VISUAL EDITING

1
VISUAL EDITING

• The Creative Stage

2
BASIC EDITING

• Single camera - all in post
• Multiple camera - switcherpost
• Good editor
• Problem solver
• Creative artist
• Team player with director
• Depends on cine/videographer
• script supervisor

3
NON-LINEAR VIDEO EDITING

• Tape or film stock digitized into memory
• 1 frame of non-compressed1 MB
• 1 min.video 1.68 GB
• Compression
• Ignores common aspects
• Must be rebuilt when converted

4
COMPRESSION

• Common compression systems
• DVI -Some multimedia
• JPEG - still images
• MPEG - full color motion video/audio
• Ratios from 21 to 51
• Higher ratio, less memory, lower quality

5
HARDWARE

• CPU Lots of RAM
• Hard drive(s)
• Monitor(s)
• Speakers
• Tape decks

6
SOFTWARE

• Shows picture/audio in graphic timeline
• 2nd monitor shows actual shots, not thumbnails
• Cut paste-same as word processing
• Virtual edit-instructions to computer stored in
  memory
• Efficient and flexible, but time consuming

7
EDIT PROCESS

• Virtual stage
• Download shots-stored in memory
• Arrange on timeline
• Trim-adjust
• Add effects, transitions
• Audio on own timeline
• Render
• Output

8
ANALOG VIDEO EDITING

• Off-line vs. On-line
• Assemble editing p. 340-341
• Insert editing
• Controller
• Jog-shuttle controls
• Choice of tracks
• Set in-out points, any 3

9
TIME BASE CORRECTOR

• Stabilizes poor sync
• Change phasing-some color correction
• Level correctiongain pedestal
• Can not correct poor shot or bad tape

10
TIME CODE

• A specific address on the tape
• Within the signal (VITC)
• Separate track
• Provides absolute position on tape
• SMPTE
• SONY-others

11
FILM EDITING I

• Electronic vs mechanical
• Electronic- same as videotape
• Mechanical
• Processed film is printed
• 1-light workprint
• Workprint physically cut spliced
• Measure twice, cut once

12
FILM EDITING I I

• Rough cut-then final cut
• Original film conformed (matched) to edited
  workprint
• Requires at least two rolls (A/B) of original
  film
• Edited on
• Bench, Movieola, flat-bed

13
FILM EDITING I I I

• Tape or hot cement splices
• Fullcoat tracks dubbed to one (2) tracks
• Leaders cut and marked accurately
• Indicate p. 357
• Fade in/out, dissolves, supers, etc
• Edge numbers on negative or printed

14
FILM EDITING IV

• The Bench
• Viewer
• Rewinds
• Synchronizer
• Sound reader
• Sound heads on synchronizer
• Two strong arms