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  • August, 2012 | The Joy of Film Editing
    and optional homework expand the experience The course covers the three phases of the editing process and delves into the impact visual effects sound and music editing make on films and videos It looks at the editor s role in movies reality shows docs comedies etc today Finally it compares the traditional Hollywood style of linear invisible editing citing current research and contrasting it with the modern non linear often unabashedly visible MTV style of editing Course objectives By the end of the course students will be able to List the six phases of a film project Define a cut and its function in action dialogue and other types of scenes Identify different types of cuts why and editor would make them and how they affect the audience State the three phases of editing process Describe the editor s role and contribution to a film or video project Relate the history of editing and how the language of editing has evolved Compare the traditional Hollywood style and the modern MTV editing style Explain the current state of editing and research about editing in the U S today State the power of sound and music in editing Identify different types of VFX visual effects and how they affect a film s story Sherry Green Announcements A Veteran Sound Editor Sounds Off and Imparts a Terabyte of Filmmaking Knowledge from Development to the Mix August 6th 2012 No comments Sound editor Vickie Sampson was the featured speaker at LAFPUG recently which has posted her edited talk This 34 minute video is a must see for anyone entering the biz wishing to make their own film or wanting to learn more about planning for sound and editing it Vickie is a long time sound editor on many illustrious films starting with New York New York and continuing through both Sex in the City movies How s that for getting caught between the moon and NYC What Vickie knows about sound and filmmaking is worth listening to She s human entertaining and instructional as she s done it all Directed and written her own films commercials and shorts in addition to her sound work She also is a consummate teacher giving regular sources at Video Symphony in Burbank But this lecture is free And worth your time The last thing I want to say before turning you over to the video Vickie has been a long time friend and resource for both editions of Cut by Cut Editing Your Film or Video books She kindly wrote the Foreword to the current second edition So I am very happy to introduce you the intrepid inimitable Vickie Los Angeles Final Cut Pro Users Group Sherry Green Editing life Editing screenwriting Editing practices Editor s role Sound music editing User groups meetings Visual FX editing Guest Blog on File Management August 1st 2012 1 comment As a regular blogger on my own website I regularly receive offers from companies to write guest blogs Most I reject as too market in tone or not on subject to you my readers or me This post via Josh Bristol PR Coordinator for SocialMonsters was one of the exceptions It details the hows and whys of backing up storing collaborating with other filmmakers and sharing your files and videos during editing I receive no money or compensation of any kind for this guest blog so let me know what you think as Josh has offered future blogs Guest Post from SocialMonsters Almost everyone has experienced the sinking feeling that comes when you realize you just lost a decade s worth of family photos when your computer crashed even worse is knowing that you never made a video backup of your wedding day Losing just a few precious snapshots can be disappointing and losing an entire video for some can seem tragic With so many options available making back ups of your video can be easy With so many options available for businesses to store data you would think that business owners would be diligent about document and video backup External hard drives flash drives and burning individual disc records are just three storage options There are also off site options for personal and business use According to Ramon Ray a contributor for Small Biz Technology two thirds of business owners do not even have an emergency preparedness plan Using an online data protection company for storing your video footage can be a good option as well With all of the technology available it just makes sense to back up video files immediately Video files can become corrupted or lost in your filming device during transfer and on your computer Using cloud backup services makes it possible to initiate the three P s almost effortlessly prepare for emergency events protect your data from damage and provide an avenue for sharing digital information There is a host of reasons to backup video files immediately Beyond accidental corruption and damage video files take up large segments of space on your laptop or desktop computers The advantages of off site storage do not stop there 1 Avoid damage Access and Mobility Off site storage allows users to retrieve and download their videos from anywhere in the world with internet connectivity At home at the office or on vacation all of your videos are within reach 24 hours a day 7 days a week 2 Sharing and Collaborating Whether you want to share your videos with family and friends or you use the cloud backup service for business using the cloud allows for more flexibility and control For business owners uploading videos instantly means your editing team can start work right away and from multiple locations For individuals it means Grandma in Texas and Aunt Sue in Boca Raton can see the newest family member at the same time 3 Automatic Protection Some backup devices use software to coordinate synchronize and schedule backup It is possible to maintain continuous backup cycles that virtually ensure you never

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  • July, 2012 | The Joy of Film Editing
    the odds of that are long It makes sense to me that women would see what a viable option editing is and it s one that women are succeeding in Kim Roberts an Emmy winner and feature doc editor Food Inc and Waiting for Superman remarks There s a lot of joking among editors about our willingness to be alone in a room with a computer not seeing the sunlight But there s something in my personality that wanted something more secure where I didn t have to hustle and I could have a family and go home and have dinner with them every night The Research and reactions Researchers such as Simon Baron Cohen have looked into gender characteristics and occupation Editing involves both male preferences such as sympathizing and extended periods of working alone and female preferences of empathizing and being able to read facial expressions Mary Jo Markey states Empathy is one of the most important things I bring to editing Making the action work depends on your investment in the characters I won t say this about all women but I do think I was raised like a lot of women in my generation not so much to be seen and not heard but encouraged to be observers And I do think it creates a quality where you look at people and think about what they re thinking and experiencing and that s kind of what I do when I m cutting Markey also notes that women edit male TV shows like Alias while men work on Felicity a female series Why are there more women editors in documentaries Anderson raised this question with female doc editors and garnered these answers Penelope Falk Joan Rivers A Piece of Work there s not a lot of money in docs It s not glamorous No one s getting rich And that s another reason it tends to be very female It sounds sexist I know I m sounding reductive but there s more pressure on men to make money Although I know it s shifting I want to make money too I agree with Penelope Falk about gender traits with editing and other professions It s more cultural than biological But what you do in the edit room I don t think it s gender based Mona Davis Advise and Dissent and Adama It s all conjecture on all our parts But what s struck me now at least in documentaries is that my generation and I m in my mid 50s we re the last generation in which a preponderance of women will go into editing I know so many documentaries now directed by women shot by women D Ps When I was coming up there were like two Last word I am both encouraged and discouraged Encouraged that more women are becoming DPs and directors as well as editors and that there are fewer boys clubs dominating sound and picture cutting rooms discouraged that in general

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  • June, 2012 | The Joy of Film Editing
    three act structure to write scripts the double system to shoot scenes and continuity cutting for editing the materials If we can learn and master the universal standard U S system and make it our own national standard we will get rid of many cultural limitations in Asian societies Then Asian filmmaking can be more diversified and Asian countries can become venues for international filmmaking meaning American and European filmmakers would shoot here This is my idealistic perspective of our efforts and what I am trying to do at university Luckily many of my colleagues agree Joy s last word I will keep in touch with Nakanishi and report back on his progress in changing the system Sherry Green Editing practices Technical process The United States of Movies June 7th 2012 No comments According to the web spot where I found this map it began life as a T shirt titled One Nation under Cinema designed by Scott Snyder of Portland Here s a more readable version with a couple of changes Of course many more movies were made in each state but these were Snyder s first choices What would you pick Sherry Green Fun games Is 35mm dead Projecting the future Print vs digital theatrical projection Part 2 June 1st 2012 No comments Increasingly studios are securing film prints in vaults and only sending DCPs Digital Cinema Packages hard drives with files of the movie to exhibitors In an April 12 article in LA Weekly Movie Studios Are Forcing Hollywood to Abandon 35mm Film But the Consequences of Going Digital Are Vast and Troubling reporter Gendy Alimurung stated The six major studios spend 850 million a year to have release prints made and an additional 450 million to deliver them She also reported that theatre owners received this letter from 20th Century Fox in November 2011 The date is fast approaching when 20th Century Fox and Fox Searchlight will adopt the digital format as the only format in which it will theatrically distribute its films We strongly advise those exhibitors that have not yet done so to take immediate steps to convert their theaters to digital projection systems For chain and first run theatres conversion to digital is a no brainer For art houses classic theatres and other independent exhibitors adopting the new format is financially prohibitive John Fithian president of the National Association of Theatre Owners warned at the association s annual convention last year If you don t make the decision to get on the digital train soon you will be making the decision to get out of the business Beyond the financial aspect some moviegoers and cinema owners want both a print and a digital choice like book readers have And then there are the folks such as projectionists curators post personnel and couriers whose livelihoods are threatened and have been extinguished by digis and the businesses like labs and film stock manufacturers just think Kodak that they ve shut down Also ponder how editing

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  • May, 2012 | The Joy of Film Editing
    files of the movie referred to as the DCP Digital Cinema Package which can be sparked to life with the selection of a playlist on an iPad photo on left Digi projector Photo courtesy of Texas Instruments Platters holding film on left feeds a projector lit by a Xenon bulb on right No longer does a film arrive in a projection booth in a couple of back shattering battered cans that look like they went through WWII lugged up by a manager due to union rules Today a hard drive with the DCP arrives in a sleek lightweight plastic suitcase and the manager or IT person often the projectionist and invariably non union easily ferries it upstairs The battle between print and digi projection In an article titled Movie Studios Are Forcing Hollywood to Abandon 35mm Film But the Consequences of Going Digital Are Vast and Troubling April 12 in LA Weekly reporter Gendy Alimurung writes There is a war raging in Hollywood a war between formats In one corner are defenders of 35mm film Elegant in its economy for more than 100 years film has been the dominant medium with which movies are shot edited and viewed In the other corner are backers of digital technology a cheaper faster democratizing medium a boon to both creator and distributor At 150 a DCP costs 10 of film print which runs 1500 IHS Screen Digest Cinema Intelligence Service reports that This year for the first time in history celluloid ceases to be the world s prevailing movie projector technology The company predicts according to Alimurung that in 2013 film will slip to niche status shown in only a third of theaters By 2015 used in a paltry 17 percent of global cinemas venerable old 35 mm film will be mostly gone The question Once again it comes down to Hollywood being in the entertainment business Digital is perceived as cheaper and it certainly appears to be in the short run Digi films do not deteriorate like print film does and can be shipped quickly making screenings of certain indie films and theatrical events like sport matches possible However the digital equipment theatre equipment is expensive 70K to 150K screen Although the studios are offsetting this by offering to pay theater owners a virtual print fee for ten years for each new release exhibited via DCP the big question looms How will digital stack up against print in the future Part 2 will focus on this Sherry Green History research Technical process Mash up Trailers May 13th 2012 No comments Editors and other filmmakers are taking old and new movie previews a k a trailers and turning them every which way in their digital systems to create entirely new promos and mini features and send them off to the Internet You can take images from other films add new graphics VO music VFX SFX your imagination and time is the limit To see examples organized by categories go to the trailer mash Here s my favorite so far The Shining re imagined as a Rom com But is it legal A trailer is studio s prayer one that is answered on opening weekend And everyone wants the answer to be yes Marshall Sella NY Times Magazine 2002 Yes Studios hunger for these spoofs as they help promote their movies Some productions companies notably Lucasfilms and Lionsgate have even held contests and given out computers tickets and other awards to the winners Curt Marvis president of digital media for Lionsgate explains it this way The worst thing that can happen for a studio is to have no one talking about your film With millions of people viewing trailers and Twittering and chatting about movies online it s important to take that huge group and use them as an army of valid spokespeople and promoters of our content Can a mash up help your career It may get you any money but Working on these projects is an absolute résumé builder if you re looking to break into an editing creative or marketing field contends Kelly Reeves managing editor of Urlesque com an Internet humor blog So go ahead Create one yourself and springboard your career And let Joy know how it goes I ll definitely consider posting it Sherry Green Awards Editing practices Jobs Being Caesar and other creatures by performance capture actor Andy Serkis May 7th 2012 1 comment I came across an article based on an interview by Noelene Clark from the LA Times Hero Complex section on performance capture and acting Since performance capture relies heavily on post production processes and the pairing represents once again the crossing of lines between production and post I thought this was worthy of a Joy post Andy Serkis is performance capture pioneer who created Gollum in the Lord of the Rings trilogy and more recently Caesar the chimpanzee in Rise of the Planet of the Apes To get an idea of what Serkis does watch this clip of him creating Caesar scroll down to see the video http herocomplex latimes com 2012 01 23 the hobbit andy serkis says gollum is printed into my dna Serkis on Performance Capture and Acting Actors regularly ask Serkis Are we going to be replaced by digital characters He does not differentiate between live action acting and performance capture acting which he sees simply as technology a liberating tool I am quite evangelical about it to other actors because I think it s a magic suit you put on that allows you to play anything regardless of your size your sex your color whatever you are As long as you have the acting chops and the desire to get inside a character you can play anything So I long for it to be accepted by the acting profession so that it can proliferate Creating Caesar Serkis spent time studying primate behavior for Caesar as well as for portraying King Kong in Peter Jackson s 2005 remake of

    Original URL path: http://joyoffilmediting.com/index.php/archives/date/2012/05/ (2016-04-30)
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  • April, 2012 | The Joy of Film Editing
    one man draws gun on another Cut 2 Cutting to an overhead angle sets the geography of the many players in this scene keeping the audience oriented and enabling the editor to freely cut to any angle Cut 3 The actions and reactions of other plays are revealed 2 A second way to observe the 180 rule is for the director to tell the actors to move This breaks the 180 line and establishes a new line Here s an example is The Constant Gardener 2005 Focus Features Universal Pictures All Rights Reserved Explanation of Example In Cut 1 and Cut 2 The husband Ralph Fiennes moves from left to right His movement lines up Cut 3 where in an over the shoulder shot he faces his wife Rachel Weisz The circling movement of the characters as well as the camera in this scene underscores the underlying tension between the couple 3 A third way to avoid crossing the line is for the director to have the camera move With this method the camera breaks the 180 line and creates a new one once it stops moving The roving camera keeps the audience riveted to the action and allows the editor to cut in other shots as the scene below demonstrates It s from Lust Caution 2007 Focus Features Universal Pictures All Rights Reserved Explanation of Example The top and bottom cuts are cutaways The middle cuts show the camera circling clockwise around the mahjong table The stealthily moving camera punctured by cutaways of reactions shots accentuate the deadliness of the real game that beings played between the women Sherry Green Editing practices Editor s role Technical process Continuing with Continuity The 180 Rule and When to Cross the Line April 10th 2012 No comments The slide show embedded in my last post that used examples from Hitchcock s Rear Window to so thoroughly cover continuity discussed the 180 rule a k a crossing the line Here s a clever concise explanation in five short cuts frames from Paprika an anime feature named for its red headed heroine a young girl who is unclear on the concept Explanation of Paprika cuts Cut 4 crosses the line and breaks the 180 rule Why Because the girl Paprika appears to be on her director friend s right side when she s clearly on his left side in cuts 1 2 Cut 5 correctly observes the 180 rule Paprika appears to be on his left Notice that the characters do not change positions or eyelines Keeping their geography clear relies on filming according to the 180 rule Risk Today s MTV style cutting patterns regularly ignore the 180 rule If you cross the line when you make an edit you can disorient the audience and risk losing its engagement with your show especially if you re working on a 3D flick which by its nature immerses viewers more deeply than 2D movies Disorientation is acceptable and often called for in war and other

    Original URL path: http://joyoffilmediting.com/index.php/archives/date/2012/04/ (2016-04-30)
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  • March, 2012 | The Joy of Film Editing
    wire removals painting out wires used to make actors fly and composites e g adding or subtracting buildings from landscapes but contribute mightily to the film just the same Here s how Mickey McGovern VFX producer and editor on Forrest Gump Star Wars episodes 5 and 6 Contact Speed and many more shows describes her work I receive the script which I break down into VFX shots I determine how the elements of each shot will be made With the help of production coordinators I track each shot I know how much each shot costs and the schedule for completing each shot Editorial s job When an effect is outsourced here are the basic steps that the picture editor or assistant takes to assist VFX editors To start they ask the VFX editor what their requirements are For instance they may specify a certain file format or VFX numbering scheme Editorial should write a precise description of the effect what it should look like its frame rate etc It s commonplace for editors to create the effect on their system and send a dub to the VFX editors for reference Provide the VFX editors with all the data time code tape reel etc tape shows camera roll keycode etc film shows necessary to cre ate the effect The digital editing system s tape EDL tool or film cutlist tool can help generate this data Alternatively editors use FileMaker Pro or another database program or the post house or VFX house may provide them with their own data form Editorial sends over the media tape or film show or file tapeless show to make the effect Here s a photo of an effect in progress Creating VFX at post house Photo courtesy of Alpha Dogs Sherry Green Editor s role Visual FX editing What do VFX editors do Really Pt 2 Picture editors Creating VFX on the digital editing system March 5th 2012 No comments Visual effects are just another way of creating film for me to cut We re used to having the film shot on the set processed and sent to the editing room and that s it In the visual effects world that s just the beginning of making the shot Instead of the shot being made in one day it might be made in anywhere from one month to one year Visual effects are just a tool the same as making a decision to shoot with a Steadicam or on a dolly One of the nice things is that it allows post to be involved in creating the shot Zach Staenberg A C E Gotti and The Matrix all three films Real time and rendered effects When you create an effect and the editing system can play it back instantly it s called a real time effect When you create an effect and you can t see it play it back instantly you must command the system to render it i e create new media for after

    Original URL path: http://joyoffilmediting.com/index.php/archives/date/2012/03/ (2016-04-30)
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  • February, 2012 | The Joy of Film Editing
    with encouragement and concern He also revives the local population handing books via a takeout window The people are colorless until they receive their book in color which breathes color into them Morris also takes up writing his own book again inside a 19 th century library his new post hurricane home where books form his family Act 3 The third act shows Morris now gray haired finishing his opus and completing the hand off of it and his library home to the next generation The animation allows for some unexplained moments or at least I didn t figure them out but they are part of the charm and power of the medium Also if you spell out the central character s name syllable by syllable morr is less more it s a bit nonsensical Lastly the film is avilable as an interactive e Book on iPad completing the translation of book to film and back and placing it firmly in 2012 In the end it s the force of story that holds the viewer reader attention as book and film meld and the words lose their meaning Long may the force be with us But don t take my word for it Check it out for yourself in this trailer for the iPad app Yes A trailer another connector between the world of film and books FYI I haven t accepted a dime from any commercial sources so far on this site and will let you know when I do I just rave or pan as I see it Sherry Green Awards Joy goes to the movies What do editors do February 15th 2012 No comments by Guillaume Choquette It s all about perception at least according to this rendition And speaking of renditions the last image is of a visual effect being rendered translating to Editors actually sit and wait too often for the machine to complete the edit True There are other of these cartoons floating around on producers writers etc In fact another one s coming up in the next blog and kicks off a three part series So stay tuned Sherry Green Fun games Indexing and Editing February 8th 2012 No comments Good news My new book Cut by Cut Editing Your Film or Video Second Edition comes out June 1 You can already pre order it at Amazon Less great news For the past three weeks I ve been writing the index a tedious task that has meant that blogs and other things in my life have been less frequent However Indexing is a lot like editing I ve discovered When deciding what terms to index I think about how a reader will look up things up in the book Will s he look up click track which has only two entries Or will track clik do This parallels how an editor constantly stands in for the audience deciding what to show them next Ralph Winters A C E whose pictures included Gaslight The

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  • January, 2012 | The Joy of Film Editing
    you must confront the shot material Doc drama music video promo comedy no matter the genre you must carve out a meaningful story from the footage you receive As the editor you must be the magician that delivers the rabbit from the hat in a way that absorbs the audience and fulfills the director s vision So where do you start To begin But you gotta know the territory Charlie a salesman The Music Man To begin you ve got to know your raw material in order to have an idea of how you re going to edit it View the footage for the scene and make mental and or written notes about shots lines angles or editing ideas Keep field logs handy and know where each scene s clips and bins are so you can quickly locate shots and not lose your train of thought during the heat of editing Review any notes you took when screening dailies or that you received from the director The late Dede Allen editor of Bonnie and Clyde The Breakfast Club and other memorable features explained that If you have a great deal of coverage you really can t just go plowing through the whole thing you d never remember all of it I make massive notes which I have if I need them but I memorize the material so thoroughly that I seldom even look at my notes Read the script or outline Scripted show You ve already read the script but now you have the real filmed version of a scene along You also have the lined pages set notes and shot descriptions for the scene that the script supervisor labored over for your benefit Familiarize yourself with both As you approach cutting the scene you want to be familiar with it as well as the scenes before and after it Since you usually edit a show out of sequence it s important to be clear on what the scene is about Ask yourself What led to this scene What does this scene lead to Documentary reality or other non scripted show Review the paper cut and keep it and your logs of the shots handy as you edit Since a non scripted show typically has fewer guidelines than a scripted show your editing will have a major impact on its content and structure Initially you will be the one who decides what the audience sees and learns and when they see it and learn it so you want to know your shots and laser in on the story you re creating from them Know your audience purpose and motivation Before starting to edit you need to know the purpose of the project you re editing and who will be seeing it Is it a training film for navy recruits or a cereal commercial aimed at kids Is it a muckraking documentary on the food industry or a drama about Navaho code talkers in World War II You get the idea

    Original URL path: http://joyoffilmediting.com/index.php/archives/date/2012/01/ (2016-04-30)
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