Chapter 14 : Editing Digital Video

By Starr, Abraham, Brianna

Digital cinema package is a standardized set of files for showing movies digitally in commercial theaters equipped with a server for digital cinema projection. Another term for digital cinema package is (DCP)as a shorter purpose as well.

Look up tables is a film that out of a cinema package. For a HD television And many more purposes. Also for looking up tables the also refer it to (LUT) for a shorter purpose.

Digital cinema package

Look Up Tables

DaVinci Resolve

Composites

Chromakey compositing or another type of term is chromating is a visual effect/post production technique for compositing two different images based on three different color hues.

Chromakey blue/ green screen-Mattes shots

Mattes shot are both green and blue backgrounds are a special hue which is found in nature. Blue backgrounds are used for tradit ional fi lms opticals.

B ackground plates

B ackground plates that doesn't contain no type of actors or important set pieces on set

- I ts generated imagery layers of different disparate elements (building shots)

- A lso known as (CGI )for short

Motion Capture

- Motion capture or also known as mo cop is the process or technique at recording patterns (digital movements)

P re visualized

-thinking ahead (more specifically the shots for your film)to prepare,think,before,you shoot and different ways of being able to get the shot or shots you want

Computer imagery

EDITING/CUT Editing is the selection and arrangement of shots into sequence and the sequence into a movie. Its sometimes thought to be the most important element in filmmaking.

MONTAGE THEORY

The word “montage” is derived from the French and means to “put together” or “edit.” the soviet filmmakers held that the ability to change images instantaneously was unique to film and fact constituted its potential as an art form.

INVISIBLE/MATCH CUTTING

Invisible or match cutting usually refers to the construction of the sequence or scenes in which space and time appear to be continuous. Typically, both fiction and documentary sequences are match cut to appear continuous.

INTERCUT/PARALLEL

The idea of intercutting is to advance two or more scenes at the same time by cutting back and forth between them, which at times may involve placing sound from one scene with the picture from another. Done right, intercutting can be a powerful tool to develop several ideas or plotlines at once, helping the audience draw connections between the ideas, using one scene to provide a kind of commentary on another. Done wrong, intercutting can be confusing or irritating.

THREE SHOT SEQUENCE

The meaning of the actors expression depends on the insert shot. In one sequence, he cut from a medium shot of mosjoukine to a close up of a bowl of soup and then back to a close-up of mosjoukine. In the next sequence, the middle shot, called an insert shot, was replaced with a shot of an injured girl. Kuleshove’s students commented that the last shot in each of the sequences, called the reaction shot, showed the actors great acting ability to convey with subtlety hunger in the first sequence and pity in the next.

STORY STRUCTURE

Think of someone you know who's a good story teller a person who can tell and anecdote, perhaps an event from his or her life, in way that’s engaging, well-paced, clear, funny, or sharp. Good story tellers know what facts you need to understand the story, in what order you need to know them, where to stretch out the tale with specific details, and where to gloss over events to get to the good parts.

CUT ON THE ACTION

There are various ways to make action seem continuous. If the eye is distracted, a cut becomes less noticeable; therefore, editors “cut on the action” to hide the cut. The action draws the viewers attention away from the cut and from any slight mismatch from one shot to the next.

JUMP CUT

• The sequence of cuts that moves from long shots to medium shot to close-up is generally made up of match cuts. In other words, each of the cuts appears to occur in the same space and time period. However, when there is a noticeable discontinuity between two similar shots, that may be considered a jump cut.

Online vs. Off line

By Jaycob Nunez & Bryan Juarez

Pulldown (Film or video) Since 1927 most movies have been shot at 24 fps

When NTSC television came out in North and South America as well as Japan the frame rate went to 30 fps

If you were to try and speed up to 30 fps the actor’s voices would increase in pitch

3:2 or 2:3 normal pulldown

Using a process called 2:3 pulldown, every four film frames are recorded to five video frames.

By recording them to five video frames the overall speed doesn’t change.

The resulting video can be edited like any other 60i video.

Colorist or grader

A question you need to ask is, Do you want bright saturated colors, or are more muted, pastel shades better suited to the story? How much contrast do you like? Is there an overall color cast you want for the film or certain sections of it?

Make sure to correct the color and fix overexposure or underexposure and the blue and red balance.

CHAPTER 13: PICTURE & DIALOGUE EDITING

• By : Aldo And Erick

SCREEN DIRECTION & 180-DEGREE RULE

A basic rule of film editing which is to try to preserve screen direction and cuts. The 180-degree rule also called the directors line tells how to maintain screen direction when different shots are edited together.

SCREEN DIRECTION LIKE A MAP

• When two shots violate the 180-degree rule you can separate the shots with a neutral for example a shot taken on the line. What screen direction is the direction that the actors or objects appear to be moving.

JOINING SEQUENCES

• This is a traditional method of editing that connects shots on a sequence with a straight cuts. And then brackets the sequences themselves will fade and dissolve.

DIALOGUE EDITING

• In both fiction and documentary dialogue editing is part of shopping the basic storyline. What gets said and when is a fundamental part of moving the story ahead careful editing of dialogue can have a big impact om the sequences even if the screen was carefully scripted.

EDITOR AND ASSISTANTS JOBS

• Today many independent film makers journalist and etc.…. Edit by the,mselves on a desktop or laptop a hollywood feauture on the other hand will have a ton of editors doing specialized tasks in several locations.

• The supervising film edior

• Film editors

• A supervising sound editor

• A music editor

• Visual effects editor

• Under these people may be several other editors

EDITOR’S TO DIRECTORS TO DISTRIBUTION CUTS

• The editor will produce an editors cut which will then be reviewed by the director and once he makes all the changes he wants it will become the directors cuts. On some productions editing begins when the shoot has wrapped.

DEFINITIONS

• Assembly: sometimes called a string out puts the shots in the order called by the script.

• Rough: the first attempt at shaping the film

• Fine Cut: when the basic scene order is in place and you start polishing individual sequences and transition.

• Picture lock: when you’re done making changes to the picture.