an issue, however.)</p></li><li><p>Videotape - information stored on tapeAll tapes include three types of information1. Video signalstored diagonally as heads pass across tape2. Audio signalaudio stored linearly at top or bottom 2 to 4 tracks</p></li><li><p>Videotape - information stored on tape3. Control track OR Time CodeInvisible and mysterious!Electronic signals recorded on the tape along with the videoEnables consistent tape speedSignifies location on the tape</p></li><li><p>Videotape - information stored on tapea. Control track ** Term for electronic "blips" or "clicks" on tapeAddress not absolute, relativeVHS, home systems where the time can be "resetNot frame accurate</p></li><li><p>Videotape - information stored on tapeb. Time codeSpecific absolute address for each frame on the tapeHours, minutes, seconds, frames03:12.16.20 is always the same, recorded on the tapeUsually frame accurate</p></li><li><p>Tape Formats Y/C Component ("S-video")Component Y/CY and C separated, greater resolution &amp; clarity- Luminance (Y) and chrominance ( C) are separated during encoding and decoding (laid together on the tape) </p></li><li><p>Tape Formats Y/C Component ("S-video")S-VHS, Hi=8, BetacamSP, MII (M2), Digital-S Better than typical home video, holds up during editingSignal carried through a four-pin "S" cable (pins are delicate, treat them carefully)</p></li><li><p>Tape Formats RGB-ComponentComponent RGBRed, Green &amp; Blue separatedHigh quality color and resolution</p></li><li><p>Tape Formats RGB-ComponentRed, green, blue portions of the signal kept separate, even on the tape. "Professional" broadcast systems- separate cables for each signalD1, D5, Digital Betacam, DVCPRO, DVCCAM</p></li><li><p>Tape Formats - Composite Composite - all signals blended into oneChroma and LumaLower quality, home video standard due to interferenceAnalogous to "mono" audiolow initial quality, worse during editing</p></li><li><p>Tape Formats - CompositeComposite - all signals blended into oneColors not clearly defined, tend to bleedLooks like "home videoVHS, 8mm, U-matic (3/4"), D2, D3Signal carried through RCA or RF cables</p></li><li><p>Film Editing Glossary </p><p>cut A visual transition created in editing in which one shot is instantaneously replaced on screen by another. </p><p>continuity editingEditing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer. </p></li><li><p>Film Editing Glossary </p><p>cross cuttingCutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously. </p><p>dissolve A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. </p></li><li><p>Film Editing Glossary </p><p>editing The work of selecting and joining together shots to create a finished film. </p><p>errors of continuity Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots. </p><p>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. </p></li><li><p>Film Editing Glossary </p><p>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. </p><p>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. </p></li><li><p>Film Editing Glossary </p><p>final cut The finished edit of a film, approved by the director and the producer. This is what the audience sees. </p><p>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. </p><p>jump cut A cut that creates a lack of continuity by leaving out parts of the action. </p></li><li><p>Film Editing Glossary </p><p>matched cut A cut joining two shots whose compositional elements match, helping to establish strong continuity of action. </p><p>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. </p></li><li><p>Film Editing Glossary </p><p>rough cut The editor's first pass at assembling the shots into a film, before tightening and polishing occurs. </p><p>sequence shot A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing. </p></li><li><p>Film Editing Glossary </p><p>shot reverse shot cuttingUsually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking. </p><p>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.</p></li></ul>