VID101 Principles of Editing


Prerequisites Lab Section Schedule

Principles of Video Editing

None Lab (VID101L; 24 hours) is a mandatory component of this course. Lecture ordinarily meets for three, eight-hour blocks. This course is offered year-round, normally many times per term.

Editing underpins the entire postproduction process, and Principles of Editing, a cornerstone of the GDVI video program, provides an intensive technical introduction to the tools and techniques of the modern editor.  By the end of the course, students will develop outstanding technical skills through lecture, and begin to develop their editing eye through extensive lab and practical work.

Current primary lecturers on this course are Jeff Fortune and John Lynn.  Their instruction will be supplemented by relevant guest lecturers from within the industry as availability permits.

Final grades will be determined as follows: " " " " " " " " •" •" •" •" •" •" •" •" [20%]   Each lab unit will be graded on a completion basis. [60%]   Each unit will conclude with a practical exercise, as detailed below. [20%]   An integrative final exam will be due at the end of the last lecture section. 90%+        " 80%-89%   " 70%-79%   " 60%-69%   " <60%        " A B C D Failing

Grades will be assigned according to the standard GDVI scale:


© GeniusDV Institute 2010

  Please feel free to work collaboratively on labs and daily exercises. with the support of their peers and the course’s lab assistant.  While this course strongly encourages collaborative work.  The hardware of the standard GeniusDV Editing Platform will adequately support the needs of this course. If the examination reveals any weak areas in the student’s understanding. but practicals and the final should reflect your individual work. Equipment VID101 is rooted in hands-on pedagogy. plagiarism is both counterproductive and contrary to the professional ethics embodied in GDVI’s institutional policies.VID101 Principles of Editing Fortune/Lynn Exercises submitted late will be penalized at the rate of 10% per calendar day.both of which will prove valuable in the student’s professional career. students are required to complete an independent project demonstrating their understanding of the skills and techniques from that unit.  The goal of lab is to stimulate collaborative learning and a degree of free thinking -. and they may feel free to call on the lab assistant’s advice.  Enrolled © GeniusDV Institute 2010 23 . lab assistants will have the latitude to award a “complete” grade to students who. the lead instructor will set a battery of short exercises for lab. Final Examination Students will complete a written final examination at the end of lecture for this course. the lab assistant will gently emphasize the corresponding exercises during lab time.  Although labs are graded on a completion basis. Practicals for this course are assessed subjectively at the discretion of the instructor. Students may complete these projects in or out of the lab. which will count toward the lab hours for this course. Practical Exercises After each unit of the curriculum. with equal weight assessed to the project’s aesthetic appeal. Each of these projects should ordinarily reflect a minimum of three hours’ work. and appropriate application of the unit’s techniques. The examination will review representative topics from the entire course. students are expected to work independently and in small groups to complete those exercises. which will ordinarily fall before the student completes her labwork. cannot finish the battery of lab exercises.  During each lecture section. technical soundness.  During lab time. having made a good-faith effort to complete the labs during lab time. Labs Labs allow students to apply their lecture-based skills in a less-prescribed environment than lecture proper. so students will be expected to make extensive use of the course software during lecture and as they complete labs and practicals.

and linear-trained editors all bring with them different sets of preconceptions about the postproduction process. self-trained editors. we’ll configure factory-standard systems to support the editing process. this software will comprise Avid Media Composer and Apple Final Cut Pro. we’ll stress that efficient editing habits not only let you work faster.  This course will serve as most students’ introduction to the GDVI curriculum -. we’ll clarify a bird’s-eye view of the modern process. but free you to spend more of your time in the edit suite thinking creatively. and lay the groundwork to support optimal media management from ingest through to final we’ll also take the opportunity to review Institute policy and course logistics.VID101 Principles of Editing Fortune/Lynn students will also have access to the GDVI Labs and the Media Repository during fixed hours outside of lecture. and bring everyone up to speed on modern editing terminology. Setting Up for Editing Throughout the course. and even before you open your editing software: in this lecture.  Initially. 24 © GeniusDV Institute 2010 . Course Outline Lecture № Summary Lab Assignments Unit 1: Effective Editing Introduction TBD 1 2 Fresh editors.  In this lecture. allowing them to complete all coursework either onsite or offsite. discuss useful hardware peripheral options.  An efficient workflow begins before you make your first cut.  Students’ choice of GeniusDV Editing Platform will adequately equip them with at least one of these suites of software to complete exercise sets offsite. Software Lab computers will be equipped with current versions of major professional video editing packages.

Lab Assignments 3 The Three-Point Edit 4 5 Every project is composed of edits. we’ll touch on situations and techniques where you’ll need to get your clips “out” of your timeline and back to your source control interface or “Viewer.” © GeniusDV Institute 2010 25 .  We’ll dwell at some length on the intricacies of the basic three-point edit. and one additional point synchronizes the media to be edited between source and destination. and introduce the edits which rely on the three-point technique in our NLE. and all of them are appropriate to specific.linear or nonlinear -.  Finally. others let you set more points to accomplish many things with one edit. Additional Edits Modern NLEs offer you several types of edit that “cheat” to save you time.requires a minimum of three points to make sense. two points indicate the duration of the edit. and every edit -. discuss the many settings that affect your view of the timeline.VID101 Principles of Editing Fortune/Lynn Lecture № NLE Concepts Summary All nonlinear editing suites connect editors to their work through a common set of core metaphors. common tasks in the editing process.  The most obvious of these metaphors are visual: we’ll immediately tour the interface of our NLE.  Some make smart guesses to save you the trouble of setting some of your points.  Less obvious. though. and explore techniques to efficiently navigate and manipulate clips there. before we dive into how we plan to accomplish it. are the functional metaphors: what exactly are you assembling as you edit?  What is the nature of the different kinds of “pieces” that you’re assembling?  Where do they come from?  How can you manipulate them?  How do all of these metaphors relate to one another?  Put another way.  We’ll outline a number of techniques to place your three points and get your sequence roughed together quickly. we’ll take a formal look at what we’re learning to do. Unit 2: NLE Techniques Working in the Timeline 6 Your main window into your sequence is your timeline.  In the minimal case.  We’ll review the details of the timeline interface.

 We’ll talk about HD ingest through tape and tapeless means.VID101 Principles of Editing Fortune/Lynn Lecture № Transitions Summary Most of your edits in most of your projects will be straight cuts or dissolves. and RED footage. we’ll set you free to get your inevitable transition fever out of your system: this is one of those techniques where less is more.  We’ll introduce the concept of keyframing.  Some are more utilitarian. like camera shake removers. and color space transformations. like color correction and exposure controls. 2K. the most efficient pathway to an editing-friendly format is sometimes hard to find.  Finally.  We’ll also spend some time on workflows to ingest legacy footage from DV. we’ll walk through a number of techniques to quickly tag. and organize your clips upon ingest.  Time permitting. have both practical and creative uses. 10 26 © GeniusDV Institute 2010 .  Then. we’ll motivate the value of intermediate codecs like Apple’s ProRes and Avid’s DNxHD. others are more artistic. we’ll briefly overview proxy-based workflows that are popular for studios working with film. even more. this animation capability tends to be stunningly broad: you can animate nearly anything that you can change from within the NLE itself. keys. Lab Assignments 7 8 Keyframing All of the popular NLEs use a keyframing metaphor to accomplish animation.  We’ll introduce the nuts and bolts of applying filters to your work. Betacam. 9 Ingesting Up to this point. and highlight transitions appropriate to different styles.  We’ll then introduce the vast array of transitions that ship with your NLE. from clips’ positions to color corrections. then refine our animations using interpolation controls. both on the project level and globally. we’ve taken for granted that our footage is already “in the computer. we’ll extend Lecture 7’s discussion of keyframing to animate features of our filters. 4K. Filters Filters systematically modify the image that they affect. use it in a few applied situations. time. then work through a number of individual filters as we mimic popular styles. although we recognize this will be primarily an academic exercise for most students. and DVD. and we’ll weigh the merits of editing in your camera’s native codec.  We’ll learn to store commonly-used filters (and stacks of filters) as presets.”  The process of actually getting the footage there is a bit of a minefield: with an ever-increasing number of HD codecs and recording formats on the production side. so we’ll start by discussing cuts and dissolves as pacing and mood techniques.  In modern packages. VHS. like automatic vignettes and distortions.  Finally.

or Protools. © GeniusDV Institute 2010 27 .  Then.or blue-screen shots. we’ll cover techniques to solve common color problems. common needs like rudimentary green. and simple masks. Logic. but your NLE is more than capable of handling the vast majority of common audio tasks. dedicated color correction packages like Apple’s Color are more appropriate for heavy-duty. We’ll look briefly at our NLE’s native basic text tools.correcting a shot’s white balance. and look at how each of the advanced topics in the diploma curriculum will fit into the basic editing process that we’ve established. Color Correction 12 13 14 15 As with compositing. then go into some depth with built-in advanced titling tools like Avid’s Marquee and Final Cut’s LiveType. After Effects. from ingest to finished project. and recording external audio in your NLE. Review and Look Forward We’ll recap the entire editing workflow. “picture-in-picture” composites.your NLE’s coloring capabilities may be quite adequate. Titling This specific compositing task comes along at least once a project. sophisticated audio manipulation is best suited to software like Soundtrack Pro. precise. or restoring a few particularly egregious shots -. mixing. highvolume color grading. We’ll review enveloping.  Compositing techniques allow post professionals to selectively affect and combine parts of one or more images at the same time.VID101 Principles of Editing Fortune/Lynn Lecture № Summary Lab Assignments Unit 3: Advanced Techniques Compositing 11 Filters allow an editor a great deal of artistic control.  We’ll establish the tasks of the colorist. introduce the color grading layout of our NLE. Audio Once again. and learn to read scopes. all modern NLEs offer a more-than-adequate array of compositing capabilities for quick. or Combustion. titling. for example.  Yet for basic tasks -. so modern NLEs include image-generation tools that are specifically geared towards titling. but they tend to act on the whole image. Shake.  While sophisticated compositing is more appropriate to motion graphics and compositing packages like Motion.

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