Transcript ARTV 1351 – Chapter 3.ppt

ARTV 1351 – Digital
Video
Chapter 3
Editing Digital Video
The Tradition of Storytelling

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Every story has a beginning, middle,
and end.
The logic or structure that will unfold
the story from beginning to end over
time
There are two approaches to
editing
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Bricklayer - building
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Sculptor – carving
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Editors switch back and forth
between these approaches.
Building Method
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Adds shots one at a time to the show
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The editor looks at the material
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Finds the beginning and end of each useable shot
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Creates a copy of each shot called a subclip.
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Each shot is added in succession from the start
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Similar to linear video editing
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Works well with any show that has a detailed
script
Carving Method
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Place all the material on the timeline
Sections that are unusable are marked
and deleted from the timeline
Repeat the process of carving away excess
material
Move the materials around to order the
story
Editing Clips on the Timeline
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Overwrite Edit
• Never changes the overall length
• Source video covers over existing material
• Overlay is another commonly used term for
this mode
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Insert Edit
• Pushes everything after the edit point forward
• Always extends the length of the show
• Splice or ripple mode because has a ripple
effect from that point onward
Two Flavors--One Illusion
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Continuity editing
• Gives the audience a clear sense of place and
action
• The audience believes the story is unfolding in
real time
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Montage editing
• A collision of shots that don't necessarily have
meaning by themselves
• A montage sequence (Hollywood) shows the
passage of time or place
• Any editing style that ignores the strict rules of
continuity.
Techniques for
Continuity Editing
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The lighting and color balance of the shots
should match.
Pay attention to the screen direction of
your subjects.
Dialogue should be edited so sentences,
questions, and answers flow naturally.
The other motivators are to cut on
physical or emotional action.
Matched Edits and Jump Cuts
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Cut on Action
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Cut on Exits and Entrances
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Cut on Motion
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Cut Away from the Action
• Inserts
• Reactions
• Cutaways
Pace and Rhythm
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Pace is dependent on the timing of
the individual shots
Rhythm is the interplay between the
shots on the timeline
If either element is incorrect,
the audience will notice the individual
shots.
Five Guidelines of Editing
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Find the shot with the emotional moment
Shorter is nearly always more interesting
than longer.
Give the audience just enough time to
read the shot
Use motivated cuts.
Always give the audience the best view of
the action.
A Once Over in the Cockpit
A Once Over in the Cockpit
Time Code
IN & OUT Marks
Get Set to Edit
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Remove Excess Tracks
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Track Selection Buttons
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Playing and Marking Clips
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Mark the Source Shot
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Prepare the Timeline for an Edit
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Mark an IN Time on the Timeline
The Editing Exercise
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Create a new project.
• Name it The Dicey Question. Save it.
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Bin should now have three clips
• 2-Shot, Molly MCU, and Jeff MCU
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Watch all of the clips to acquaint yourself with the footage.
• Locate the time code display
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Edit the shots on the timeline.
• On the timeline find the magnifier or scaling tool
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Correct any audio problems
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Save Your Work
• What Am I Saving and Where?
• Never Leave Without a Backup
Review the Exercise
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Are the audio edits clear and understandable?
Do the shots flow naturally from one character to
another and maintain the rhythm of the
conversation?
Are there any frames of black between shots that
shouldn't be there?
Did you cut on the action?
Are there any jump cuts that break the continuity
between the shots?
Summary
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Editors tell stories by arranging pictures
and sounds.
The editor's job is to create a compelling
reality using the tools and techniques of
editing even though everyone knows it's
only an illusion.
Whether you build or carve, editing is both
art and craft.