Module I: Understand requirements and plan workflow

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Unit – 1.1: Understanding Production requirements

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At the end of this unit, you will be able to understand:

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Understanding requirements for post-production
 Understanding Film as a Art, Understanding the Aesthetics of film and its Editing
 Difference between a Creative Editor And A Technical Editor
 Editing Versus A Long Take

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 Understand the Directors vision- creating sequences with meanings
 Basic Aesthetic Principles for editing-TIME ,SPACE AND RHYTHM, Constructions of Shot,
Scene and Sequence.

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 Understanding the Demand of the Story line and also Target audience
 Determine key post-production processes techniques
 Importance of the STORY BOARDING
 Camera , Movement, Camera Angles, the placement of the Characters in the Frame
 Continuity Editing, Mise-en-scene and Montage

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Preparing and finalizing work plan in accordance to requirements: Translate expectations into
effort estimates for each process and prepare a work plan, keeping in mind the impact on the
production budget, timelines and technical viability.
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Introduction

There is no finished result without the post-production process; there is only raw footage that may or may
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not tell the story you want to tell. In truth, raw material is frequently shot in the order that was most
efficient for the performers, location, and other considerations, rather than the order that was most
effective for the audience. It's unlikely that showing unedited footage would make sense, let alone provide
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a compelling story. Every aspect of post-production contributes to the overall story of the picture.
Background music, for example, establishes the mood and tone of the piece, which is improved further by
colour grading. A movie or video can be brought to its full potential with skilled editing.
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Post Production vs. Production

Production and post-production are both important but distinct stages in the filmmaking process.
Filmmakers capture raw footage for the video or film during the production process. This procedure
includes bringing your crew, performers, and equipment to your chosen location(s) and shooting every
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perspective and scenario on your shot list.

The video post-production process typically begins at the conclusion of the production process; however,
the two stages can occasionally overlap. Going through the footage, stitching it together, and editing it
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with audio and visual effects is what this procedure entails.

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Production Stages rs
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Of all, production and post-production are only a small part of the overall filmmaking process. There are
five steps of manufacture in all. Understanding these stages will help you understand the role of post-
production in the video-making process.
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1. Development: The story for the film is created at this initial phase. It can be original or adapted
from a book, drama, true story, fairy tale, or other previously published source. The screenplay is
written during this phase, and the producers get funding to make the film.
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2. Pre-production: Pre-production is the initial planning stage of the filmmaking process. During
this stage, the director hires the crew and actors, scouts and selects shooting sites, and builds
any sets or props that are required.
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3. Production: During this stage, raw footage is captured.

4. Post-production: This stage includes the film's editing process.

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5. Distribution: Finally, once the film has been completed, it is marketed and distributed in order for
it to be exhibited, either in theatres, on DVD, or via a video streaming network (e.g., Netflix,
Amazon, or hotstar).
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1.1.1 Understanding requirements for post-production

Post-production is part of the process of filmmaking, video production, and photography. Postproduction
includes all stages of production occurring after shooting or recording individual program segments. Post-
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production is final stage of the production process. It is often referred to simply as post, e.g. "We can sort
that out in post".
 1: Editing the Content

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Picture editing is typically the first step in the film post-production process. This is the stage at which the
raw footage is assembled to tell the overall storey. The post-production editor reads the script, reviews

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the footage, and then cuts the shots together to create the storey. This frequently results in a large
amount of footage going unused, or "on the cutting room floor," but it's an unavoidable part of the
process—you can't possibly use every piece of footage you shot.

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This procedure is not completed in a single step. Typically, the editor creates a first cut, also known as a
rough cut. Additional edits will be made until you reach the final version of the film. Depending on the
length and complexity of the film, this can take anywhere from a few weeks to a few months.
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2: Sound Editing and Adding Music

Once the film's footage is complete, you'll begin to add and improve the sound. This includes not only
adding background music, a soundtrack, and sound effects, but also editing out background noise and
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piecing together dialogue to match the story's flow.

Sometimes dialogue or sound effects recorded on set don't translate well in the actual footage. Sound
editors will re-record that sound or dialogue and re-insert it into the film in these cases.
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When it comes to creating a soundtrack, you have the option of licensing existing songs or
commissioning an artist to write original songs for your film.

3: Adding Visual Effects

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Following that, artists and engineers create computer-generated visual effects. This allows filmmakers to
create effects that aren't always possible (or too expensive to execute) in real life, such as ageing an
 actor or creating a massive explosion. Scenes may have been filmed in front of a green screen during the
production phase; during this stage, those backgrounds or other effects are added in place of the green

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screen.

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4: Sound Mixing

Sound editors must go into the film and adjust audio levels in addition to adding sound effects and music.
This is done so that dialogue can be heard over background music, or so that the sound effects of a car
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crash aren't too loud and jarring in comparison to the other sounds in the film.

5: Colour Grading
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A colour editor goes through the movie frame by frame during this stage to adjust the colour for mood and
consistency. For example, if the filmmaker prefers a dark and gloomy mood, the colour editor will take
that into consideration when going through the footage.

Color grading ensures consistency between shots and can help to establish the mood of a scene or film.
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1.1.2 Understanding Film as a Art, Understanding the Aesthetics of film and its Editing

The importance of editing may be lost on the average person and film buffs, yet the global cinema
community recognizes and values the craft of editing. The Director's selections are preserved through
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creative editing, which streamlines the storey. In other words, it entails making judgments, weighing
options, and rethinking the aims of filmmaking.
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Film is frequently regarded as a synthesis and amalgamation of all other performance arts.

The cinema inherits all the art forms associated with these matters of expression, the visuals of
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photography and painting, dance movement, architectural decoration, and theatre performance, as a
composite language by virtue of its diverse matters of expression - sequential photography, music,
phonetic sound, and noise.
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The art is the creative form with which it shares the most fundamental characteristics, such as plot,
character, topic, imagery, and the ability to manipulate space and time. Those who wish to establish the

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uniqueness of cinema do so by continually emphasizing its distinction from literature and emphasizing the
distinction between 'picture,' which is regarded as iconic, and 'words,' which is regarded as symbolic. Both
image and word imply something, are denotative and connotative, and require both perception and
cognition to comprehend. To grasp both words and images, one must perceive and reflect on what one
has seen.

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The study of film art and the function that various aesthetic perspectives play in the evolution of cinema
as an art form is known as aesthetics in film.
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Aesthetic beauty is attained only when the quality of the art is achieved, the visual originality achieved
with its colours and the arrangement delivering a visual delight to the viewers and is not realistic visual
but emphasises the way the visual is portrayed.
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Understanding and appreciating the art provides the aesthetic experience. An appeal that draws attention
away from the thing is thought to be "beautiful." The basic and specific aesthetic properties that establish
the meaning of the work are beauty and elegance. The aesthetic experience is acquired when the
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meaning reaches and is recognised by the audiences.

With the introduction of consumer non-linear editing software, almost anyone with a computer and a
camera may now join the elite club of professional video creation. However, editing entails far more than
simply utilising a technological advancement. Editing is an artistic profession on par with painters,
playwrights, and poets. The editor synthesises images from their unconscious, creative depths into
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meaningful patterns that powerfully touch the viewer. The cuts are never random; rather, they are
prompted by the editor's inventiveness and evaluation of the story's content.
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The motivation for the cut is to advance the tale by presenting fresh information as it progresses. When
the shot no longer provides any important information or slows down the plot, the editor moves on to the

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next shot to show the audience something new. The phrase "cut from the gut" perfectly describes how
editors decide when to trim. Sometimes you just have to trust your intuition. The editor will frequently find
a way to withhold material until the most effective dramatic moment to keep the audience interested or
riveted. Fresh and surprising nuggets of information are uncovered as the editing progresses until a
conclusion is achieved.

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Editing, despite its technical hurdles, can be learned in a short period of time. Editing, on the other hand,
is a skill that is often acquired over time. The advantage of digital editing technology is that anyone with
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basic skills may easily experiment with new ways to connect shots, resulting in imaginative alternative
patterns for sequences. The goal is the same whether its feature films, news and documentaries, or
business videos – to maintain the audience's attention. There are rules to follow, but rules are meant to
be broken, just not haphazardly. An innovative editor who 'cuts from the gut' might find unexpected ways
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to spark consumers' interest. An editor, on the other hand, who inadvertently boosts the audience's
expectations by using a shot that has no reason to be there or building an incoherent sequence will
ultimately disappoint.
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The purpose of editing is to create a sequence of images that establish continuity, or a sense of logical
progression from one image to the next. The goal of editing, on the other hand, is to create a final result
that is not just consistent, but also stunningly effective. Alfred Hitchcock, the master of suspense
filmmaking, is said to have said, "Drama is life with the dull bits cut out." Editors appear to be able to
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modify time and space, transforming what is Real Time into Dramatic Time. Editors, on the other hand,
must be clear about the scene's aim.

Although picture juxtaposition is employed in editing, the editor ultimately decides how to organise the
photos in a dramatic manner. Their choices are facilitated if they are given a variety of angles from which
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to choose, giving them more cutting options. Editors are frequently given either too few or too many
alternatives. The overarching meaning of the storey, on the other hand, assists the editor in making
decisions on how to recreate a scene from the raw elements generated throughout the production
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process. That is, the footage and sound that remains after the filming is finished.

Editing is an essential part of video production. The best edits, on the other hand, are ones that the
viewer doesn't detect.
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Have you ever noticed how some videos transition from scene to scene so effortlessly that you almost
don't notice the edits? Your mind can only recollect the tale, graphics, or music from these fantastic
presentations. Of course, you've seen videos that appear so disjointed and "choppy" that the plot never
 gets started, and the images don't convey their full emotional weight. Aesthetics–specifically, editing
aesthetics: how pleasing or awful the arrangement of the photographs appears to the human eye–

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distinguishes these two types of videos.

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Mastering editing aesthetics is more of an art than a science, but there are several guidelines that most
editors think will help you tell a stronger tale with moving images. If you follow those easy rules, you'll be
able to make the story in your next video flow smoothly across the screen.

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1.1.3 Difference between a Creative Editor and A Technical Editor

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1. Technical Editor/Writing:

Technical editing/writing is a type of writing/editing that focuses on accurate and straightforward content,
and technical videos are released to inform, instruct, and educate the user about a given scene. There is

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a certain type of reader that enjoys technical videos/papers. It informs readers on technical matters or
provides instructions on how to perform something.

2. Creative Editor/Writing:

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Creative editing/writing is a type of writing that focuses on imaginative and symbolic content, as well as
creative video, and it is produced to entertain, provoke, and inspire the user. There is no such thing as a
creative video user. Anyone who wants to view a creative film that provides a theme, message, moral, or
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lesson that is useful in their daily life or provides brief amusement to the reader.
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1.1.4 Editing Versus a Long Take

Editing: Editing is powerful, but it requires time, patience, and skill to do it well. The manner you edit can
either turn off or pull in your audience. In this video, we'll look at five practical film editing techniques that
you may put to use right now.
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 Editing is where the real magic happens in filmmaking, and the quality of it can make or break your
project. These five basic film editing principles may sound very simple.

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Whether you're new to editing or have years of expertise, it's critical to learn some basic principles to
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keep your projects on track. With these suggestions in mind, your films will have a higher chance of
keeping your audience's interest and increasing their perceived production value.
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Fundamentals of Editing

1. Avoid using jump cuts.

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A jump cut occurs when there is an obvious break between two pieces of film, yet the scene remains
essentially unchanged. You've probably seen this before if you spend time viewing videos on YouTube.
Because the underlying picture hasn't changed, it sometimes appears as a little hop in the video that is
hardly apparent as a cut.
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It's preferable to avoid jump cutting unless you have a strong cause, as it comes across as rather jarring.
Instead than appearing to be deliberate, it appears to be a video glitch (but not the good, artsy kind).
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There are a few things you can do to avoid this:

 Select a shot with a significantly different focal length as a follow-up.

 Change your perspective by at least 45 degrees.
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 When it comes to bridge shots, you may combine these two and get fairly creative. If you only have one
camera on your topic and are limited in different angles and focal lengths, try zooming in on the after-cut

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footage to further separate the two.

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2. Make Use of Relevant B-Roll

Using B-roll film instead of jump cuts is an excellent approach to avoid jump cuts. B-roll is extra or
alternate video that is intercut with your main shots. For example, if your topic is talking about a sport and

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you can't escape a jump cut, you can include a clip of them performing the sport. The use of B-roll will
hide the cut while reinforcing the message. You can also use relevant stock footage to fill in the gaps.

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Providing an alternate visual reference will often increase your audience's engagement and knowledge of
the topic matter. People are visual beings, thus avoiding using a static photo for too long is extremely
beneficial to comprehension.

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3. Motion Cut

Although you may believe that a cut is a cut, not all cuts are created equal. One goal of editing is to make
the viewing experience so interesting that the viewer forgets they are watching a movie. They appear to
be engaged in the environment you've built.

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Poorly cut cuts take the viewer out of the experience and can cause confusion. You want to make things
flow. One way to accomplish this is to cut on motion. If something happens on screen that involves some
movement, make your cut at that point. Typically, if you're making a narrative film, you'll finish up with
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another shot from a different viewpoint that can follow through on the same action.

You don't even have to cut on motion inside the same scene. Use it to transition between two sequences.
For example, in one scene, a jewellery box closes, followed by a slammed door in the next.
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4. The 180-degree Rule

The 180° rule is commonly used in scenes involving two or more people chatting. It does, however,
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require that you have correctly prepared your footage ahead of time!

Draw a mental line between your two subjects and pick one side of that line to film from if you had to look
down from above. This means you'll be filing over one subject's left shoulder and the other's right
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shoulder in the traditional over-the-shoulder technique.

When you cut back and forth between these two views, your audience understands where they are
looking in respect to the world around them. It helps to tie everything together in the scene and creates a
mental link between your two themes in the minds of the viewers. If you deviate from this rule, your
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audience may become lost and confused.

5. What is your driving force?

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The fifth suggestion is more of a general one, but it's worth considering in each edit. With each editing
decision, ask yourself, "What is my reason for doing this?"

Most of the time, context will be the most significant explanation for what you're doing. Remember that
your audience's perspective is restricted to what you show them, so it's up to you to find ways to captivate
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their concentration and make them experience the way you want them to feel in each particular situation.
 From left to right, from right to left

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In general, we see things going from left to right as moving forward, and those moving from right to left as
moving backward. This is more of a psychological problem than a physical one. When your subject goes

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from left to right in your frame, your audience subconsciously believes them to be progressing whether in
their life, mission, or whatever else is going on.

Filming them from right to left can be a significant indicator that they are regressing or regressing in their

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current position. Although this is a minor change, it can have a major impact on an edit. Try it and see
how it affects your mood! If you have film captured in one direction and want to use it in another, you can
flip it horizontally (as long as there are no indicators, such as text, that your footage was flipped).

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Long Take: If there is one thing that any aspiring filmmaker should think about if they want to be
successful, it is learning to take risks and be persistent. What distinguishes decent films and their creators
from great ones is their refusal to abandon daring creative ideas.

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People can't stop talking about the latest Star Wars picture – a franchise that wouldn't exist if young
George Lucas hadn't risked his career to see his vision come to life.

Such is the core of the long take, a method that rewards those who are ready to put in the work and take
a risk.

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Risk = Reward
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 These tracking takes involve complicated camera movement, numerous hours of practise, and a great
deal of patience, as a single error forces the team to design and shoot the scene over.

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Long takes, when done correctly, almost always stand out from the rest of the picture. Viewers prefer to

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see a scene unfold without visual interruptions, whether it's a complex action sequence or an establishing
shot. This is why many filmmakers prioritise long shots, even if it means investing more time and money.

The Numerous Applications of a Long Take

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There are numerous applications for this strong approach in filmmaking.

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One example is an establishing shot that introduces the audience to a new scene or location. A lengthy
take seamlessly takes us into the environment with a continuous glance at the setting and moving pieces
because there are no cuts.

For example, in 2015's "Spectre," the first shot lasts a frenzied four minutes as we follow a masked man

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through a Dia de los Muertos celebration and up onto a rooftop before revealing the man we've been
following.

Long takes are also useful when a director wishes to create suspense in a scene. The best example of a

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long take is Shoojit Sircar's 2016 film Pink, which contains a court scene that lasts roughly 15 minutes
and is shot in one take. Shoojit installed seven cameras at different angles to make this scene a success.

Many action filmmakers aim to create exciting sequences by employing complicated, continuous
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choreography.

We praise you if you enjoy long takes and want to use one in a future project. Before you get started,
consider the following questions:
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1. Do You Require A Long Take?

The lengthy take, while a wonderful challenge, should not be used only for its own sake. In other
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words, take the time to assess your planned film and determine where, if at all, a long take might be
the best option. It's important to recognise early on that a long take will not make the scene more
impactful.
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2. Are Your Actors Prepared?

When one mistake can result in striking the reset button on a scene lasting several minutes, actors are
put under more strain, and extra preparation and practise may be required. You should ensure that
enough time is set aside in everyone's schedules for rehearsals prior to shooting.
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3. Do You Have the Required Equipment?

Unless the action will be circling the camera like in 1992's "The Player," you'll need a budget or access to
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the necessary equipment to allow for long takes. You'll also need audio equipment capable of picking up
sounds throughout the take, as well as the capacity to illuminate the entire thing to look beautiful.
Students at NYFA have access to one of the world's largest equipment libraries, so your time spent
training here may provide the ideal opportunity to make the long take you imagine.
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4. Can Your Crew Handle It?

 Long takes necessitate extra effort from everyone involved, and this is especially true for your crew
members who are in charge of the camera equipment. If they're up to the effort, make sure you schedule

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for breaks in between long takes so that weariness and stress don't play a factor in wrecking a long take
and leaving your crew frustrated.

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1.1.5 Understand the Directors vision- creating sequences with meanings

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A sequence is a curated collection of audio and video clips. Sequences are the organising framework's
intermediate level in Final Cut Express. A sequence is always an element of a project, and a project might
include numerous sequences. Sequences can be exported as movies or clips on their own, but they

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cannot be saved separately from a project.

After you've created a sequence, you can manipulate it as if it were a single clip. You can open a
sequence, play it in the Viewer, mark In and Out points, then insert all or part of it into another sequence,

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much like a clip. A nested sequence is formed when a sequence is inserted inside another sequence.

The director's vision is how he sees the film in his mind and communicates it to his film crew. What
matters is that anyone had a vision; the challenge is to articulate it to your group. Every director,
regardless of genre, must have a vision. It's all about visualising the film in your thoughts. The vision

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statement is when the director expresses his vision in words. A director is a type of film creative
supervisor; the director's vision statement serves as his primary instrument in every production.
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The first time the director reads the script is a critical initial step in developing a vision. When reading, you
should pay attention to the images that come in your mind. Pay attention to the noises, places, and
feelings that come to mind.

It is also crucial to comprehend your vision by watching different movies, paintings, reading books,
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listening to music, or doing anything else that you believe will inspire you regarding this subject. Do it with
artists and arts that you truly identify with, not just the famous ones. Try to figure out what it is about them
that brings you together.
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A good vision statement for a film will include:

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• The filmmaker's passion for the film

 • The feeling the director wants the audience to feel when they watch the movie.
• The style he wants for the film

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• The acting, editing, and music styles

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Film makers, on the other hand, frequently spin or shift the camera to capture images that are not easily
grasped, and then a sensation of floating emerges, which may be unintended and can easily make the
viewer dizzy.

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A savvy director might be able to do without the shot's actual noise. The film director must choose a
specific camera angle, he can choose what objects appear in the picture, he can conceal what he does
not want to show, or does not want to show at all (this is done by positioning the camera so that the

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undesired objects are screened by other objects or simply do not come into the picture at all), he can
bring into prominence whatever he considers to be important, and very possibly would not show by itself.

The film director can emphasise objects—make one object prominent, hide another that may be

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bothersome or unimportant—without tampering with or affecting the objects themselves. Furthermore, he
can shift objects around to emphasise their relationship to one another—a relationship that can only be
seen visually by positioning the camera in a specific location.

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1.1.6 Basic Aesthetic Principles for editing-TIME, SPACE AND RHYTHM, Constructions of Shot,
Scene and Sequence.
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Cutting evolved into “editing,” the manipulation of time and space. The ability to manipulate time and
space also allows the filmmaker to change our emotional and intellectual responses to what we see on
the screen.
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One of the most creative components of filmmaking is editing. In collaboration with the director, the film
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editor establishes the speed and structure of a film by combining multiple shots to create scenes and
sequences that comprise the finished film. The shots chosen by the editor and how they are combined set
 the mood, develop the action, create the rhythm, establish the film's time and space, and guide the
viewers' attention. The editor of a normal feature-length picture starts with hundreds of thousands of feet

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of film and must cut it down to less than 10,000 feet.

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The editor does not normally seek to create an accurate record of what happened as seen through the
eyes of one character during the editing process. Rather, the editor must "translate" the events of each
scene into the most effective pictures, placing each one in the sequence and duration most relevant to

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presenting the tale, in partnership with the director and in accordance with the writer's vision.

For the editor, timing is everything. Continuity is one method of editing. Generally, continuity editing
shows the events in a logical, chronological order. Even if the time and space of a sequence are modified,

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it appears to the viewer to be in "real" time. A long shot of a person sitting is "matched" to a close-up of
the person sitting in the frame. In essence, the editor is narrowing in on the scene in the same way that
the human eye does—jumping from one location to another, farther or closer. In reality, the motion
appears more natural if the editor removes two or three frames of film at the splice.

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Cinematic Time: keep on a shot only long enough to reveal character, to develop the plot or make a
dramatic point. Show what is significant.

• Ellipsis: periods of time are left out of the narrative, cuts down an action, omits
unnecessary footage.

Emotional Time: may be lengthened for effect rs

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 Freeze Frame: hold on a single frame, suspends a moving image in a timeless
moment
 Slow motion: can make a moment more dramatic
 Overlapping editing: action from the end of one shot is repeated in the next
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Real time: visual record filmed in entirety, most often used with powerful conversations

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Double action: part of the action is repeated in successive shots

Rhythm

Setting the tempo of an edit is critical for storytelling and defining the overall artistic sense of a picture.
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This rhythm is formed by a series of beats and cannot be established by only one or two consecutive
cuts. It works in the same way that a piece of music does. The underlying track's beats per minute
establish the tempo of a piece of music. It determines the speed or tempo of a piece of music. Without it,
different instruments cannot play in harmony or produce a unified sound. Just like a conductor determines
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the speed for a whole orchestra or a DJ mixes several songs together via beat-matching, it is up to the
editor to select a suitable pace inside each scene as well as for the entire picture.

There is no rhythm in sequences with the same length shots. Rhythm necessitates that the length of
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shots vary in a series. However, rhythm can also be recognised intuitively. Viewers can tell when a film
lacks rhythm because of the abrupt transitions or when the audio bursts, even if the composition is
unbalanced or the image was shot without adequate white balance. Because editing should appear
seamless (and hence go unnoticed by the audience), such faulty edits or unsatisfactory shots will call
undue attention to the production efforts. Viewers should be absorbed in the storey, caught up in the
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characters, rather than being reminded of the camera's presence or the lack of polish in the editing at
 every turn. Although intuition is the sole way to determine rhythm, some practical considerations must be
considered, such as selecting the finest pictures and smoothing out the edits.

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Straight Slashes - Straight cuts are quick transitions from one shot to the next that provide a sense of

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immediacy. We also experience the world in a linear fashion since that is how our brains interpret
information from our eyes. However, when there is no other indication that a shift has occurred, these
cuts can be startling and even misleading.

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Jump Cuts - These occur when the visual information between shots hasn't altered significantly. The
shots appear to change throughout the transition. Jump cuts can be distracting, drawing attention to the
edit.

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Dissolves, on the other hand, smooth out the transition by fading up one shot while fading down the
other. The two shots appear to overlap during the transition. Dissolves are frequently related with the
passage of time or a shift in location (or both). However, these transitions may be problematic for use

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during a dialogue scene or an interview show, where straight cuts are required to retain the sense of
immediacy.

The editor's job is to make the sequence flow smoothly. They must comprehend the storey in order to do
it successfully. A pause in dialogue may not indicate a gap in thought, but rather a dramatic pause by the

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performer. A silence of this length may represent a moment of thinking or perhaps provide subtext
(unspoken speech), which is shown by the character's expression while listening. An editor who is
inexperienced with the storey, on the other hand, may leave out this reaction, thinking the pause was a
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mistake. Leaving out the pause may disrupt the performance's rhythm. As a result, it's critical for editors
to distinguish between a performance and an error, which necessitates a comprehension of the tale and
its subtext.

Shots
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The editor is faced with a number of options, including whether to utilise a wide angle, a close-up, or the
more subjective point-of-view shot. When viewing two individuals communicate in a discussion, the editor
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may determine that an over-the-shoulder shot is more appropriate, allowing viewers to observe reactions
while the other person is speaking. The other option is to use a close-up, however while choosing shots,
keep in mind that some shots contain more meaning than others. The editor selects the photo that is
more important to the narrative in order to progress information and express meaning. A remarkable line
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of conversation may scream for a close-up, alerting the spectator that what is being said is vital and plays
a significant role in the plot. Close-ups also reveal the subtext, or unsaid language, conveyed through the
person's look. As a result, reaction shots of people listening may become just as vital to the tale as views
of those talking.
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The Detail A shot like this has a strong emotional impact on the viewer. For obvious reasons, the close-up
takes us closer to the action, specifically within the character's personal space, which is reserved for more
personal moments. We are more likely to sympathise with characters who are shown in close-up. The
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longer we hold a close-up, the more sympathy we feel, but it also increases the tension because of the
close closeness.

Close-ups also convey other facets of a character's emotion, such as fear or awe. Because we're so close
to the individual, we almost have a feeling we know what they're thinking. If the character is a villain, our
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feelings as an audience may be disgusted. We are compelled to escape instinctively from the close
closeness of the villain's features in this type of close-up.
 The Extreme Close-Up draws attention to the topic by giving it a larger-than-life appearance. Because the
ECU draws greater attention to the issue, viewers are more likely to remember it. Furthermore, the ECU

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heightens the dramatic intensity of a scenario.

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When two characters appear in a shot together, they might be either harmonic or dis-harmonious,
depending on the situation. In any case, the 2-Shot establishes the characters' proximity to one another
and deepens our comprehension of their relationship.

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• A harmonic 2-Shot is one in which the composition appears balanced, especially when the characters
face each other.
• A dis-harmonious 2-Shot is one in which the composition appears unbalanced, usually when one of

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the figures is looking away.

Over-the-Shoulder photograph: These pictures might convey tension, intimacy, desire, or hostility. The
OTS, like the 2-Shot, depicts the characters sharing the same area, but one of the characters is

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constantly facing away from the camera. Typically, the camera shoots past the cheek of the person facing
away so that discourse can be continued from another perspective of the same person without worrying
about synching to their lips.

Point-of-View Photograph: The POV provides audiences an increased sense of intimacy by putting

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them in the character's brain to see what they see. If the shot is from the protagonist's point of view, the
POV is another approach to assist the audience sympathise with the character. If, on the other hand, the
POV belongs to the adversary, the effect is one of anxiety or tension. When transitioning to a POV shot,
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the editor will typically begin with displaying the character's face, followed by their POV, to establish who's
POV we're looking at.
The editor juxtaposes a number of pictures to highlight the interrelationships between them. Consider the
concept of cause and effect: the activity in the first shot A is completed in the second shot B. Alternatively;
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the action could be played out in a series of B, C, and D shots. The editing must clearly demonstrate why
A causes B or that B logically follows A. Of course, when viewers encounter a series of photographs, they
will instantly attempt to construct their own cause and effect link, even if the images are not obviously
related.
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Sequence

A Sequence is when we shoot a sequence of shots that all pertain to the same activity. The sequence is
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the bedrock of visual storytelling. Sequences not only provide visual variety, but they can also compress
real time into dramatic time, assisting editors in developing stronger plot pace. Furthermore, the shots in
the sequence convey new information to assist carry the tale along more quickly. Viewers that see
sequences of Wide, Medium, and Close-up shots learn more with each progressing shot.
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Many still shooters can tell a tale with a single image. When we broadcast news, however, there simply
isn't enough time for our audience to let their eyes linger over the image until they see the critical detail;
they can only take in so much information at a time. Our role as videographers is to consider several
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photos that can be used to enhance interest, provide additional detail and knowledge, and effectively
direct viewers to the detail in the image that we find vital. This is where Sequences come into play.
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 Essentially, we're doing what our brains do naturally by collecting a bunch of photos with the camera,
which functions similarly to the eye. The brain is in charge of putting the images together to express

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meaning. So, as a photographer, consider yourself an editor. How are you going to transition from one
image to the next? Obtain a variety of shots to accomplish this. When pros film a Sequence, they usually

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consider shooting numerous wide shots followed by several tight shots. It's known as:

WIDE SHOT, TIGHT, TIGHT, TIGHT

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Wide shots display the entire scene and are useful for setting the scenario; medium shots show
characters from the waist up and their proximity to one another; and close-ups reveal a specific feature of
the figure, generally their face.

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Why are there so many close-ups?

There's a reason we shoot so many close-ups. Photographers must consider themselves to be editors.

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Back-to-back close-ups read more organically. It's how we may interpret a two-person conversation. As
our eyes ricochet back and forth, our brain perceives close-ups of each person. However, when we edit
neighbouring wide pictures, the impact might be disorienting. We observe a jump cut because the framing
and distance are so similar that it appears as if the subject frequently moves or jumps abruptly.

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Another reason to consider getting largely close-ups is that many of us consume media on our phones.
We watch videos on a small screen gadget, which makes it difficult to discern the intricacies in a broad
perspective.
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Photographers will utilise a specific shooting ratio to prevent editing broad photos back-to-back and to
ensure that the audience does not miss essential details in the activity:

25:25:50
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That equates to 25% broad pictures, 25% medium shots, and 50% close-ups.

The images below are a series of pictures taken at CU's Varsity Pond. These photos are among 15 that
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were taken throughout the course of a 10-minute span. What you get from a range of images is a
sequence that adds visual interest and aids in the telling of a tale. You can also use the variety of shots to
be more creative in your writing. Always remember to write to your visuals. And when it comes time to
edit, the photos will just fall into place.
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1.1.7 Understanding the Demand of the Story line and also Target audience
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Storytelling has a wide range of effects on our daily lives. It has proven to be one of the most powerful
sources of inspiration known to man. Its impact has impacted our world in a variety of ways, some of
which are tediously clear to observe and grasp and others of which are more hidden and mysterious in
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their relevance. The importance of storytelling as a source of inspiration and a teaching tool makes it the
most important tradition that humanity possesses.

Stories transcend boundaries, genders, and cultures because of the emotions they elicit. They are central
to all civilizations, religions, and eras. They are myths and stories, novels and plays, poems and
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anecdotes, films or series, it doesn't matter how long or short they are, what matters is that they link us
emotionally.
 Storytelling has established itself as the most important human tradition. The main reason for this is that
every storey contains a lesson to teach the audience. Stories teach us to love, forgive, be just, and strive

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for more than we have. The greatest stories ever told serve as a reflection on the world we live in, as well
as on the kindness and evil that exist in it.

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A tale can be told using any of the five senses of the human body: vision, hearing, smell, taste, and
texture. Storytelling is a narrative with perspective and emotion, not a collection of facts. People can be

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changed by stories. People gain a greater comprehension of a story's plot and form their own emotional
connections.

What methods does a filmmaker use to tell a story? Of course, it begins with a script, which is then turned

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into images by a director and cinematographer, but after all is said and done; the editor is tasked with
transforming that raw filmic material into a visual story. Lewis Bond of Channel Criswell goes into the
history and present practice of editing, and how it evolved from an entertaining special effects technique
to the very lifeblood of cinematic storytelling in this wonderful video essay.

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How to Find Your Target Audience and Create the Best film or content That Connects:

 How to define your target audience and understand your target market to create a clear picture of



exactly who you are (and aren’t) writing for.

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Pick up tips, tactics, and strategies for gathering audience data.
Use your improved knowledge of your audience to create content that connects with their needs
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and interests.

It's true that great video/film tends to naturally attract an audience. It does not, however, guarantee that it
will be the best audience for your film/video. That means visitors that are likely to:
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 Connect your content to your storyline.

 Buy your film/video because of your content.
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Determining who your true audience is will allow you to concentrate not only on providing amazing
content, but also on creating the proper film. It makes it easy to develop material that establishes you as
an authority in your area, as opposed to writing content for the sake of creating content.
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Motives for Defining Your Target Audience

 Make certain you're providing the proper content for the right folks.
 Gain a better understanding of how to develop a video/film that connects to the viewer's
requirements.
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How to Analyze Your Target Market

What issues does video or film address? I f you've been in the film industry for any length of time, you
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should have a basic idea of why your video and film exist. Your content should also be relevant to that
aim (avoid the impulse to share irrelevant memes just because they're funny—if it's not tied to your vision,
it doesn't belong in your content marketing).

Who are our current clients? If you don't know who buys your film/video, someone in your company
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very definitely does. Consider requesting this information from your company's leadership or sales staff. It
 may also be required to categorise your viewers. You may, for example, categorise viewers depending on
their geography, money, or needs.

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Who are my rivals? You perhaps know who your obvious competitors are. However, a short search on

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Google and social media (particularly Facebook and Twitter) will frequently find upstart competitors that
you were previously unaware of. Try looking for a term or two linked to your industry. Examine the results
to see which firms appear. Examine their "About Us" and feature descriptions. This is a quick and easy

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approach to figure out who your competitors are.

What benefits do clients stand to earn by picking us (rather than a competitor)? What unique
thoughts or videos do you have to give that no one else has? Is there anything you excel at that no one

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else does?

1.1.8 Determine key post-production processes techniques

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The post-production process may vary based on the film, however it often falls into the following main
steps. If you're just starting out in filmmaking, postproduction is a well-organized, collaborative process
that might take several months to a year or more, depending on the scope and budget of a project.

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These steps can be used as a standard post-production checklist.

Step 1: Content Editing

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Picture editing is often the first step in the film post-production process. This is the stage at which the raw
footage is assembled to tell the overall storey. The post-production editor analyses the script, reviews the
footage, and then edits the shots together to create the storey. This frequently results in a large amount of
film going unused, or "on the editing room floor," but it's an unavoidable aspect of the process—you can't
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reasonably use every piece of footage you took.

This procedure is not completed in a single step. Typically, the editor makes a first cut, often known as a
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rough cut. Additional cuts will be made till you reach the final version of the film. Depending on the length
and intricacy of the film, this can take anything from a few weeks to a few months.

Despite the fact that most editors now work in digital formats and no longer physically cut and splice film,
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the term "cut" is still used in postproduction.

In order to appropriately organise the video you give with them, the film's editor must comprehend your
vision. As a result, the final cut of the picture tells the planned storey.

Meet with the editors and their crews when you deliver them your film to aid with this stage of the post-
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production workflow. Make use of this meeting to:

• suggest to editors what types of material to include in the final cut;

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• create a bin structure and scene bins to organise your footage; and
• Go over script notes to ensure they're used throughout the film.

Organizing footage early on ensures that your job is completed on time. Apply the same procedure to all
of your projects. Keep in mind that if you've taped a documentary or an interview, you can transcribe
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audio notes to text. You can save time in post-production by using our transcribing service. Transcription
of audio to text allows you to spend more time exploring the stuff you record to identify the most
significant points to present.
 Step 2: Sound Editing and Music Integration

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Once the film's filming is complete, you'll begin to add and improve the sound. This includes not just
adding background music, a soundtrack, and sound effects, but also cutting out background noise and

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piecing together conversation to meet the story's flow.

Sometimes language or sound effects recorded on stage don't translate effectively in the real footage.
Sound editors will re-record the sound or conversation and re-insert it into the film in these circumstances.

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When it comes to developing a soundtrack, you have the option of licencing current music or
commissioning an artist to produce fresh songs for your film. Sound editors are in charge of arranging a

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film's audio tracks, deleting undesirable noise, and generating sound effects. Foley artists (sound artists)
generate or improve on-screen noises such as footsteps bouncing off tile floors.

Your meeting will assist sound artists in creating audio that connects scenes and facilitates the feelings

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and emotions you want your audience to feel. Also, request that the sound team validate the following:

• They meet the technical specifications. This is especially vital if you're a beginner or independent
filmmaker who works with a video production business to manage your post-production needs.

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Files are sent in the correct format. There are numerous file versions to pick from; make sure you
understand the type your effects teams prefer.
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• Deliverables. Make it clear what you anticipate from the team and when you intend to receive it.

Because the visual editor serves as the liaison between the editorial and visual-effects teams, their
function at your meeting will be to track each shot, match it to sound, and know when to inject unseen
effects. Getting organised early on, once again, makes this stage of the post-production workflow go
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more smoothly.

Sets are noisy locations, therefore production effects are unavoidable when filming. You must also
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account for the sounds that performers create while in a scene, such as the sound of a door closing or
footsteps walking on a squeaky floor. These noises are linked to the dialogue stem, so removing them will
need editing, as well as Foley and library effects to make your scenes play out the way you want them to.
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Because your M&E tracks only comprise music and effects, these "additional" sounds will be missing from
foreign-language film speech. Add your film's production effects to the M&E track so that foreign-
language films have the same feel as the original English version. Provide your editors with a description
of what you want to hear in each scene. As a result, the appropriate sounds are added, eliminated, or left
alone.
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The viewing experience is the same regardless of where your audience is located or what language they
choose. This is critical if you want to appeal to a large audience while also creating a financially
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successful final product.

Step 3: Adding Visual Effects

Following that, artists and engineers create computer-generated visual effects. This allows filmmakers to
create effects that aren't always possible (or too expensive to execute) in real life, such as ageing an
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actor or making a large explosion. Scenes may have been filmed in front of a green screen during the
 production process; during this stage, those backgrounds or other effects are placed in lieu of the green
screen.

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Visual impacts are broadly classified into two types:

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1. Subtle visual effects that no one notices

2. Awe-inspiring visual effects Nobody else recalls anything else about your film.
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Type 1 Visual Effects includes everything from painting out cables to rig removal, digital signage
replacement, blending two takes together, and anything else that, when done well, is utterly invisible but
fairly crucial. Obviously, these visual effects are a pain to create. If you can't find somebody to take on
these tasks, try your Assistant Editor. He's probably unemployed, and you know how low his self-esteem
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is.
 Type 2 Visual Effects is practically anything cool. Asteroids barreling towards Earth, morphing robots
barreling towards Earth, and so on. It's what the trailers show, and what Michael Bay has made a career

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out of. Everyone, especially girls, recognises Type 2 Visual Effects as being Cool as Hell, and you could
certainly use more of them in your film.

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Because visual effects bring with them sound aspects that must be synced properly, they frequently
necessitate some collaboration with the sound guys.

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Step 4: Sound Mixing

Sound editors must go into the film and change audio levels in addition to adding sound effects and

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music. This is done so that conversation may be heard over background music, or so that the sound
effects of a vehicle crash aren't excessively loud and harsh in relation to the other sounds in the picture.

Once the sound has been edited, the language is clear and understandable, and the music is emotionally

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and spiritually uplifting, it is up to the sound mixer to put all of these sound aspects together.

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Sound mixers often have long hair, which is to hide the fact they’re wearing earplugs. They also wear
those earplugs to live events like concerts, and occasionally movies because they rely on their razor
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sharp hearing to make a living. Most people might think earplugs at a concert is lame but guess what it’s
actually super cool because once you lose your hearing you never get it back. So while you stumble
around and struggle to hear your grandchildren tell you they love you because you listened to too much
dubstep in your younger years, sound mixers and I will be laughing. All the way to the bank. Which you’ll
also be unable to hear.
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Sound mixers frequently have long hair to conceal the fact that they are wearing earplugs. They also
wear earplugs to live events such as concerts and, on occasion, movies because they rely on their razor
 sharp hearing to make a living. Most people think wearing earplugs to a concert is lame, but it's actually
pretty cool because once you lose your hearing, you never get it back. So, while you stumble around,

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unable to hear your grandchildren tell you they love you because you listened to too much dubstep when
you were younger, sound mixers and I will be laughing. I went all the way to the bank. Which you won't be

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able to hear either.

Nowadays, sound mixing can be quite difficult — back in the day, you'd simply mix for one track – mono.

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You could now do a 7.1 theatrical mix (seven speakers and a subwoofer) and send individual portions to
foreign nations so they may come in local actors and redub all your actors.

Funny storey: when I was working on direct-to-DVD feature films, our sales agent once complained about

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not being able to sell a picture to a foreign country due to the acting. "Who cares?" he exclaimed, "they'll
just dub it in Spanish anyhow!"

Another issue in the mix is dynamic range, or the gap between the quietest and loudest passages.

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Because they may rely on a relatively controlled listening environment, theatrical mixes frequently feature
a wide dynamic range (i.e. a movie theater). When it comes to mixing for TV or online, the range has to
be much narrower. Had you ever had the problem while watching a movie where you have to turn up the
volume for all of the talking and lower it down for the explosions? That's most likely due to the dynamic
range of a theatrical mix. A lot of home audio systems include built-in technology that will flatten out the

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dynamic range of a theatrical mix, but it's buried in the menus and, let's face it, nobody knows how to
programme those things. The sound section of a movie is finished once the sound is blended.
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Step 5: Colour Grading

After the cuts are finished, the film's colorisation — also known as colour correction or colour timing —
can begin.
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The cinematographer arrives to view the film's cut projected on a large screen and employs a range of
techniques and technologies to colour time or colour correct the visuals. Color timing, for example, allows
you to make images darker or lighter, modify the colour balance, shade objects out, and change the size
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of the frame.
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A colour editor works over the movie frame by frame during this stage to modify the colour for mood and
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consistency. For example, if the filmmaker prefers a dark and gloomy vibe, the colour editor will take that
into consideration when going through the material.
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Color grading ensures consistency between shots and can help to develop the mood of a scene or film.

Despite the fact that terms like "crush the blacks" and "raise up the whites" are thrown around, it is not
racist. Color correction is the final step in the visual aspect of a film. The tedious element of colour
correcting is matching the white balance and levels between photos, altering areas of the frame to be
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darker or lighter, and overall editing the image to improve its appearance. The exciting aspect of colour
correcting is providing a cool "look" to the image, which has the ability to significantly impact how a film is
perceived. The look might range from the poisonous green of The Matrix to the bleached-out desired look
of Saving Private Ryan to the incredibly boring and mostly black-and-white look of half of the stupid Harry
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Potter movies.

Most high-falutin' colour correction specialists will tell you that you need an extremely costly monitor to
correctly judge the colour and look, just like audio guys will tell you that you need studio reference
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monitors to effectively mix. We usually don't have those things, so we colour correct it and then watch it
on as many TVs and monitors as we can, using that information to change things (like we did for our
Battlefield 3 advertisement).
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 1.1.9 Importance of the STORY BOARDING

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In a nutshell, a storyboard is a series of panels, sometimes hand drawn, that depict how a scene will

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unfold. It will be drawn from the audience's point of view, as in the storyboard will mimic how a scenario
will play out on television. It will be drawn in comic strip-style panels. The storyboard will be a humorous
version of the narrative, but without much of the dialogue. It will demonstrate, shot for shot, how the video

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will play out on screen. Detailed storyboards may include cuts and edits, as well as showing how the
scenario will evolve. So, if you run through the storyboard while holding the script in one hand, you'll have
a good notion of how the final product will look.

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The Storyboard is an important stage in the animation process since it helps to finalise the construction of
the tale. It is composed of drawings in the form of a comic strip and is intended to aid in the visualisation
of the animation as well as to clearly explain ideas. It describes the scene and changes in the animation,
and is frequently accompanied by written notes describing events within the scene, such as camera

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movements.

Storyboards are not only useful while working in groups (which is typical in the animation industry), but
they also serve as a visual reminder of the initial plan, which can be referenced to throughout the
production.

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The Vision of the Director: A filmmaker always knows how a picture will turn out in the end. The script,
on the other hand, outlines the storey of the film, allowing everyone to create their own version of the
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storey. The storyboard for filmmaking, on the other hand, assists the director in communicating his/her
version of the tale so that the entire crew can work in the same direction. As a result, a storyboard
communicates in visuals and informs everyone about a director's idea for the sequences.

For the Technical Crew: The technical crew is in charge of carrying out a director's vision, and a film can
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only be considered successful if all departments are on the same page. The significance of storyboarding
can be seen there because it allows everyone to understand the concept of the scenes. It also aids in the
setup of a shot without wasting time debating nitty-gritty details about the venue.
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For a Rainy Day: There are numerous variables that might derail a shoot day. A film shoot necessitates
extensive planning, and the team must manage the problems that the actual production presents. It
doesn't always matter how much planning you did during pre-production; some issues can completely
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derail the timeline. With a storyboard, one of the team's jobs becomes easier: improvising the scene
based on time, light, or weather constraints.

Cinematography: A writer may have created the best storey in the world, but if the cameraman fails to
capture the hosts that transmit emotion, or if the shots simply do not look attractive, the picture will
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typically fall short of expectations. Movie storyboards, on the other hand, can depict the camera angles
and motions that directors have envisioned, making it easier for the cinematographer to understand how
everything will play out.
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Problem-solving: A director needs to be adept at problem-solving in order to make films, and

storyboarding helps address problems before they occur. Storyboarding, for example, assists a director in
understanding that if he or she is working on a shoestring budget, there is no need to picture many
sequences in extravagant locales. Similarly, images and camera movements that are sleek in a director's
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vision may appear dull or formulaic when storyboarded in cold light.

 Movement: The script does not allow for the specification of character and camera movements. After all,
films are moving pictures, and a storyboard helps define the flow of movement from one scene to the

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next. The classic Dolly Zoom picture from Jaws is a great example of movie storyboarding since it shows
the camera's focus sharpening and zooming in quickly. Also, reflecting the panic and understanding that

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ishes over Brody in that particular situation, which cannot be described through words.

Sound: The significance of storyboarding can be further understood because it aids in visualising the

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sound that is playing over the graphics. The storyboard, for example, will assist the director in
understanding any dialogue in the scene or an ambient sound in the background. When presenting the
images to the directors, a storyboard might assist them in imagining an appropriate soundscape for a
specific scene.

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For example, sound effects in horror films must be precise. Whether it's a spooky stillness, the bursting of
tension music, or the slow creak of an opening door, a horror film storyboard can appear monotonous and
unsettling until the director adds notes about the sound and how it contributes to the overall sense of the

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film. The storyboard is a device invented by Walt Disney in the 1920s for usage in cinema and video.
When given with a scenario that needed to be animated, his crew would develop rough mock-ups of the
frames that needed to be animated; these served as guides for the animators, who utilised them as a
point of reference.

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Sharing thoughts If you have a specific vision for how the video should turn out, an idea that you would
like to see on screen, the script alone may not be sufficient. The storyboard will show you exactly how it
will be shot, as seen through the director's eyes. That includes the camera, lighting, angle, how each
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actor will enter and exit the scene, and, in some cases, where the other cameras will be located. When
adjustments are required prior to the shot, they can be made. Once the film has been shot, it may be
impossible to make significant modifications unless you are willing to reshoot.
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Eases production: The team in charge of lighting and sound may not be provided a copy of the script. In
most circumstances, this is unneeded, but by simply looking at the storyboard, sound, lighting, and
camera operators can set up and be ready for the shot. It removes the crew's reservations about most
things, allowing the production to move at a rapid speed.
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Saves time: Pre-production includes the creation of storyboards. All of the sequences must be
completed well in advance of the filming. Any modifications that are required can and should be made
prior to shooting; this keeps the production on pace. There are a lot of filmmakers who swear by
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storyboards. Alfred Hitchcock, for example, believed in comprehensive storyboarding, which helped him
finish his films on time.

1.1.10 Camera, Movement, Camera Angles, the placement of the Characters in the Frame
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The way a camera shifts to visually narrate and form a viewer's viewpoint of a scene is referred to as a
camera movement. There are various simple and complex camera motions in the world of film and video
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that can help enhance your tale. When you move a camera, you can change the narrative of the storey
you're trying to convey as well as the delivery of the content you're presenting. Camera motions that are
effective and well-placed result in a professional-quality final output.

What Is the Purpose of a Camera Movement?

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The movement of your camera can be used for a variety of purposes in video production, including:
 • Creating dynamic scenes: Because the camera represents the eyes of the audience on a tale, using
camera motions may make scenes more engaging, give a naturalistic touch to situations, and

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replicate human movement. With certain camera movements, you can even make inanimate scenes
appear dynamic.

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• Influencing audience emotional reactions: Camera movements can simulate a person's point of view
in a variety of situations. Shaking the camera during an earthquake scenario conveys terror and
confusion, whereas swaying on a boat simulates seasickness.

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• Directing audience attention: Camera movements can obstruct viewers' eyesight and draw them
away from particular items on-screen.
• Controlling reveals: Using camera movements to offer narrative information, disclose new subjects

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that were previously off-screen, and even foreshadow or generate ironic tension that characters are
unaware of is a terrific technique to control reveals.

Different Types of Camera Movements

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Using different camera motions helps you to alter the way the storey is conveyed, parse out information
for audiences, and fully immerse them in scenes. Tilt, pan, and zoom are just a few of the camera
movements you might use in your visual tales.

Tilt

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When you tilt a camera, you adjust its view up or down without changing its horizontal direction. Even
though the camera remains stationary, you have control over the angle at which it is pointed. This vertical
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movement allows you to squeeze more into a single continuous shot. Tilting the camera can also help
you expose an object or person that wasn't previously visible on screen, adding a sense of surprise to the
scenario you're creating.
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Pan

When you pan, you move the camera from left to right or vice versa while maintaining the camera's base
fixed on a specific spot. Although you are not moving the camera, you are changing its orientation and
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obtaining a panoramic image. This action employs a continuous shot to show the audience what a single
frame cannot.

Panning can assist you in determining the position of a scene or allow you to follow a moving character.
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Panning can also assist you in revealing things that were previously hidden off-screen. For example, if an
unexpected person appears in a party scene, you can build tension by panning to disclose their presence
rather than making a quick cut.
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 Zoom

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Zooming is a technique for focusing on a specific part of the frame and is typically used to transition from
a long shot to a close-up of the subject being filmed. It also allows you to zoom out and move away from

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a topic in a shot. There are various innovative ways to use this camera movement, such as zooming in on
a fast-moving scene to add drama and intensity, or zooming in on a character's face to accentuate a
hilarious expression or look of fright. It is critical to employ this movement judiciously in order to avoid

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attention or overuse.

Pedestal

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In contrast to tilting the camera's viewpoint, a pedestal movement pushes the entire camera up or down
on a pedestal. Throughout this movement, the camera remains fixed on a single point, such as an
adjustable tripod. When you "pedestal up," you are raising the camera. When you "pedestal down," you're
lowering the camera. This movement works best when photographing a tall individual or subject. To make

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the most of it, tilt the entire camera up or down on a tripod in relation to the subject.

Dolly

You're moving the camera toward or away from a topic with this camera movement, which is frequently

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accomplished by setting it on a track or motorised vehicle. When you "dolly in," the camera moves toward
the topic; when you "dolly out," the camera goes away from the subject. Placing it on a sturdy track will
allow you to move the camera with a smooth range of motion. This style of camera movement is
frequently utilised to focus on a character who is lost in thought or has had a sudden insight.
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Truck

Trucking, like dolly movement, is moving a camera along a fixed point, frequently on a stabilised track,
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but to the left or right rather than forward or backward. A truck allows the camera to stay with a moving
subject in the frame. This movement keeps your camera at the same distance from the subject and is
most effective when used with a fluid motion track to avoid shaky shooting situations. Trucking is
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frequently employed in action sequences to keep the camera on a moving subject.

Shooting Handheld

A handheld shot allows you to move the camera as you follow the action of a scene. The operator takes
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control of the camera and holds it while completing various basic camera movements with this camera
movement. In contrast to the steadiness provided by a tripod, a camera used for handheld shooting
produces a bouncing shot.

Handheld shooting allows you to tell a storey in a unique way while also making your production feel
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more authentic. Relax your body for more stability, decide how you want to conclude the shot, and be
creative with how you hold the camera.
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Steadicam, Floating Cam, Or Stabilized Shot

A steadicam is a wearable device that provides shot stability while yet allowing you the flexibility of a
handheld shoot. While filming a seamless, flowing shot around a core topic or persona, the operator
retains the camera mounted to the gadget. When performing this camera movement, make sure to take
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advantage of your available range of motion. This shot can be utilised for a variety of purposes, such as
following characters through uneven terrain.
 Jib or Crane

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A jib is a crane's projecting arm, although both names are used to describe this style of shot in which the
camera is raised to a high shooting position by a moving crane or jib. The jib stretches the camera over

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an area, allowing it to move in different directions to capture the shot. It works well for establishing shots
since it helps set the setting.

Use a drone for this camera movement to give you an aerial perspective if you want to take your camera

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to new heights. This style of camera movement is frequently utilised when showing a large crowd or
moving up and away from the characters.

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Rack focus

Though rack focus is not technically a camera movement, it is a camera technique that shifts the
emphasis from one spot to another inside a single image. You begin with one item in the foreground and

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swiftly transfer the focus to another item in the background, or vice versa. This approach helps you to
transfer the audience's attention more gently between two characters, such as one standing in front of the
other.

Camera Angles refers to the position of the camera as well as the direction in which the camera is gazing.

surroundings.

Eye Level
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Camera angles are useful for demonstrating the interactions between the characters and their
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The eye level shot is the most neutral camera viewpoint. The camera is aimed straight ahead, at almost
the same level as the subject's face. If you wished to retain objectivity, shoot an interview scenario in this
manner.
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The idea is for the viewer to be able to follow the action without having their emotions manipulated.
Although it is referred to as "eye level," it does not have to be a shot of the character's face. Maintaining a
neutral camera angle allows you to capture an object at eye level.
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Low inclination

A low-angle view lends an element of subjectivity to the situation. Rather than staring straight ahead, the
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camera takes a low angle and looks up at the subject. This may give one character the appearance of
being frightening, dominant, or in a position of power over another. Like some of the previous
photographs we've looked at, you can modify the intensity of it. To communicate authority, a low angle,
such as a teacher looking down at a student, may be used. In an extreme low angle shot, a monster,
such as Godzilla or King Kong, may be portrayed bearing down on other characters.
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High Angle
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A high angle shot is the inverse of a low angle shot, giving the opposite impression and making the
camera's subject appear small. A scene from King Kong's point of view, for example, may show the
characters as helpless in comparison to him by pointing down from a higher angle.

You may even take it a step further by using a top angle or bird's eye perspective. This image, which may
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be used indoors or outdoors, looks down from above on the performer. You may, for example, look down
on your subject as he or she walks inside a church or stadium.
 You could also use this to show your character escaping from a helicopter, in which scenario it would be
a drone shot.

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The Dutch perspective

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One of the most common ways to communicate confusion is via a Dutch angle. Simply shift the camera to
one side so that it isn't level with the horizon for this photo. This shot might be used to show the point of
view of an intoxicated individual stumbling along the street, or it could be used in a horror film to give the

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idea that the walls of a haunted house are closing in.

Over-the-Shoulder (OTS)

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Another angle that might alter a viewer's perception of a scene is an over-the-shoulder shot. A close-up of
another character's face from "over the shoulder" of another character is used to indicate conflict or
confrontation in an OTS shot.

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Subjects that appear in various regions of the frame, particularly the foreground and intersections, are
given a lot of power and importance. There could be various explanations for this.

The power and importance of your subject will be determined by where you place it.

Foreground

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Placing your subject in the foreground not only brings them closer to the audience, but it also places them
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"first in line" in terms of the sequence in which people see images. Assuming that everything is in focus,
we tend to concentrate on the elements in the foreground first, then move on to the middle and
background. They have clout because they are "first in line."

Framing in the Center

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The middle of the picture is ideal real estate for artistic energy. The balance it provides draws attention to
it and gives it greater power than elements on the frame's sides.
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Top Two Intersections

Consider putting two topics in the frame: one at each of the top and bottom two intersections. Which do
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you suppose has more "power"? I'm going to guess the one at the top. Being "at the top" indicates a
position of power and authority.

Power in Size
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According to prominent aesthetic theories, larger images generate more aesthetic energy, making them
the first thing you see when you look at an image. Because things in the foreground are usually the
largest in the frame, it stands to reason that putting your subject in the foreground will make it the first and
most looked-at object in the frame.
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Being "large" confers power not only metaphorically but also aesthetically.

Size Isn't the Only Factor to Consider

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 Larger visuals, according to key aesthetic theories, generate more aesthetic energy, making them the first
thing you observe when looking at an image. Because objects in the foreground are normally the largest

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in the frame, putting your subject in the foreground will make it the first and most looked-at object in the
frame.

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Being "big" gives you strength not only symbolically, but also aesthetically.

Size Isn't the Only Factor to Think About

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Keep in mind that there are additional factors at play that may override the compositional concepts I just
outlined. You may, for example, place your subject in the foreground and make it the largest object in the

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frame, but if everything in the frame is grey and one small object in the background is blazing red, your
audience's eye will be driven to that tiny red object first. This is known as "contrast."

The science of cinematic composition fascinates me. Color, subject size, negative space, leading lines,

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and a variety of other aspects communicate a range of messages to audiences, and it is our job as
filmmakers to find those meanings and visually convey them.

1.1.11 Continuity Editing, Mise-en-scene and Montage

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Perhaps it is obvious, but if editing is where the grammar and syntax of cinematic language meet, then
the goal is to have whatever we see on screen make as much sense as possible. A writer's role is to bring
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the reader into the storey, not to remind them they're reading a book, and an editor's job is to draw the
viewer into the cinematic experience, not to remind them they're watching a movie. (Unless, of course,
that's exactly what the filmmaker intends, but more on that later.) Most editors do not want to bring
attention to the editing process. This method of editing is known as continuity editing, or, more
specifically, invisible editing.
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The purpose of continuity editing is to create a continuous flow of visuals and sound, a linear, logical
development from shot to shot and scene to scene, orienting the audience in location and time and
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moving them through the narrative. All of this without ever being blatant or overbearing. It entails a variety
of approaches, ranging from cutting-on-action to matching cuts and transitions, and from preserving
screen direction to the master shot and coverage technique and the 180 degree rule. Let's take a look at
these and other techniques editors employ to conceal their work.
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Cutting on Action

The first challenge an editor confronts is deciding when and how to cut from one shot to the next without
unsettling the audience or breaking continuity, that is, the narrative's continuous flow. One of the most
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typical strategies is to "hide" the cut in the middle of some on-screen action, which I addressed in Chapter
Two. The tactic, fittingly dubbed cutting-on-action, is to terminate one shot in the middle of an action –
such as a character sitting down in a chair or climbing into a car – and begin the next in the middle of the
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same motion. Our attention is focused to the action on the screen rather than the cut itself. As we follow
the character's movement, the edit fades away.

Match Cuts While cutting-on-action is likely the most popular continuity editing tactic, there are other
additional cuts that employ the idea of matching some visual element between two continuous shots,
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commonly known as a match cut. There are eyeline match cuts, which cut from a shot of a character
looking off camera to a shot of whatever it is they are looking at, graphic match cuts, which cut between
two images that look similar (the barrel of a gun to James Bond in an underground tunnel, for example),
 and subject match cuts, which cut between two similar ideas or concepts (the sun rising over the desert in
David Lean's Lawrence of Arabia (1962)).

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Almost all of these examples rely on a hard cut from one shot to the next, yet an editor may be unable to

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hide the edit with a matching action, image, or idea. They must instead move the spectator from one shot
to the next, or from one scene to the next, in the most natural and unobtrusive way possible. These are
known as transitions. As described earlier, they are grammar conjunctions, or words that elegantly

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connect ideas. The most obvious examples, such as fade-ins and fade-outs, or longer dissolves, are
based on our personal experience. The experience of falling asleep and fading out of awareness is
mirrored by a progressive fade-out, in which the screen progressively fades into blackness. And
dissolves, when one shot blends into the next, reflect how one memory spills into and overlaps with

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another. Other transitions, like as wipes and iris outs, are specific to cinema and have little bearing on
how humans normally view the environment. Despite the fact that they "attract attention to themselves,"
they manage to transport the viewer from one shot or scene to the next without detracting from the storey
itself.

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Screen Direction

Another strategy used by editors to keep us focused on the storey while concealing their work is to
maintain consistent screen direction.

Coverage and master shot

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Consistent screen direction is essential for keeping the spectator aware of where everyone is in relation
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to the setting and each other. Another popular way to achieve the same effect is to approach each scene
with a master shot and coverage.

The idea is easy to grasp. During production, the director films a scene from a single, wide master shot
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that includes all of the people and action in one frame from start to finish. Then, with each new setup,
they "cover" the same event from various angles, isolating actors, getting closer, and almost always
recording the entire action from beginning to end. They'll have filmed the entire scene from a number of
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angles by the time they're done.

This is where the editor comes in.

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The editor's job is to build the scene from the raw material, usually starting with the master shot to
establish the geography of the scene, then cutting to the coverage as the scenario progresses, using the
best takes and angles to express the thematic meaning. They can stay with one character for discussion
or cut to another for a reaction. They can also go back to the master shot to re-establish the geography or
the tone of the action. But, perhaps most importantly, because the editor has so many options, he or she
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can cut around terrible performances or abbreviate the scene by removing lines of dialogue between
edits. When done effectively, the spectator is drawn into the characters' conversations, never pausing to
question where they are or who is speaking to whom, and hopefully never seeing a cut. The 180-degree
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rule, in essence, defines an axis of activity, an imaginary line that runs across the individuals in a scene
and cannot be crossed by the camera:
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Once the master shot has determined which side of the action the camera will capture, coverage must
continue on that side for the duration of the sequence. The camera can rotate 180 degrees around its
target, but if it exceeds that imaginary line and extends past 180 degrees, the subjects in the image
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reverse positions and stop staring at each other from shot to shot. Examine the scene from Whiplash
once more. Take note of how the camera is positioned to Andrew's left and Nicole's right in the master
picture. Every angle of coverage after then stays on that side of the table, with Andrew looking right to left
and Nicole looking left to right. Andrew would appear to be staring in the opposite direction if the camera
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shifted, confusing the audience and breaking continuity.

Mise en scene: The term "mise en scene" (or "mise en shot") refers to anything that is placed in a certain
frame/shot for the camera (and the viewer) to "see" (the SPACE axis of the film). This involves not just the
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set, costumes, lighting, and props, but also the focus, shot selection, camera movement, and so on. It is
the culmination of the efforts of the entire production/creative team, implying that no single person is fully
responsible for the set design. For important purposes, acting is frequently included in this.

The cinematographer/y frames the material and determines which section of the space axis is important
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in expressing meaning to the spectator – and the content itself carries meaning through design decisions,
casting, acting performance, and so on.
 It is quite easy to subvert expected visual relationships within the shot/scene, so that what appears in the
frame bears no resemblance to what the crew present on set sees—for example, by utilising forced

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perspective, manipulating size and height, deceiving reflections, and deleting walls. During the editing
process, these are reconciled. (For example, in Lord of the Rings, a combination of ditches, forced

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perspective, and different sized body doubles or stilts are used to ensure that the size difference between
the hobbit and Gandalf is consistent, clear, and obvious, and that this can be sustained in close-up, two-
shot, long, and group shots.)

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If you take the shot to be fundamentally a picture, which can be analysed in terms of image analysis, then
there are also visual habits that influence our capacity to decode it. Certain positions in that space are
more prominent than others (centre or top parts), thus we will prioritize/sequence information from the left

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because we (western Europeans) read from left to right.

This also means that it often feels more authentic for a character who is 'looking forward' or looking for a
'bigger picture' in terms of scene content to look to the right, and one who is reflecting on something in the

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past / regretting something to look to the left – and for this to be matched by corresponding camera
moves and eyeline match cutting. This is also related to the varied roles that the brain's right and left
hemispheres play.

These visual habits we have can also be played with and subverted to create additional layers of

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meaning, for example, in Sixth Sense, the angel shot of actor being shot reads as a he's dead shot, but
the actor factor means we override that and invest in him being alive for the rest of the film, until the
reveal at the end.
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Montage

Montage is the technique of chopping apart film and editing it into the screened sequence in its broadest
sense. It is a change in time. Provides a lot of information in a short amount of time. However, it can also
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refer to intellectual montage - the juxtaposition of short shots to portray action or ideas - or simply cutting
between frames to shorten a series of events (particularly in Hollywood). Intellectual montage is used to
purposefully express subjective messages by juxtaposing photographs that are related in composition or
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movement, through image repetition, cutting rhythm, detail, or metaphor. Montage editing, as opposed to
invisible editing, employs visible techniques like as close-ups, frequent cuts, dissolves, superimposition,
fades, and jump cuts. Such editing should imply a certain meaning. Montage is essential to
expressionists.
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Montage is a cinematic editing method that combines a number of brief images or clips into a single
sequence, sometimes set to music. Montage is a French word that means "assembling" or "editing."

Montage sequences frequently indicate the passage of time or several simultaneous events, and are
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used to deliver a large amount of information to the audience at once. They can be used to elicit a variety
of emotions, such as:
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 • In a romantic comedy, a montage might depict the building love or attraction between two love
interests as they get to know each other.

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• A montage in a sports film can depict an athlete training for a big game, heightening suspense or

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stress regarding the outcome.

• In a drama, a montage can highlight grief and melancholy by depicting a widow grieving the loss of
her spouse.

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• In a horror film, a montage can depict the main characters preparing to protect their home against a
killer or otherworldly force.

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Why Should You Use Montage? Six Things That Successful Montages Do

In a film, a montage can achieve a variety of objectives, including:

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1. Accelerate time. A montage can accelerate time in a way that makes sense to the audience while
remaining faithful to the tale, whether it's a day, a week, a month, a year, or a decade. It can be compared
to a highlight reel for the activity as it passes.

2. Convey a large amount of information at once. Sometimes a plot contains important information to

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impart, but the director doesn't want to spend a lot of time describing them. A montage can accelerate
that process and bring the viewer up to speed in a couple of seconds.
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3. Increase the tension. You may have noticed that many montages occur around two-thirds of the way
through a film, frequently directly after the story's climax. As the film progresses to its end, a montage can
revive and reinvigorate an audience's interest in a character or a storyline.

4. Compare and contrast. Alternatively, montages can occur at the beginning of a film. A montage that
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compares and contrasts two characters' daily lives or routines can define their positions, and
consequently their degrees of power, in relation to one another.
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5. Showcase your personality. A montage can be used to show how a character is changing. A montage
can assist the spectator swiftly understand a drastic transition in a character's physical and/or mental
state, from fast cuts of a drug hallucination one night to the ravages of sickness over the period of six
months.
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6. Merge several narratives. There isn't always enough time to cover every single plot from beginning to
end. A montage is an excellent means of combining tales and ensuring that each character is given their
due.
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Typical Montage Film Techniques

• Short cuts. Typically, movie montages include a slew of scenes edited together in rapid succession. This
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permits time to pass and the tale to progress while keeping the viewer in the loop.

There is no dialogue. Although this is not a hard and fast rule, many montages adhere to the "show, don't
tell" principle. Characters talking about how they feel in a scenario are rarely effective, however
demonstrating it in a montage can be really effective. In many cases, little is more, especially in cinema.
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 • Narration via voiceover. A skilled voiceover can convey crucial information to the audience in a
straightforward and artistic manner. During a montage, a disembodied voice may narrate what is

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happening, offering further context.

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• Music. Montages use music to emphasise the fast-paced action and the emotions that the characters
are feeling.

• Supers. Montages can sometimes superimpose text on the screen in order to quickly transmit

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information and updates regarding characters and the storey. This is frequently shown at the end of a film
as an epilogue.

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What Exactly Is Soviet Montage Theory?

Soviet montage theory, promoted by filmmaker Sergei Eisenstein, is a more creative way to creating
montages.

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Following the 1917 Russian Revolution, filmmakers began to experiment with various creative editing
techniques. Eisenstein, who began making films in the early 1920s, emphasised the importance of
individual frames in his signature montage editing. Rather than just assembling a succession of separate
photos, he chose a more layered approach to the art form.

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Eisenstein did not originate the film montage, but he did elevate and revolutionise how directors used it.
Eisenstein experimented with shot length, movement, and cuts to elicit emotional responses from
viewers. Throughout his career, he established five distinct montage techniques:
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• Metric: Regardless of the action, editing shots after a certain number of frames.

• Rhythmic: Cutting to maintain continuity.

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• Tonal editing: editing shots to generate an emotional response from the audience.

• Overtonal: An amorphous montage of metric, rhythmic, and tonal elements.

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• Intellectual: Including shots that are unrelated to the film in order to convey a point.
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1.1.12 Preparing and finalizing work plan in accordance to requirements : Translate expectations
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into effort estimates for each process and prepare a work plan, keeping in mind the impact on the
production budget, timelines and technical viability.

A video production workflow is a sequence of sequential actions carried out to carry out a process based
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on a set of pre-defined criteria or conditions.

It's essentially a set of rules, activities, and, of course, a lot of data that all work together to achieve a
given goal. Workflows are critical for almost every type of project, from web development to video
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marketing, especially when there are numerous people, elements, and procedures involved.

Video production workflows integrate video project documentation and planning, review and approval,
and file and asset management into a single process. It establishes safeguards to ensure that particular
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production phases begin only after project criteria and permissions are completed, as well as a
predictable flow from pre- to post-production.

Best Practices for Video Workflow

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1. Develop and enforce repeatable processes with approval guardrails from video project brief to
final cut.
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Video production may require a huge number of decision-makers, many of whom are distributed across
numerous locations and skill sets. Several stakeholders and teams must give comments and expertise at
various phases of video creation.

With such a huge team working on such complex projects, building repeatable processes at each stage of
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your video production workflow is crucial to ensure your project meets deadlines, gets in front of the right
people at the right time, and moves rapidly along the production line.
 The following are critical protections to implement:

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Pre-defined stages that allocate specific project team members and content routes to each step of
production—and ensure that the next step of content creation does not begin until all requirements,

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content, and approvals for prior steps are achieved.

Triggers based on time and/or decision that submit files for evaluation only after certain events occur (a
new version is created, a client indicates a first review on a rough cut, a file is exported from Adobe

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Premiere into a folder, etc.)

Checklists for approval decisions that track when and why team members signed off on a video file, as

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well as whether or not they requested changes during the production process.

Notifications and reminders are sent out automatically to keep all team members accountable and up to
date on changes to the video, deadlines, and other important information.

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The automation of these guardrails contributes to the standardisation of the video creation cycle and
eliminates uncertainty across teams regarding roles, responsibilities, approvals, and project expectations.
It speeds up production review procedures, keeps assets organised, and helps to eliminate human
mistake. Finally, instead of clarifying or following up on criticism, your video editing team will have more
time to focus on creating amazing content.

2. Delegate a Production/Project Manager rs

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Without the correct leader, projects can easily deteriorate into anarchy. Appoint a production manager to
guarantee that your video production operations are on track.

For more complex procedures, you may need to designate a project manager for each stage—pre-
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production, production, post-production, and promotion—because each of these areas necessitates

specialised knowledge.

This individual should be an excellent communicator who can assign duties and keep employees on
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pace. This is especially crucial when you're working with freelancers or contractors who have their own
schedules. A project manager may keep each contributor informed by offering direction, tools, and a clear
set of expectations to ensure consistency across distant teams.
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3. Use A Central Collaboration Tool to Host and Review All Project Files

There are so many moving pieces in video production that it's easy to lose track of a few critical items
here and there.
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Gathering and incorporating input on new video versions in post-production is one of the most difficult
difficulties for video producers.
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To offer stakeholders with access to updated versions for evaluation, video editors must export files and
upload them to shared folders or another hosting system, such as Vimeo. Any changes performed using
these methods are made outside of the original video files, and obtaining complete feedback might be
difficult or time-consuming.

As a result, you should set up a centralised repository where you can store and work on all video project
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files and accompanying documentation.

 This hub should operate independently of your video editing system and serve as a repository for project
files and project progress for everyone involved in the video project. Collaborators in this project space

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should also be able to work with and markup video files in a way that allows the editing team to provide
input.

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The following are some useful post-production review tools:

Timeline Review on a Frame-by-Frame Basis: It is critical that reviewers be able to provide specific

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criticism. Whatever system you use to collect feedback, reviewers should be able to evaluate a fresh
video render by time, timecode, or specific frame.

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Range-based Commenting: Similarly, stakeholders may wish to make comments or adjustments
throughout the video's timeline. This allows editors to understand exactly where changes apply without
having to second-guess or misinterpret comments.

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Stakeholders must also be able to see how a video will look in different formats in order to appropriately
approve its use across several channels. By overlaying safe areas onto a single video clip, contributors
can rapidly evaluate how a video project will look when released across several channels.

Keeping video file storage and complex video project markups and updates in the same system is critical

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for a seamless production process, no matter how complicated things get. It generates an auditable
history of all comments, answers, change requests, and versions, making it simple to stay organised and
up to date on the project's status.
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4. Build Review & Approval Into Your Video Editing Software

Once accurate input from stakeholders has been supplied, it is advantageous if your video editing team
can view and execute those changes directly in their editing bay.
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Implementing a video production workflow that includes review and approval capabilities directly within an
editing system, such as Adobe Premiere or Final Cut Pro, allows your video production team to provide
immediate feedback, understand where changes apply, and get new versions out the door more quickly.
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One of the distinguishing features of an integrated production process for editing is the ability to:

Project files and sequences that have been updated should be produced and encoded as a new video
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version for approval.

Allow team members to offer comments and be notified immediately when new renders are ready for
inspection.
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You may see a list of all projects that are being evaluated with stakeholders, as well as their status and
versions, in the editing window.
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Synchronize new feedback and comments to the editing timeline so editors may see where changes are
needed and make changes straight to the project file without moving platforms.

5. Create distinct naming conventions and filing systems

You'll need to develop a naming standard for all files, as well as a system for keeping them organised, in
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addition to storing project materials in a central area.

Naming conventions could look something like this:

 • SAMPLE-Video-Rough-1
• SAMPLE-Video-Proof-2

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• SAMPLE-Video-Final

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This is how your system might look:

• Name of the project. Folder in which you will keep all of your work.
• Unprocessed video. Subfolder containing all raw footage and clips.

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• Documentation for the project. Subfolder containing all project files and autosaves.
• Audio. Subfolder for music tracks, voice-overs, and other audio files.
• Graphics. Keep all motion graphics, titles, and other design components in this subfolder.

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It is entirely up to you how you organise your files. The crucial issue here is that all stakeholders
understand where and how to access what they need to finish their work, as well as the most recent
version of a video file.

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It's also worth mentioning that many content management systems include the ability to configure rules
that ensure files are labelled and kept in accordance with brand guidelines.

This prevents separate persons from using alternative naming conventions or organisational approaches,

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which might result in extra work and several versions of the same project.

Given that the financing entity has the most control, compensation in the motion picture industry is closely
related to artistic control. While movies made within the system are subject to the studio's financial and
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risk-averse pressures, there are ways to mitigate these influences. When the director is flexible on the
amount of up-front payment, studios may be more willing to negotiate the final cut. Compensation in such
cases is linked to artistic control decisions.
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In exchange for a percentage of the film's gross receipts, the director may waive some or all of his
compensation. In contrast to pay-or-play or the standard fixed compensation scheme, when the director
has a stake in the film's financial success, he has a clear stake in its success. In this way, the director's
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compensation scheme may incentivize him to make commercial considerations, making studios more
comfortable with the idea of giving the director more creative control. By putting the filmmaker more
financially in step with the studio, this changes the traditional structure of the motion picture industry in
which the artists bear the reputational risks and the studios bear the financial risks. This arrangement
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benefits both parties: while the director gains more creative control with the right of final cut, the studio
can reduce production costs and cash outlay, lowering the potential losses in the event of a box office
failure. This is especially true in cases where "the effect of making blockbusters has increased the
studios' financial risk."
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Technical feasibility assesses the expert system's technical difficulty and frequently involves analysing
whether the expert system can be implemented using cutting-edge methodologies and tools. In the case
of expert systems, determining the shell in which the system will be created is a key part of technological
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feasibility. The shell used to construct an expert system can have a significant impact on its quality,
making it critical to the system's success. Although the desirable properties of an expert system shell will
vary depending on the task and domain requirements, the shell must be adaptable enough to properly
incorporate expert reasoning into the system. It also needs to be simple to interface with existing
computer-based systems. Furthermore, a shell with an easy-to-use interface encourages users to utilise
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the system more regularly.

 The timeline is the section of a video editing programme where you arrange your video clips and plan
out all of the edits you want to apply. As you work, you'll see all of your video clips, audio clips, effects,

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and transitions set down in chronological sequence. You'll be able to reorganise, trim, and improve your
footage, as well as perform other fundamental video editing tasks. You may also preview your project at

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any point in the timeline to see how your changes will appear.

The timeline edits do not change your source files and are only previews of how the edits will appear. You

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can undo everything you don't like. Trimming a clip and then re-extending it to full length is not a problem.
When you're finished with your adjustments and ready to export your video, Premiere Pro will encode a
whole new video file that includes all of the changes you made in the timeline.

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Timeline editing workflow recommendations.

Stick to a pattern when editing video content to avoid losing footage and to streamline your production.
Back up all of your footage to an external hard disc before you begin. Then, in Premiere Pro, upload or

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ingest your film into a new project. This is the bucket from which you'll drag clips onto the editing timeline.
Go through your project library and remove any unneeded clips.

Drop a few clips onto the timeline and start making your first cuts. Bring in any music or sound effects that
will be used to assist design your sequence. Color-coding your sound clips can help – one colour can be

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used for sound effects, another for music, then another for speech, and so on. After you've completed
your rough cut, you can add transitions, start colour grading, and add text or graphics.

Take breaks:
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"I'll make one rough pass — cut it all the way through, even if it's not perfect — and then take a break,"
Martin adds. "I'm not going to touch it; I'm going to go away, do something else, cut the grass, go cook."
Then I'll return with fresh eyes and make another cut. Then I'll watch it again to see how it feels. I'll also
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ask my wife or others to keep an eye on it."

Always rewatch.
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Before exporting your project, make one last pass through it. "Go back through your chronology and
make sure everything is where it should be," Martin advises. Check that all of your titles are in the correct
order and that you haven't overlooked any colour grading. "It can be time-consuming with longer videos,
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but it will save you a lot of hassles in the long run."

Check your Understanding

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1. Production and post-production are both critical but distinct aspects of the_ _ _ _ _ _ _ _ _ _ _ _.
2. The film post-production process typically begins with _ _ _ _ _ _ _ _ _ _ _ _ _.
3. The study of film art and the function that various aesthetic perspectives play in the evolution of
cinema as an art form is known as_ _ _ _ _ _ _ _ _ _ _ _ _ _.
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4. Creative editing/writing is a piece of writing which focuses on _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _

_ _ _ _ _ _ _.
5. A _ _ _ _ _ _ _ _ _ _ is a curated collection of audio and video clips.
6. Rhythm necessitates that the _ _ _ _ _ _ _ of shots vary in a series.
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Summary
  The video post-production process usually begins at the end of the production process; however

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the two stages can sometimes overlap. This procedure is going through the footage, stitching it
together, and editing it with audio and visual effects.

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 Mastering editing aesthetics is more of an art than a science, but there are several guidelines that
most editors think will help you tell a stronger tale with moving images. If you follow those easy

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rules, you'll be able to make the storey in your next video flow smoothly across the screen.

 Editing is where the real magic happens in filmmaking, and the quality of it can make or break

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your project. These five basic film editing principles may sound very simple.

 A long take (also known as a continuous take or continuous shot) in filmmaking is a shot that
lasts far longer than the standard editing tempo of the film or films in general. Long takes

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frequently include significant camera movement and sophisticated blocking, but this is not always
the case.

 It begins with a script, which is then turned into images by a director and cinematographer, but
after all is said and done; the editor is tasked with transforming that raw filmic material into a


visual story.

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The post-production process may vary based on the film, however it often falls into the following
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main steps. If you're just starting out in filmmaking, postproduction is a well-organized,
collaborative process that might take several months to a year or more, depending on the scope
and budget of a project.
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 Storyboard is a series of panels, sometimes hand drawn, that depict how a scene will unfold. It
will be drawn from the audience's point of view, as in the storyboard will mimic how a scenario will
play out on television.
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 The purpose of continuity editing is to create a continuous flow of visuals and sound, a linear,
logical development from shot to shot and scene to scene, orienting the audience in location and
time and moving them through the narrative.
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Activity

Look any video in YouTube and define all the different camera angles used in that video?
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Glossary


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180° rule: The 180° rule is typically applied to scenes involving two or more persons conversing.
It does, however, necessitate that you have filmed your stuff adequately ahead of time.
 ECU: Extreme Close-Up
 OTS: Over-the-Shoulder
 POV: Point-of-View
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 25:25:50: That equates to 25% broad pictures, 25% medium shots, and 50% close-ups.
 Questions and exercises

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1. What are the requirements for post-production?
2. What do you understand by the Aesthetics of film and its Editing?

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3. What are Difference between a Creative Editor and a Technical Editor?
4. What do you understand by Editing and A Long Take?
5. Understand the Directors vision- creating sequences with meanings

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6. Define basic Aesthetic Principles for editing?
7. What do you mean by Understanding the Demand of the Story line and also Target audience?
8. Define key post-production processes techniques?

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9. What do you understand by Story Boarding?
10. Define various camera angles and movement?
11. What do you understand by Mise-en-scene and Montage?
12. What do you understand by video workflow?

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Further Readings:

1. The Video Editing Handbook, Aaron Goold

2. In the Blink of an Eye Walter Murch
3.
4.
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Film and Video Editing Theory: How Editing Creates Meaning, Michael Frierson
Editing Digital Video: The Complete Creative and Technical Guide, Patrick McGrath, Robert M.
Goodman
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Check Your Understanding:
Answers
1. filmmaking process
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2. picture editing
3. aesthetics in film
4. imaginative and symbolic content
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5. sequence
6. length
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 Module II: Manage equipment & material

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Unit 2.1: Preparing materials and equipment for the post

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production process

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At the end of this unit, you will be able to understand:

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Analogue and Digital Video, Digital Intermediate Technology
 Gather raw footage/material maintaining LOG SHEET.
 Ingest and digitization, Break-down the workflow into tasks that can be performed on daily basis.
 Different Video formats and sizes

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 Various editing software and their usage .
 Linear and Non- Linear system.
 Concept of working On Line and Off Line editing.
 Save back-ups for interim work-products in the appropriate file formats.

Introduction
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Post production refers to anything that happens after you've shot or recorded a film, video, or image. Post
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production chores include editing music and scores, video footage, and still photographs, to name a few.
Post-production is frequently more time consuming than the initial shot.

What Is the Purpose of Editing Software?

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Video and audio editing software is extremely important in editing, particularly in filmmaking. At home or
on a laptop, you can change raw footage with computer video editing software to generate specific
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aesthetics. This program frequently includes tools for adjusting colour, brightness, and exposure, as well
as trimming video portions. You can also use editing tools to create soundtracks and sound effects, as
well as change specific sound snippets. Consider Blackmagic Design DaVinci Resolve Studio if you're
editing audio and film for video post production. It supports both audio and VFX for post-production
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editing.

Why Do You Need Computer Video Hardware?

In addition to computer editing software, computer hardware, such as application/editing keyboards,

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workstations, and controllers, can aid in the post-production of video and film. Tiny recorders, mini
playback devices, and USB capture devices are examples of hardware that transfer and stream content
for editing. There are also customised keyboards and controllers that have features like wireless
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capability, search wheels, USB ports, customizable buttons, and a number of helpful keys to make editing
easier. Tactile drum pad controllers can add diverse sounds to audio editing in post production.

Choosing Post-Production Computers

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For editing while travelling or working on location, creative laptops and mobile workstations are popular
solutions. Mobile workstations frequently incorporate powerful processors and graphics cards, as well as
 touchscreens for a more pleasant user experience. All-in-one PCs are another wonderful option because
they often have displays on the sides of the boxes and come with everything you need for post-production

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editing. Consider the specs you'll need before making a purchase if you only need to add parts to your
present computer, such as extra RAM or new graphics display cards.

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2.1.1 Analogue and Digital Video, Digital Intermediate Technology

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A video signal that is collected, transmitted, and stored as a constantly varying voltage as opposed to a
stream of bits as in digital video. Prior to the introduction of digital television in the late 1990s, television
relied on analogue video transmissions, and older video cassette recorders such as VHS, PAL, Betamax,

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and Umatic all save analogue signals.

Analogue video has the problem of being susceptible to noise interference, but it has the virtue of being
extremely dense: a single 3-hour VHS cassette carries the equivalent of 16 terabytes of digital data.

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In a video camera, analogue video is produced by scanning an electron beam across a phosphor. The
quantity of light on each little area of the phosphor, which responds to the light focused on it by a lens,
determines the strength of the beam. This beam is subsequently sent to a recording, switching, or display
device. Analog switchers simply link two devices by shutting a relay dry contact. Recorders simply record

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the electron beam's voltage changes onto tape, and display devices transform the voltage back into an
electron beam and aim it towards another phosphorous surface, which is the display monitor being seen.
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We used to live in an analogue environment, dealing with photographic film, analogue TV sets,
videocassette recorders (VCRs), and camcorders. We relied on analogue TV broadcasts and analogue
cable TV to distribute video, which carried predetermined programming at a fixed rate. Because of its
nature, analogue video featured extremely little interactivity, such as just channel selection on the TV and
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fast-forward search and slow-motion replay on the VCR. In addition, we had to deal with the
NTSC/PAL/SECAM analogue signal formats, which were notorious for their flaws and poor still-frame
image quality. We needed pricey transcoders to display NTSC signals on computer monitors or European
TV sets. To display a smaller version of the NTSC image in a corner of the monitor, we had to first digitise
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the entire image and then digitally reduce its size. Searching for specific footage in a video library
involves lengthy visual scanning of a large number of videotapes. Photographic film, a high-resolution
analogue media, or laser discs as analogue signals employing optical technology were used to record
motion movies. Manipulation of analogue video is a difficult process since it necessitates first digitising
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the analogue signal into digital form.

Vertical resolution, aspect ratio, and frame/field rate are all essential video signal parameters. The
amount of scan lines each frame determines the vertical resolution. The aspect ratio of a frame is the
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ratio of its width to its height. When the refresh rate of the display exceeds 50 Hz, the human eye does
not notice flicker. However, for analogue TV systems, maintaining such a high frame rate while
maintaining vertical resolution necessitates a wide transmission bandwidth. As a result, it was decided
that analogue television systems should employ interlaced scanning, which compromises vertical
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resolution for lower flickering within a set bandwidth.

Digital video (DV) is video that is captured and stored as ones and zeros in a digital format, as opposed to
a series of still images captured on film. Digital signals are utilised instead of analogue signals. Although
information is processed and stored as a sequence of digital data for simple modification by computers,
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the video is still presented to the user in analogue form via a screen.
 Digital video is made up of a sequence of orthogonal bitmap (BMP) images that are displayed in quick
succession at common rates of 15, 24, 30, and 60 frames per second (FPS); the more frames the DV

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has, the more movement details are captured or displayed.

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As a comparison, acceptable quality movies and videos are recorded and viewed at 60 frames per
second (FPS), but super slow motion videos are captured with high-speed photographic equipment at
more than 1,000 frames per second (FPS) and then viewed at standard rates. Each orthogonal BMP

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picture or frame in the DV contains a raster of pixels with width and height specified in pixels, which is
known as resolution. The higher the resolution of the obtained video, the clearer and higher the quality.

A video can be up scaled, or filmed in low resolution and shown in greater resolution, due to digital

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manipulation, with noticeable losses in perceived and numerical quality. A high resolution video, on the
other hand, can be successfully downscaled without perceived quality loss, even if the images are
perceptibly smaller and thus of inferior quality on a high resolution screen.

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Digital video has several advantages over analogue video, including the following:

• Ease of sharing and storage.

• There is no degradation in data quality when copied.

• Simple and low-cost copying;

• Multicasting capability.
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Digital video technology can also include intelligent video analytics software, enabling capabilities such as
video search, object tracking, and intrusion detection.
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Comparing analog and digital video

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The fact that analogue recordings are particularly sensitive to degradation is a serious issue. Some of the
original, infinitely changeable data is lost every time analogue data is replicated. This effect, known as
generational loss, may be seen in that dark, grainy copy of. This is not the case with digital data. A one
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remains a one no matter how many times it is copied, and a zero remains a zero no matter how many
times it is copied. Similarly, analogue recordings deteriorate with each play, which is why your 1964 Meet
the Beatles LP pops, hisses, and has lost many of its highs and lows over time. Digital recordings are
based on instructions that tell the computer how to generate the data; as long as the computer can read
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the instructions, the data is generated in the same way each time.
 Digital intermediate: A digital intermediate is a digital file or files created by scanning a film (typically
negative) original and used for editing, effects, and grading/color correction. It is the material that is

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utilised in DI labs and makes up the entire film.

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As such, it should have all of the important information present in the OCN in order to give both the
latitude and sharpness of the original, for which scanning at 2K resolution, 10-bit log is typically deemed
optimum.

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It could also apply to footage recorded straight from a digital TV camera, ranging from DV to HD and
digital cinematography cameras. The three main stages in the DI process are:

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 Input: During the input stage, or acquisition, the processed camera negative is scanned using a
high resolution film scanner. The scanner digitizes each frame of film and converts the film
images to a series of digital files.
 Image Processing: Once the film has been scanned, conforming, color correction, creation of

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special looks, and addition of special eFects are all performed digitally in the image processing
stage.
 Output: The edited digital files are used to render a digital master, which is recorded out to film
using a film recorder or used to render a variety of electronic formats.

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The term digital intermediate (DI) is frequently misused. A digital intermediate is just a project in its digital
state at the time of picture processing. As a result, the phrase "digital intermediate" alludes to the
transitional nature of digital data—a state between the input stage and ultimate delivery.
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Color grading is a method that is used to supplement or replace the photochemical timing process. It is
frequently the final creative alteration made to a film before its release in theatres. Color grading differs
from telecine, which includes scanning film and modifying colour early in the process to simplify editing.
The distinction between telecine and DI, however, is becoming increasingly muddled since the two
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processes are carried out on the same machinery by the same colorists. At two different times in time,
telecine and DI are frequently part of the overall colour management process of a motion picture. A digital
intermediate is typically performed at a higher resolution and with greater colour accuracy than a telecine
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transfer.

Although the term "digital intermediate" was originally used to describe a process that started with film
scanning and ended with film recording, it is now also used to describe colour correction, colour grading,
and even final mastering when a digital camera is used as the image source and/or the final movie is not
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output to film. This is due to recent advances in digital cinematography and digital projection
technologies, both of which attempt to synchronise film origination with film projection.
 In classic photochemical film finishing, an intermediate is made by exposing the film to the original
camera negative. The intermediate is then used to mass-produce the films that are shown in theatres.

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During colour grading, the quantity of red, green, and blue light used to expose the intermediate is
changed. This aims to replace or supplement the photochemical strategy to producing this intermediate.

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The digital intermediate process colour grades images using digital tools, allowing for considerably better
control of individual colours and parts of the image, as well as image structure correction (grain,

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sharpness, etc.). A film recorder is then used to create the intermediate for film reproduction. The physical
intermediate film produced by the recording process is frequently referred to as a digital intermediate, and
it is typically recorded on internegative (IN) stock, which is intrinsically finer-grain than camera negative
(OCN).

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The introduction of 3D look-up tables (or "3D LUTs"), which could be used to replicate how the digital
picture would look once printed onto release print paper, was one of the main technical advances that
enabled the switch to DI. This eliminated a significant amount of expert guesswork from the filmmaking

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process and allowed for greater latitude in the color grading procedure while lowering risk.

The digital master is widely used as a source for a DCI-compliant digital projection motion picture
distribution. For archiving reasons, the digital master obtained during the Digital Intermediate process can
still be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-

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and-white film with an expected life of 100 years or longer. This archival format, which was widely utilised
in the industry prior to the advent of DI, continues to provide an archival medium that is independent of
changes in digital data recording technologies and file formats, which could otherwise render digitally
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preserved content unreadable over time.

Traditional Lab and DI Comparison

The digital intermediate process has the potential to span the whole post-production stage of filmmaking.
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It can replace a lab and optical finishing workflow by conforming, integrating effects, colour grading, and
preparing the product for final delivery utilising digital procedures.
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Conforming

A film cut list or an edit decision list (EDL) is used by the negative cutter in a lab and optical finishing
workflow to cut the original camera negative, position shots in the edited order, and splice them together
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to make a conformed negative.

Negative cutting is no longer used in a digital post-production procedure. Rolls of original camera
negative are supplied to the post-production house, and only the final edit shots are digitised. The EDL is
used to auto-conform the digital intermediate when scanning is completed. The original camera negative
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is scanned only once and remains undamaged during this process.

Visual Effects
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Computer-generated effects shots are printed on film in a lab and optical finishing workflow, then trimmed
and matched with the remainder of the film frames. During the printing process, further effects or
transitions, such as fades and cross dissolves, are produced optically.

Complex effects are developed at a computer workstation and easily combined with the rest of the files in
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the digital intermediate in digital post-production. All transitions, including fades and cross dissolves, is
created digitally. Transition durations can be easily altered and reviewed nearly quickly.
 Color Timing and Correction

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The colour timer in a lab and optical finishing procedure examines and adjusts the colours of each scene
in the film using a colour analyzer. Only primary colour correction can be performed by altering the total

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colour balance of the three primary colours: red, green, and blue. Typically, a number of answer prints are
produced in order to view the findings and obtain full approval of colour timing modifications.

A colorist conducts primary and secondary colour correction digitally in a digital post-production workflow.

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Specific colours and objects in the scene can be picked and changed in secondary colour correction
without altering the overall colour balance of the scene. Real-time testing and viewing of adjustments is
possible. When applied to a full picture, digital colour correcting has given filmmakers unprecedented

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creative power and flexibility.

DI Advantages

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The Digital Intermediate method provides versatility and creative control. DI enables for collaborative and
participatory digital colour grading, visual effects, and digital mastering.

The DI process is also format independent, allowing you to enter content in a variety of formats such as
film, video, digital media, and computer-generated material. The digital intermediate can then be

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converted into any number of formats after picture processing. As a result, a film project can be converted
to a variety of electronic formats. Although the quality of a project captured electronically can be
diminished, it can be produced on film. Alternatively, a project can include any number of sources. The DI
process is used by filmmakers to blend media and experiment with different sources.DI Process is
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Non-linear

The digital intermediate is a collection of digital files that can be orderedly sorted, indexed, tagged,
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viewed, and manipulated. This allows you to work at any point in the project and in any order. You can
also change the order of the scenes or view any two shots in the production at the same time to ensure
visual continuity.
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Full Editorial Control

The digital intermediate process gives the director entire editorial control, including the ability to:
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• Auto-confirm from an updated EDL

• Make manual modifications to the DI by duplicating, moving, replacing, or removing frames

• Adjust the timing of cuts and transitions

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This level of versatility allows for last-minute modifications while also minimising the costs associated with
a typical postproduction procedure.
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Digital Color Grading

The ability to use digital colour grading gives you unprecedented control over your work, allowing you to
do things like:
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• Create a look or mood

• Manipulate individual colours and objects in a scene

 • Paint, retouch, and fix images

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• Emulate lighting

• Emulate camera filters and lab processing techniques

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Computer-generated Effects

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The digital intermediate method improves interoperability with computer-generated material. At various
stages, effects shots might be put into the digital intermediate pipeline for evaluation and approval. When
finalised, the special effects files are color-graded and merged into the digital intermediate.

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Visual Effects and Transitions

Many conventional optical effects can be achieved digitally in a digital post-production approach.

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• Transitions such as wipes, fades, and dissolves

• Image cropping, resizing, and repositioning

• Freeze-frames

• Titles and text

Image Repair and Restoration

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There are also various approaches for repairing flaws, such as:

• Scratch and dust removal

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• Digital painting and retouching

• Image sharpening and blurring

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• Grain reduction or increase

Instant Feedback
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The DI environment is interactive, allowing you to see changes as they happen. Digital colour grading is
one example. The colorist and director can alter the colours and see the changes on an electronic display
in real time. Instant feedback allows filmmakers to collaborate, experiment, and adapt to changes more
quickly.
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Preserve the Original Camera Negative

The digital intermediate process also helps protect the original camera negative. The negative has to be
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scanned only once, and then the project files are conformed digitally. The intact, uncut original camera
negative can be archived.

2.1.2 Gather raw footage/material maintaining LOG SHEET.

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Raw footage (also known as "source footage") is the raw, unprocessed camera output captured by a
videographer while shooting. It comes in the form of a long list of files that you may not be able to open
 without professional software. If you can open the files, you'll find footage that hasn't been color-
corrected, audio-enhanced, or trimmed to remove useless material. What's the point? It's not going to go

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well.

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Raw footage is not meant to stay raw—it is intended to start in that format to preserve the quality and
detail for the editors, allowing them the most creative freedom in putting the final video together. Raw
footage can be almost completely transformed in post-production to meet the needs of the final product

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because it retains all of the camera's details, true colours, lighting, and high-quality images.

Here are some extra details to keep in mind when working with raw footage.

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The Dimensions: We can't stress this enough: raw footage files are massive. To work with, they require
a lot of storage space and processing power, which is why professional editing software is so important
for post-production.

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The Color: Raw footage's colour is typically flat or dull. This is, once again, by design. The colour of raw
footage is actually flat—that is, it was shot in a video format known as "flat," which lacks a lot of the colour
information found in a finished video file. The footage will appear lifeless, but only so that the editors have
complete control over the final product.

technical tweaks to bring the colours to life.

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The finished output will not look like the raw footage since the editor will colour grade it and make other

The Sound: When working with raw material, the audio that will be utilised in the finished video may be
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recorded separately. Often, the camera used to record your footage does not record the final audio. A
separate audio device will be used to preserve the maximum degree of quality.

While the camera will still theoretically catch audio, it will most likely be too far away from the source for
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the sound to be as clear as you would like. This issue is solved by using a separate audio recorder.

What does this mean for your raw footage? This means that your video's final audio may be in a distinct
file entirely. The editors will synchronise the audio with the footage during post-production, but if you're
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watching raw material, that won't be the case.

The Backstory: Raw footage files are typically not preserved in sequential order, especially when
numerous cameras are employed. If there were two or more cameras, all of the footage from one camera
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would most likely be played first, followed by all of the material from the second camera, and so on. This
concept throws the storyline's sequencing off if you're not used to deciphering raw film.

Furthermore, not every shot from the raw film will be included in the final cut. Editors are storytellers. They
create the perfect narrative out of the photos they have available, removing any shots that do not add
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value to that narrative. Trust that your editors will make the best selections possible based on the footage
at their disposal.
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Finally, not all images will be usable from the start. Consider shots when someone coughs, the actor trips,
or a sentence is misinterpreted. Minor mistakes happen during recording, but they should not be used in
the final product. Because the raw film comprises all of the material, certain shots will be included
nonetheless, thus it's up to the editor to discover them and ignore them when assembling the final result.
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Whatever type of production it is, the footage must be logged and available for editing at some point. This
is true for work in the narrative, documentary, commercial, and industrial genres. Some folks I've
 encountered over the years don't take the time to go through this procedure, and as a result, their project
suffers.

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Organize Your RAW Video

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While this may not be as important to some as it is to others, I've always found that if I organise my hard
drive folder structure in a similar fashion to how I structure my bin in my NLE, it makes life a lot easier.
The more organised you are, the easier it will be to log and edit.

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A log's purpose is to help you find shots you want to use later. One of the most tedious aspects of
"traditional" editing is having to sift through miles of film or tape to find the good bits. Computers make this

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task easier, but only if you keep a log. It is an essential component of your setup. All of the fancy
computer and camera equipment in the world will never be able to replace a good log book.

Logging your DV tapes can be time-consuming. If you fall behind in the process and your tapes pile up,

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you risk not doing it at all. Don't allow that to happen. Turn logging into a game. "Screening the dailies" is
a time-honored tradition in Hollywood. The director, cinematographer, editor, and actors all gather for an
hour or so to watch the footage. This is when they take notes on what works and what doesn't, which
shots must be used, and how the project might come together. It's entertaining, like a small party.

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In 'bins,' the dailies or rushes are sorted and labelled. Each take may include additional notes from the
director or cinematographer. This is the editor's first viewing of the film, and because it was shot out of
order, it is out of context with the storey. A good editor looks at the rushes for fluidity of movement and
nuances that will be incorporated later into the film.
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1. Log sheets: You'll be capturing a lot of footage during a film shoot. You may end up with multiple
versions of the same angle or shot if your actors made mistakes or if you wanted to take a few
extra shots for safety. These shots will look similar during editing, making it difficult to determine
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which shot was the best. As a result, you can make notes on a shot log sheet about each shot
captured, making editing much easier and ensuring you don't miss the best take from each
angle.Some shot log sheets can become quite complicated, particularly for big-budget films,
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because they record information about the footage, such as timecode, lens type, focus, and
filters, which isn't always necessary for smaller productions. The following is a list of useful
information to record on your shot log sheet while filming:
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2. Shoot date: This is simply the date on which you are filming the shots that you have recorded in
your shot log sheet. This is very useful when importing and editing your footage because it allows
you to track your footage and refer back to your shot log sheet at a later date.

3. Page number: Enter the page number for the shot log sheet you're working on here. Because
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you may end up working with more than one sheet, it's critical to number the pages. That way,
you can keep the shots in the order in which they were shot.
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4. Project title: This is where you finish the name of the film you're shooting, whether it's a working
title or a final title. Including the name ensures that your shot log sheets don't get mixed up with
others you're working on at the same time.

5. Production company: Fill in the name of your production company or the director's name here.
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If your shot log sheets go missing, the finder may be able to send them back to you if they are
 discovered.

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6. Clip number or name: This is where you enter the name or number of the clip on the media card
to which you're recording. (A clip is a video segment saved as a file to a media card or tape.)

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When you watch the footage back on the camera, some cameras will display the name of the clip.
If your camera does not display the clip name, simply enter the clip number, which will be "1" for
the first shot.

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7. Scene no. : This is where you enter the scene number for the scene you're filming. This is useful
because you might end up filming more than one scene in a day, and you might end up filming

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your scenes out of order. Your shot log sheet will help you organise your clips when importing
and editing your footage by recording the scene number.

8. Take number: Enter the number of times a shot was taken here. (This is the number of "takes.")

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When you change the angle or shot, this number resets. If you set up a closeup, for example, the
first recording you make from this angle has a take number of 1. The take number will be 2 if you
retake this shot without changing the angle. Tracking takes allows you to keep track of how many
times you filmed a shot. Of course, the last take is usually the best.

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9. Shot description: Fill in the blanks with information about the shot you're filming. You may want
to include details about the shot type, the characters in the frame, and what happens in the shot
here. When importing and editing footage, this information will assist you in identifying the shot.
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10. Comments: Enter any notes about the shot and how it went while filming here. Include
information about any mistakes made, the reasons for retaking the shot, and whether or not it
was a good take. You can also make notes here about which take was the best. When importing
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and editing your footage, this is the most useful section of the shot log sheet because these notes
can help you decide whether or not to use the shot in the final edit.
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2.1.3 Ingest and digitization, Break-down the workflow into tasks that can be performed on daily
basis.

In the field of media production, ingest refers to the process of integrating new software pieces into a
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workshop or production company. Traditional video, multimedia data, and compressed data streams can
all be ingested. Typically, the content is kept on a server and sent from a hard disc formatted for the
media, such as an SSD or SD card.
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As video systems become more IT-based, digital files are often the most secure source of ingested
material for a compatible server. When ingested media elements are attached in the form of a file with
sufficient metadata, they can be simply turned into accessible digital media resources.
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In the media industry, various types of applications, including but not limited to:

• Final Cut Studio

• SL NEO server
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• The Harmonic Spectrum X

• (Advanced Media Server System)
• Dalet Brio Servers
•
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Metus Ingest
• Red Giant Shooter suite
• The Abode suite

With the utilisation of 4k media assets becoming the norm in our regular feed of media content, it is also
customary to add another layer to the ingest process. This layer would include creating "proxied"
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duplicates of the files, allowing for a speedier post-production procedure. Proxy editing, often known as
offline editing, is a post-production approach that uses compressed versions of huge files that are then
 changed out at render time to experience not only the full quality of the piece but also faster editing times
than dealing with raw data.

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While file ingestion may not appear to be the most crucial component of your production, it can cause

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huge bottlenecks throughout the post-production process and, if done incorrectly, data loss!

With proper research and planning, even the smallest productions can benefit from a disciplined ingest
process.

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Until recently, the phrase "ingest" was only used in medical situations, and it usually meant "take into the
body." Ingestion can be accomplished through inhalation, injection, absorption, or simply by mouth.

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Of course, the term has now been adopted by digital technology and the manufacturers who sell related
products and systems. In video production, ingest simply refers to the process of introducing new
programme elements into a studio or facility. Traditional video, compressed data streams, or data files

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can all be ingested. Typically, the material is kept on a server.

As video facilities transition to an IT infrastructure, files are typically the quickest and most dependable
form of ingest material for a compatible server.

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Ingestible media elements can be converted into easily usable assets once they are saved as a file with
appropriate metadata. One of the hottest areas in asset management is ingest and the newly emerging
technical standards that go with it.
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Technology never stops evolving and improving. The media industry's future is steadily shifting toward the
digital realm. The digital environment is increasingly becoming a part of our daily lives. Media archiving;
analogue audio/video recordings, print media, photography, microphotography, and so on are gradually
but steadily being converted to digital formats and made available in the form of audio CDs, VCDs, DVDs,
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and so on. Aside from the numerous advantages of digital over analogue, the main advantage is that
digital media is user friendly in terms of data handling and manipulation with minimal man and machine
(system) time. With the advancement of digital technology, the time required to edit a one-hour cine-film
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in analogue form has been reduced from weeks to a few hours. Furthermore, creativity can be stretched
to any limit in record time for better and better results, which may not be possible when working with
analogue media. The most recent video editing software packages and systems have made complex and
difficult video editing simple and easy.
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A digital video movie is made up of a series of still images that are ordered sequentially one after the
other (like analogue video). A number of factors influence the quality and playback of a digital video,
including the number of pictures (or frames per second) contained in the video, the degree of change
between video frames, and the size of the video frame, among others. At various stages of the digitization
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process, a number of parameters are generally provided that allow one to manipulate various aspects of
the video in order to achieve the highest quality possible.

The quality of digital video output is determined by a variety of factors, including the source video, which
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can be Betacam, U-matic, or Hi–8. These can provide better quality than VHS tapes. To find the best
settings for a specific video source, some time must be invested. Furthermore, the best settings for one
video source may not produce the best results for another video source.
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 2.1.4 Different Video formats and sizes

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The number of pixels organised or arranged by width and height on a screen or image is referred to as
resolution. In layman's terms, resolution is the number of pixels in an image.

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The higher the quality, the more pixels there are. The most common video resolutions are referred to as
'Formats,' which are technically referred to as Ultra HD or Full HD.

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Pixel: It is the most basic unit of a graphic or image that can be represented or displayed on any digital
device. Every pixel is a puzzle piece, and when they all fit together, you get a resolution, and when you
get resolution, you see an image. That's all there is to it.

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Pixel width x Pixel height = Resolution

A higher pixel count indicates a higher resolution, whereas a lower pixel count indicates a lower resolution
video.

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The resolution of a video determines its quality and how clear or realistic it appears. A higher resolution
generally means a clearer video. The number of pixels in the standard 16:9 aspect ratio, which is
common for computer monitors and television sets, is used to calculate it.

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When it comes to common resolutions like 1080 and 720, the naming conventions are based on the
number of pixels displayed in the screen's vertical line. The naming convention for 8K, 4K, and 2K videos
is determined by the number of pixels running in the horizontal line throughout the frame.
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Resolution can be divided into two types: technical and non-technical.

• Spatial resolution: This refers to the image's height and width, which are measured in pixels.
Simply put, it is the total number of pixels in each frame.
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• Temporal resolution: This refers to the frame rate (the number of frames displayed per second),
also known as resolution over time.
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It should be noted that spatial is the default resolution type.

The resolution of a video also influences its file size, and as a result, HD (High Definition) videos have
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larger file sizes than SD (Standard Definition) videos of the same duration.

The resolution of the video is something that affects the overall visibility of the content from the time it is
shot to the time it is edited and uploaded to the internet. Furthermore, with DSLRs, monitor brands, and
smartphones increasingly offering 4K and 8K resolutions, learning the fundamentals of different video
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resolutions is timely.

Resolutions for Videos

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It's more like getting a haircut when it comes to video resolution: You can change the resolution of a video
from higher to lower, but you can't change it from lower to higher once it's been shot.

Of course, you want to be mindful of storage space by not going too high, but you also want to ensure
that the video's resolution is sufficient for the various formats to fit in and looks good on the platform
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you're targeting.
 Having said that, here is a list of common video resolutions you can use depending on the device or
platform your footage will be viewed on:

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 Though many factors influence the overall quality of video streaming, such as compression, frame rate,
and so on, resolution is one of the most important and fundamental parameters because it directly reflects

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the details of the frames.

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The resolution of a video has a significant impact on your viewing experience, especially when it is played
on larger screens. Whether it's a live stream or an on-demand video, the right resolution is essential for
reaching a wider audience, and this is where iPhones and iPads appear to have an advantage.

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SD (Standard Definition) Resolution

Previously, resolutions were divided into SD (Standard Definition) and HD (High Definition) videos. SD

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video was defined as anything less than 720p. However, as television and computer monitor display
resolutions improved over time, a video was less likely to be shot in Standard Definition.

The most common standard video resolutions include:

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• 640 x 360 (or 360p)
• 640 x 480 (or 480p)

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HD (High Definition) Resolution – 720p

The lowest video resolution is 720p, which is generally referred to as 'HD.' Although most videos are at
least 1080p in quality, 720p (1280 x 720 pixels) is an acceptable resolution for modest web content.
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Because the majority of computer displays are now HD, it is advisable to select a resolution greater than
720p for web and streaming.

The resolution of HD videos is typically:

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• 1280 x 720 (or 720p)

Full HD Resolution – 1080p

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1080p resolutions, often known as 'Full HD,' have become the industry standard for crisp HD video that
takes up less storage space. It should be noted that this is also the normal screen resolution for most of
the smart phone.
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Full HD videos often have the following resolution:

• 1920 x 1080 (or 1080p)

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QHD (Quad High Definition) and 2K Resolution

Quad HD, sometimes abbreviated as QHD, is a common resolution found on high-end smartphones and
gaming monitors. The resolution of 1440p is four times that of HD Ready (or 720p HD). Many high-end
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smartphones offer a Quad HD+ (296 x 1440) resolution, which fits neatly within 1440p.

Another typical screen resolution is 2K, which enables for larger displays and reframing without losing
image quality or editing.
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QHD and 2K videos have a resolution of:

• QHD: 2560 x 1440 (or 1440p)

 • 2K: 2048 x 1080 (or 1080p)

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4K Resolution (or UHD/Ultra High Definition)

This resolution, often known as 4K or UHD (Ultra High Definition), has a pixel size of 3840 x 2160. It has
a similar appearance to 2K but allows video creators to edit and zoom in more.

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Both 2K and 4K resolutions are appropriate for high-resolution colour, graphics, and theatrical watching.
There aren't enough visible variations between 2K and 4K unless you want to adjust colours or cut in

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closer. So it is important when you want to alter a certain detail, but it is not important when someone is
looking at it.

4K videos have a resolution of:

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• 3840 x 2160 (or 2160p / just 4K)

8K Resolution (or Full Ultra High Definition)

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8K Resolution is a super high-resolution choice for zooming in on a faraway photo without pixelation or
generating beautiful video effects.
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Though video artists or filmmakers rarely shoot in 8K, when they do, it is for one of two reasons:

• Better visual effects: Because more pixel data is accessible for tasks like rotoscoping and green
screens.
• Reframing: The capacity to reframe it to a nice close-up while maintaining quality.
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The resolution of 8K videos is

7680 x 4320 (or 43200p / just 8K)

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What Do the Letters "p" and I in Resolution Mean?

When discussing resolutions, people often specify only the height (often referred to as either 'p' or I this
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means that the height and width have a 16:9 aspect ratio.

• The I denotes the use of interlaced scanning, which results in lower video quality when compared
to whole-frame transmission;
• The "p" denotes progressive scan.
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 Why is 16:9 Resolution More Commonly Used?

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It is presently one of the most widely used resolutions for computers, televisions, smart phones, and
monitors. Essentially, any display you're looking at has a 16:9 aspect ratio.

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Furthermore, it is YouTube's standard and official aspect ratio. As a result, it is highly advised that you
encode your video at any of the following resolutions:

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• 3840 x 2160 (or 2160p)

• 2560 x 1440 (or 1440p)
• 1920 x 1080 (or 1080p)
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• 1280 x 720 (or 720p)

• 854 x 480 (or 480p)
• 640 x 360 (or 360p)
• 426 x 240 (or 240p)
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2.1.5 Various editing software and their usage.

The process of rearranging and manipulating video shots to create a new project is known as video
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editing. Editing is an important part of the post-production process, and it includes tasks such as titling,
 colour correction, sound mixing, and so on. For video editing professionals, the three main types of
editing software are Final Cut Pro, Adobe Premiere Pro, and Avid Media Composer.

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Final Cut Pro

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Final Cut Pro is professional video editing software for Mac users that allows them to edit, process, and
output a variety of video formats. DV, HDV, DVCProHD, XDCAM, 2K, 4K, and 5K are among the formats
available. The programme includes a plethora of tools, allowing editors to create flawless videos in a

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timely and efficient manner.

Advantages

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• Fast and Smooth
• Appealing to the eye
• Seamless video editing

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• VR Handling
• Organised assets
• 2D and 3D Titles
• Impeccable sound
• Autosave
•
•
•
Run more than one project at the same time.
Mid-range pricing
High quality rendering rs
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• Up to 400 shortcuts to increase speed of edit

Disadvantage

• Only runs on Macs

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• Limited export settings

• Audio mixing is a little more difficult due to there being no tracks
• Colour correction has no curves
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• Interface can look intimidating

• May not support with all work flows in a collaborative post-production process
• Some upgrades may be a hindrance rather than an aid because the most recent version does not
handle outdated file formats.
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Adobe Premiere Pro

Adobe Premiere Pro, which has been available since 2003, is video editing software suitable for both
professionals and enthusiasts. It enables users to transform raw video footage into stunning cinematic
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videos. It has access to tools that allow editors to adjust colour, fine-tune audio, and do a variety of other
things. It is a common misconception that Premiere is better suited for domestic use; however, major
productions such as Netflix shows 'Mindhunter' and 'Making a Murderer,' major films 'Avatar' and
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'Deadpool 2', as well as various location 'off-set' shoots, have used this package.

Advantages:

• Excellent colour correction and audio tools Compatibility with both Mac and PC
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• Support for various file formats

• VR Compatibility
 • Responsive Interface, which allows you to modify the brightness of the user interface for
contracts that include actual video.

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• RED, Arri, and Canon cinematography cameras are supported.
• SpeedGrade is now included in the production package.

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• Extensive and efficient online customer care
• Reasonably priced for both consumer and professional applications

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Disadvantage:

• You can only rent this product, so you'll never own it.
• It's pricey, but it comes with 29 other services.

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• It is clunky and buggy
• It does not work on 32-bit operating systems because it is a 64-bit application
• GPU acceleration is still primarily limited to professional graphics cards.
• It lacks 360-degree stitching tools.

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Avid Media Composer

Avid Media Composer is film and video editing software designed for professionals who produce
television shows and films. It was the first non-linear editing system available to professionals, and it has

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evolved over time with updates and system add-ons. As a result, it now serves as a model for other
system distributors. The programme is used in major Hollywood productions and thus has a high price
tag. Avid is software that has been designed with limitless capabilities to tackle any media project using
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incredibly powerful tools. Avid is still widely used by major film production companies and is widely
regarded as the industry standard for large-budget film productions.

PROS
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• Suitable for feature films and episodic television

• Customize your workplace
• Separate source browser for faster asset discovery
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• Supports 4k, 8k, and 360 degree video editing

• Many built-in effects
• Compatible with both Mac and PC
• Can generate a negative cut list for matching back to original negative material
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• Can be installed on several computers

• Pro Tools-like audio mixing interface
• When editing for big network distribution, there are no compliance difficulties.

CONS
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• Difficult for beginners to learn because it is said to be the least intuitive of the major editing
programmes
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• Only 24 tracks of video can be stored, limiting the number of angles available for multicam editing
• Can only sync video and audio for single takes
• Expensive
• The operating machine must have at least 250GB spare on the HDD for it to run to its full
potential.
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• Only normal broadcast resolutions and frame rates are supported.

 2.1.6 Linear and Non- Linear system

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Film editing used to be done in a linear method, with the film literally chopped into lengthy strips
separated by scene and take, then glued or taped back together to make a film in logical sequence. This

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was time-consuming, difficult, and extremely skilled job. While linear editing is still utilised today, editors
now have access to a newer and more user-friendly technology.

The process of selecting, arranging, and changing images and sounds in a specified, organised

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sequence — from beginning to conclusion – is known as linear video editing. Linear editing is the most
widely utilised method when working with videotape. Unlike film, videotape cannot be physically ripped up
and put together to produce a new order. Instead, the editor must dub or record each required video clip

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onto a master tape.

Assume an editor has three source tapes: X, Y, and Z, and he chooses to use tape Z first, then Y, and
finally X. He would then start by cutting tape Z to the beginning of the clip he wants to utilise, and when

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he played tape Z, the clip would be recorded onto a master tape at the same time. The recording is
stopped once the desired clip from tape Z has been completed. After that, the operation is repeated with
tapes Y and X.

The Advantages vs. the Disadvantages

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There are a few disadvantages to adopting the linear video editing method. To begin, inserting or
removing scenes from the master tape necessitates a re-copy of all future scenes. Because each video
clip must be laid down in real time, you cannot make changes without re-editing everything after the
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modification.

Second, because overdubbing is required to replace an existing clip with a new one, the two clips must
be exactly the same length. If the new clip is too short, the tail end of the previous clip will remain visible
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on the master tape. It will skip to the next scene if it is too long. The option is to either fit the new clip into
the existing one or recreate the project from start to finish, neither of which is a pleasant process.
Meanwhile, as a result of all the overdubbing, the visual quality decreases.
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However, there are several advantages to linear editing:

• It is simple and low-cost. There are very few issues with formats, hardware conflicts, and so on.
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• Linear editing is preferable for some jobs. For example, if all you want to do is combine two sections
of video, editing tape-to-tape is much faster and easier than capturing and editing on a hard drive.
• Developing linear editing skills broadens your knowledge and versatility. Many professional editors
believe that those who learn linear editing first tend to become better all-around editors.
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Nonlinear video editing: Nonlinear video editing is a sort of random access editing in which you can
access any clip at any time. Rather than working in a predetermined order, you are free to work on any
portion of the project at any time and in any order you wish. During nonlinear video editing, the original
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source files are not lost or altered.

This is accomplished by employing an edit decision list (EDL), which stores the editor's decisions and
may be interchanged with other editing tools. As a result, multiple variations of the original source files
can exit without requiring numerous copies to be stored, allowing for very flexible editing.
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 By modifying the EDL rather than having the real film data duplicated, it is very simple to change cuts and
reverse earlier decisions. Because the data is not re-encoded when different effects are applied, there is

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no loss of video quality.

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Nonlinear editing differs from linear editing in various ways.

In several ways, nonlinear editing differs from linear editing.

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• Video from the sources is recorded to the editing computer's hard disc or RAID array prior to the
editing session.
• Instead of laying video to the recorder in sequential shots, the segments are assembled using video

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editing software.
• The segments can be dragged and dropped around at will.
• Transitions can be used to connect the portions. Furthermore, most video editing software has a
character or CG generator option for lower-thirds or titles.

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• The work-in-progress can be viewed in real time at any time during the editing process. When the edit
is finished, it is finally laid to video.
• Non-linear video editing eliminates the need for video to be laid down in real time. It also enables the
editor to make changes at any time without affecting the rest of the edit.

The Advantages vs. the Disadvantages

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A nonlinear video editing system has numerous advantages. For starters, you can access any frame,
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scene, or even groups of scenes at any time. Furthermore, because the original video footage is
preserved during editing, you can go back to the original take whenever you want. Second, nonlinear
video editing systems provide editing flexibility. You can change your mind a hundred times and make
changes a hundred times without having to start from scratch with each change. Third, it is possible to
edit both standard definition (SD) and high definition (HD) broadcast quality videos very quickly on
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standard PCs that lack the processing power to do the full real-time processing of the massive full quality
high resolution data.
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The most significant disadvantage of nonlinear video editing is the cost. While dedicated hardware and
software are not expensive, computers and hard drives are, costing two to five times as much as the
gear. As a result, the average cost of a basic nonlinear video editing package ranges from $5,000 to
$10,000. You may have to pay twice as much for stand-alone systems that approach broadcast quality.
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However, as nonlinear technology advances, expect significant gains in digital video storage and
compression, as well as lower computer and hard disc prices, in the very near future.

Nonlinearity has an advantage over linearity.

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• Complete Freedom

Editors were no longer required to edit a programme from start to finish. They could begin in the middle,
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at the end, or at any point in the sequence, and jump between segments at their leisure. Non-linear
timelines made it simple to move clips and segments, as well as copy and paste clips or entire segments
from one location to another. A new era of editing ease and speed had arrived.

• Non-Destructive
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The fact that computer-based, non-linear editing is non-destructive is one of its major advantages. This
means that the original media files are never changed, replaced, or deleted, ensuring that you always
 have access to the original, high-quality media. This alone opened up a completely new dimension of free
experimentation and creative editing, because no matter how many different ideas you try or how many

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times you change your mind, the quality of the original source media is never compromised.

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• Do Things Your Way

Non-linear editing is thus a very open and adaptable environment. It enables you to create a workflow
style that works best for you and your creative mind.

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• Simple media re-editing/replacement

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Making changes is much easier in non-linear editing. It's a simple process to replace the second clip in a
100-clip sequence, and it's sometimes as simple as using a "replace media" function, which does the
replacement automatically without requiring you to touch the clip on the timeline.

• Storyboards and Nested Timelines

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As non-linear editing evolved over time, new tools emerged to make editing even more flexible and
liberating. Nested timelines allow you to work on individual segments of your programme before bringing
them all together on a master timeline. You can always go back into any segment and make changes,

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which will then automatically update on the main timeline. It's a great way to keep your work organised
and efficient, and it also allows multiple editors to work on the same programme at the same time, with
easy and seamless integration of all the different sequences.
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2.1.7 Concept of working On Line and Off Line editing.

Offline editing: In simple terms, offline editing is the use of proxy footage, or duplicate footage of the
original source, for video editing. – Christopher Gates
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Offline editing begins when the video editor (or tape operator) takes raw footage and duplicates it in a
more compressed format such as ProRes or an intermediate codec.
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The transcoded footage is now proxy footage, with a lower resolution (and smaller file size) than the raw
files. This proxy footage will be used by the video editor throughout the rough, fine, and final cuts. Once
the project is exported, the original high-resolution footage replaces the proxy footage. At this point, the
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edit is 'online.'

When working with large file sizes/high resolution video files, offline editing is used. The file size of raw (or
uncompressed footage) can be enormous, and it will tax your computer system if it isn't up to the task.
Transcoding that footage into a lower resolution format can significantly speed up the editing process.
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Just keep in mind that, while the editing process will be much smoother, you will lose time on the front-
end and back-end because you will need to transcode and then replace the lower resolution footage. With
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tape-based offline-to-online video editing, it was critical that media start and end timecodes, reel names,
and frame rates were consistent between offline and online clips (otherwise you would run into
reconnectivity issues). In today's mostly-digital environment, reconnecting clips has become much more
streamlined (no more feeding tapes into a machine! ), but you still need to double-check the file naming
and duration are consistent.
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 Offline film/video editing has been around almost since the beginning of film. In fact, back in the days of
celluloid film stock and video tape, editors would make copies of the originals, which were referred to as

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work prints. These prints would then be used to create the film's edit, preserving the original print.

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As we entered the digital editing era in the early to mid-1990s, offline editing gained popularity, and thus
the process of making duplicate copies of the master files for editing began. As a result, the original files
were once again preserved. As film resolutions and file sizes grew larger, and transcoding became

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easier, editors would duplicate the footage but at a lower resolution to speed up the editing process. As a
result, we have arrived at our current situation.

Offline editing now refers to the first stage of the editing process, in which the goal is to create a 'draught

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cut.' This stage of the editing process employs low-quality footage with which editors can work on
determining the shot sequence, with the emphasis on telling the storey rather than polishing. At this point,
it's critical to nail the timing of the cuts as well as the overall pacing of the video.

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The reason for using low-quality footage at this stage is that the file sizes of video clips in full high-
definition or 4K quality are massive, and the computer requires a lot of power to process these clips every
time they are changed or edited. Working with lower-quality files allows the editor to complete tasks more
quickly and reduces the likelihood of a system crash.

timecodes for all cuts.

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The completed offline editing sequence is converted into an EDL (edit decision list), complete with

The online stage of the editing process is all about creating a final cut and involves adding finishing
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touches using a high-quality version of the footage that has been cut together. Editors start with the EDL
so they know how the finished video should look in terms of cuts and pacing, but they work on the details
with the full-quality footage.
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Despite the fact that the footage has been cut and assembled into a coherent narrative, the editor's job is
far from done. During this stage, the editors must complete a variety of tasks that complement and
enhance the storey.
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These tasks include sound editing, sound design, colour correction and grading, as well as any special
effects or titles that may be required, all of which contribute to a polished final product.
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So, in a nutshell, that's the difference between online and offline editing. Traditionally, there would be
editors dedicated to each stage of the process, but the line between offline and online editing has become
much more blurred in recent times, and many editors will perform responsibilities from both stages of the
process, rather than being dedicated online or offline editors.
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2.1.8 Save back-ups for interim work-products in the appropriate file formats.

A hardware issue, a power outage, or a software issue can all cause the programme to crash
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unexpectedly.

Automatic saving of project files, also known as "autosave" files, are backup files that are created
automatically by the Autosave feature. The changes you make in the software are automatically saved
after a certain amount of time (every 5 minutes by default). When you use the Save or Save As
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commands, the automatic save timer is paused until you make a change to the project. Automatic saves
are only performed if the project has been modified since the previous save.
 The autosave file is automatically deleted if the user successfully saves the project and then exits the
software.

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Spending the time at the start to organise your projects and files will save you time in the long run. Label

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and organise your footage, and build a structure that you can reuse in future edits. Here's a popular way
to organise your main folders (within which you can create subfolders):

• Video

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• Project Files

• Graphics

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• Audio

• Images

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You never know what might happen to your video, laptop, or external hard drive. Make a habit of backing
up and saving all of your files.

Some editors will keep three backup copies of their active projects: Master, Backup, and Off-Site Backup.

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Make sure to keep each copy on a separate device, such as one on your laptop, one on an external hard
drive, and one on a server system. If one or both fail, at least you have a backup that is safe and separate
to use.
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Why Do Video Agencies Need Good Storage Solutions?

When it comes to Video Agencies, storage is a major concern. When compared to other types of
documents, videos take up a lot of storage space. Every video frame contains a wealth of information,
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necessitating a high level of performance from the storage device.

Even if the video files are large in size, you must be able to access, use, and edit them quickly. The
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storage solution you use must be compatible with your needs and completely reliable. It's no secret that
you have to spend a lot of money to get good performance OR capacity, and many video creators have
switched to using separate drives for working and archival purposes for the same reason.
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The backup's objective is to make a copy of the data that can be recovered if the primary data fails.
Primary data failures can occur as a result of hardware or software failure, data corruption, or a human-
caused incident, such as a hostile attack (virus or malware) or unintentional data deletion. Backup copies
allow data to be restored from a previous point in time, supporting businesses in recovering from an
unexpected event.
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It is necessary to have a copy of the data on a secondary medium to protect against original data loss or
corruption. This extra media can be as basic as an external drive or a USB stick or as complicated as a
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disc storage system, cloud storage container, or tape drive. The backup medium can be in the same or a
different place than the primary data. Weather-related incidents may warrant keeping data backups in
remote places.

Backup copies should be made on a consistent, regular basis to limit the amount of data lost between
backups for the greatest results. When recovering from a backup, the longer the time between copies, the
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greater the chance of data loss. Keeping several copies of data gives you the protection and flexibility to
restore to a point in time before data corruption or malicious attacks occurred.
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Check your Understanding

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1. Prior to the introduction of digital television in the late 1990s, television relied on _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ _ _ _ _.
2. The digital intermediate process lets the filmmaker to have complete_ _ _ _ _ _ _ _ _ _ _ _ _ _ _

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_.
3. _ _ _ _ _ footage's colour is typically flat or dull
4. The number of pixels organised or arranged by width and height on a screen or image is referred
to as_ _ _ _ _ _ _ _ _ _ _ .

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5. Display you're looking at is more likely to have a _ _ _ _ _ aspect ratio.
6. The process of rearranging and manipulating video shots to create a new project is known as_ _
_ _ _ _ _ _ _ _ _ _.
7. _ _ _ _ _ _ _ _ _ _ _ is the use of proxy footage, or duplicate footage of the original source, for

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video editing.

Summary

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Digital video is made up of a sequence of orthogonal bitmap (BMP) images that are displayed in
quick succession at common rates of 15, 24, 30, and 60 frames per second (FPS); the more
frames the DV has, the more movement details are captured or displayed.
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 A digital intermediate is a digital file or files created by scanning a film (typically negative) original
and used for editing, effects, and grading/color correction. It is the material that is utilised in DI
labs and makes up the entire film.
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 The Digital Intermediate method provides versatility and creative control. DI enables for
collaborative and participatory digital colour grading, visual effects, and digital mastering.
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 Because raw footage preserves all of the camera's details, real colours, lighting, and high-quality
images, it may be almost fully altered in post-production to match the needs of the final product.

 A video shot log is a written record of the shots on a tape or disk. The shot log can be made
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either as the shoot progresses or after the shoot finishes

 Video is a very important part of multimedia presentation as it gives effectiveness to the show. A
lot of video editing software are available in the market. Let us hope, in future, we will have more
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and more video editing software which will give more flexibility in editing to make our video more
impressive
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 The resolution of a video determines its quality and how clear or realistic it appears. A higher
resolution generally means a clearer video. The number of pixels in the standard 16:9 aspect
ratio, which is common for computer monitors and television sets, is used to calculate it.

 Linear video editing is the process of selecting, arranging, and modifying images and audio in a
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predetermined, ordered sequence – from beginning to end.

  Nonlinear video editing is a type of random access editing, which means you can access any clip
you want, whenever you want. Instead of proceeding in a predetermined order, you are free to

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work on any segment of the project at any time and in any order you desire.

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Activity

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1. Capture two similar video one in mp4 format and one in raw format. Record all the differences in tow
formats?

Glossary

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 FPS: frames per second
 BMP: bitmap

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 NTSC: National Television Standards Committee
 DI: Digital intermediate
 EDL: Edit decision list
 FHD: Full High Definition
 HD: High Definition
 SD Standard Definition

Questions and exercises

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1. Define Analogue and Digital Video, Digital Intermediate Technology?
2. What do you understand by raw footage and log sheet?
3. Define Ingest and digitization in video processing?
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4. Define Video formats and sizes?

5. Define various editing software and their usage?
6. What do you understand by Linear and Non Linear system.
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7. Define the Concept of working On Line and Off Line editing.

8. Explain Importance of saving backup?

Further Readings:
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1. Final Cut Pro X Efficient Editing:, Iain Anderson

2. Adobe Premiere Pro CS6 Classroom in a Book, Maxim Jago
3. Techniques de montage avec Final Cut Pro, Michael Wohl
4. Color Correction Handbook, Alexis Van Hurkman
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Check Your Understanding:

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Answers
1. analogue video transmissions
2. editorial control
3. Raw
4. Resolution
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5. 16:9
6. video editing
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7. Offline editing

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 Module III: Preparing to edit the production

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Unit: 3.1 Edit the production

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At the end of this unit, you will be able to understand:

 Visualize the flow of the story idea and conceptualize possibilities Decide on the Editing pattern.

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 Prepare a Rough Cut to ensure the required standards for the Deliverables are adhered to.
 Multi CAM Online Editing System-
 Roles and Responsibilities of different Personals

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 Importance of a Edit Display List- EDL

3.1.1 Visualize the flow of the story idea and conceptualize possibilities Decide on the Editing

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pattern.

Film Editing Patterns (FEP) is a language used to formalise film editing practises and stylistic choices in
films. FEP constructs are constraints that are expressed over one or more shots in a movie sequence and
characterise changes in cinematographic visual properties such as shot sizes, camera angles, or actor
layout on the screen.

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"Great artists steal, good artists borrow." Cinematography is frequently influenced by other films. Best
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practices for camera placement, movement, and editing are written into film textbooks and used
repeatedly in films of various genres because they are effective in conveying specific actions or emotions.
The same knowledge that is widely used in films can benefit storytelling in 3D animated scenes, which
are becoming increasingly popular, for example, to pre-visualize films to save money and time on a real
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set, to pitch creative ideas, and to add cinematic sequences to video games and educational media.

Cameras are strategically placed in films to ensure spatial and temporal continuity and to guide the
audience's interpretation of events.
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Film Editing Patterns (FEP) is a language used to formalise multi-shot film editing practises. FEP
constructs, in more specific terms, are constraints on the visual features of a sequence of shots. These
constructs are made up of simple properties or relations that act on the visual characteristics of a single
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shot (framing properties) or on the relationship between subsequent shots (shot relations). Furthermore,
shot sequences can be limited in length or require the presence of specific sub-sequences. For the sake
of clarity, we will use the term FEP to refer to either the language or a construct built with the language.
The current language has been expanded from a previous version that was published in.
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Framing Properties: Framing properties use four visual features to define how actors are arranged on-
screen (the on-screen layout): actor size, angle, region, and number of actors. In film literature, each of
these characteristics is defined precisely. We use a broad definition of actors that includes humans,
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animated animals, and objects.

Size: Shorter shots (i.e., closer cameras for a given lens) show larger actors, increasing their importance;
longer shots show smaller actors, making them less important or more in relation to their environment. As
the median Medium Shot, we use the 9 shot size scale, with the upper half of the body filling the frame.
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The image below depicts all of the shot sizes available in the FEP language.
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Figure 1: The FEP language's nine framing sizes all appear in the same order in The Good, the
Bad, and the Ugly.

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Angle: The camera's horizontal, vertical, and roll angles with respect to the actors are used to convey the
actors' inner emotional states and to express power dynamics between characters. Shooting actors from

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a low angle, for example, gives the impression that they are powerful and tower over the audience,
whereas shooting actors from a high angle, with them looking up to the camera, gives the audience a
sense of dominance over the actors. Roll angles, which are less commonly used, give the impression of
instability because the ground is not parallel to the frame. The diagram below depicts all of the angles
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available in the FEP language.
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Figure 2: Vertical, horizontal, and roll angles are the three types of angles that characters on the
screen might have.
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Region: The framing region describes how the actors are arranged in the frame. Aesthetics are improved
by good arrangements, which can convey the inner state of actors or their relationships with one another.
Our language allows us to describe the location of an actor in the frame in a variety of ways:
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 9-split: the screen is divided into three equal horizontal and vertical regions, and the regions
are labelled R9 1 to 9, with R9 1 being the upper-left of the frame and R9 9 being the lower-
 right, as shown in Figure 3.

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 4-split: the screen is divided into two equal horizontal and vertical regions, and the regions
are labelled R4 1 to R4 4, with R4 1 being the upper-left quarter of the frame and R4 4 being

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the lower-right quarter, as shown in blue in Figure 3.

 3-split horizontal/vertical: the screen is divided into three equal horizontal/vertical regions,

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which are labelled R3 UPPER, R3 MIDDLE VER, and R3 LOWER in a vertical split, and R3
LEFT, R3 MIDDLE HOR, and R3 RIGHT in a horizontal split, as shown by the green labels
on the outer rim of Figure3.

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 2-split horizontal/vertical: the screen is divided into two equal horizontal/vertical regions,
which are labelled R2 UPPER and R2 LOWER in a vertical split and R2 LEFT and R2 RIGHT
in a horizontal split, as shown by the yellow labels on the outer rim of Figure 3.

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Figure 3 depicts the various regions. We focus on the most important aspects of actors to determine the
region: their head and eye positions, as well as possibly limb positions in scenes with interactions.

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Figure 3. A 4-split (blue lines) or 9-split (red lines) of the screen can be used to specify the zone in
which actors appear.
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Number of actors: The number of actors indicates the importance of the actors in the scene. If each shot
conveys the same amount of information, the more actors on screen, the less important each one is to
the current event.
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Shot relations connect the framing properties of two or more shots, such as size, angle, or region. For
example, we could describe a shot sequence in which actors appear in the same region of the frame as
 they move closer to each other. Shot relations enable FEP to define sequences that adhere to the
following constraints:

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Size: Changing the size of a shot from one to the next can show the difference in importance of the

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actors in the scene, as well as intensify or relax the atmosphere by moving closer or further away from the
actors. Size relationships can be closer, further apart, or remain constant. Figure 4 shows some examples
of size relationships.

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Figure 4: A shot size relationship might be significantly far (a larger distance between actor and
camera), comparatively close (a shorter camera-actor distance), or the same.

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Angle: Changing angles between shots can indicate the relative strength of different actors or a shift in
one actor's emotional state. Angle relationships can be greater, lesser, or equal. Figure 5 shows some
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examples of angle relations.
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Figure 5: whether the shooting angle relation is generally higher or lower for illustration reasons,
the red line in the figures is a rough estimation of the horizon.
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Region: When actors appear in the same regions on the screen across shots, it often indicates
agreement, compassion, or mutual recognition, whereas arranging actors across the horizontal axis (i.e.
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le and right) conveys opposition. Region relations can be the same or different depending on whether the
standard is 9-split, 4-split, or horizontal/vertical in 2- and 3-split. Figure 6 shows some examples of
horizontal region relations.
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Figure 6: Example of region relations between two successive shots

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3.1.2 Prepare a Rough Cut to ensure the required standards for the Deliverables are adhered to.

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Remember that the image and sound do not have to be locked together. You can display the image from
one shot – say, a person listening – while the sound from the previous shot – say, a person speaking –
continues. The same can be said for action scenes. You may keep the audio but not the video from a

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shot at times. Sometimes it's the other way around. This is how editors fudge reality all the time. It's all
part of the enchantment of what they do. During the cleanup phase, your main purpose is to remove
severe impediments to the story's flow.

A rough cut is a film's first edited version, which may include unfinished visual effects and a temporary

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musical score. This initial cut can also be referred to as a rough edit or an assembly cut. All of the main
pieces have been assembled in chronological order, but it may lack finer details, such as finished CGI.
During focus group screenings, rough cuts are sometimes used. Before the final cut, scenes will be
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tweaked or removed at the discretion of the director and editor. Rough cuts, especially assembly cuts, are
typically much longer than the finished film.

The following are the goals of a rough cut in film:

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• To evaluate the overall pacing and performances

• Any pick-up injections required are decided
• For test screenings and market research
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Now that we understand what a rough cut in film is, we must distinguish it from the various sorts of cuts
and edits that may be mistaken with it.
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The first and most evident contrast is between a rough cut and a final cut. In contrast to a director's cut,
alternate cut, or extended cut, which may be issued after the fact on physical media, streaming platforms,
or in theatres, a final cut is the version of a film that is released.

A fine cut is one that occurs between a rough cut and a final cut. Though the term "fine cut" is commonly
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used, it is not regarded improper to refer to any cuts previous to the final cut as rough cuts. The video
below explains the differences between a rough cut, a fine cut, and a final cut.

The assembly cut is a sort of cut that precedes the rough cut. The assembly cut is a minimally edited
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stitching together of all the shots acquired for the whole film. During principal photography, the assembly
cut can begin to shape when a VTR operator edits shots as they leave the camera.

An assembly cut is often significantly lengthier than the finished film.

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Anchorman 2's theatrical runtime was 119 minutes, whereas the assembly edit was nearly 270 minutes.
To make the film more manageable in length, more than half of the footage in the assembly edit was cut.
 Avengers: Age of Ultron had an hour reduced from its assembly cut length before it was released in
theatres. Denis Villeneuve considered releasing Blade Runner 2049 in two parts at one time due to the

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length of the original edit.

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The rough edit is when you first see your project come to life. And occasionally the shape is totally
different from what you expected. The rough cut is an opportunity to determine if the storey being told will
work. It works some of the time and some of the time it doesn't.

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Some filmmakers handle rough cuts and the editing process in a unique way. The Post-Production
procedure varies from project to project. Using our production calendar software might assist you in
staying on schedule.

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The traditional approach of putting together a rough edit begins with decisions made by the director on
site. The director will select a number of 'circle takes' during filming, and this list of circle takes may or
may not impact the editor's decisions when assembling the film.

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The director's preferred take or takes on a certain shot are referred to as "circle takes." When the director
approves, the script supervisor will circle that take number in their notes, giving the word its name.

Every take captured in today's digital filmmaking equipment can be examined without risk. However,

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when shooting on film, circle takes might be crucial because it would be prohibitively expensive to
process and sync every single take of a shot for playback at dallies.

There are many great Martin Scorsese statements on directing. "Something is amiss if you don't get
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physically nauseous watching your first rough cut," he once said. Scorsese and his longtime editor
Thelma Schoonmaker follow the usual editing pipeline, which includes doing circle takes on set, reviewing
dallies, constructing and reacting to a rough cut, and continuing to develop the edit until it is finished.
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When to Edit the Dialogue First

If a scene is primarily driven by dialogue, you should start by editing the audio track. In other words,
ignore the image for the time being and concentrate solely on getting the audio to flow. This could be a
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little unsettling. By the time you've finished incorporating all of the best takes of the dialogue, the video
will be bouncing all over the place. Don't freak out. Close your eyes and pay attention to how the audio
flows. If it sounds right, it probably is. Later, you'll clean up the image.
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When to Edit the Picture First

If a scene is primarily driven by action, you should edit the image first. Yes, the audio track will jump all
over the place. But that's fine because you're going for a visual flow and will clean up the audio later.
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When to Edit the Dialogue and Picture Together

Okay, this never actually occurs. At any given time, either the sound or the image is in control of the
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scene. What always happens is that the leader switches back and forth.

For example, suppose you have a scene that begins with an argument, progresses to a fight, and
concludes with more dialogue. Your rough cut will begin with audio leading, then transition to video
leading, and then back to audio.
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Fixing Jumping Picture and Sound

 Remember that the image and sound do not have to be locked together. You can display the image from
one shot – say, a person listening – while the sound from the previous shot – say, a person speaking –

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continues. The same can be said for action scenes. You may keep the audio but not the video from a
shot at times. Sometimes it's the other way around. This is how editors fudge reality all the time. It's all

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part of the enchantment of what they do. During the cleanup phase, your only goal is to remove major
impediments to the story's flow.

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Rough Cutting Tips

• A simple thing like compressing and normalizing dialogue can make a big difference in how
people react to it.

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• If music will be added later, you may want to show the rough cut without any music. You don't
want people to become emotionally attached to scratch music that is only a placeholder.

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• The inverse of tip #2 is that a director or client may dislike the scratch music you chose and thus
be unable to properly evaluate the rough cut. If the music has already been chosen, as in the
case of a trailer or commercial, it is acceptable to include it in the rough cut.

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• Similarly, exercise caution when using scratch narrations. If they are used, ensure that the
speaker speaks clearly and at the same pacing as a professional voice artist.

Wrap Up
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To conclude, a rough cut is a standard and necessary phase in the post-production process.

By putting the master shots of each scene into a chronology, the editor and director get a feel of how the
storey runs and how long it takes to tell. Using this data, the director can determine whether to cut or
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lengthen the production to achieve the length requirement.

The sound and visuals are processed lightly during the rough cut, and music is rarely included. The
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tempo is close to that of a professional voice actor if scratch narration is added.

Finally, the rough cut has a specific name for a reason. It is not meant to be refined. It will never be
substituted for the final edit. It will not appear on anyone's demo reel or be put into any contests. In reality,
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the rough cut is unlikely to be seen again once it has served its role. That is, after all, how it should be.

3.1.3 Multi CAM Online Editing System-

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The Multi-Camera Editor allows you to create professional-looking video compilations from footage
captured on different cameras from various angles.

The simple multi-view workspace allows you to synchronise the clips and edit on the fly while the video
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clips play back simultaneously from up to six cameras. You can switch from one video clip to another with
a single click, just as a broadcast studio switches from one camera to another to capture a different angle
or element of a scene.

Footage can be recorded using a variety of video recording devices, including action cameras, drone
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cameras, DSLRs, and smart phones. You can also include audio that was captured separately using a
microphone.
 Multicam editing occurs when you shoot the same event/scene with more than one camera and attempt
to edit the footage from the various cameras together. Multicam editing is commonly used in soap operas,

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reality TV, concert/theater videos, and weddings. In Bamboozled, Spike Lee used up to fifteen cameras in
various scenes.

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You can edit up to 128 camera angles at once with Apple's Final Cut Pro (do you have 128 cameras?).
You can do a rudimentary multicam edit without using the "multicam" function, but it becomes more

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difficult as you add more than two feeds. If you work with more than one camera on a regular basis, you'll
be glad these programmers devised multicam editing.

Shoot Right, Edit Right

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When your crew shoots with all of their cameras using synchronized timecode, you'll have the easiest
time in the edit bay. This is referred to as Jam Syncing, and it writes the same timecode to each
camcorder. Higher-end cameras with a time code in/out connector, such as the Canon XL H1, would be

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required.

The next best method is to have a point of sound and/or visual sync. Clapboards provide a visual and
audible single-frame reference when syncing multiple clips. Otherwise, have someone clap their hands in
front of all the cameras as they roll to make a visual and audible point.

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A still camera flash is the next best thing, though it is only visual. Good luck finding a sync point if your
crew forgets to tape one. If it's a wedding or a Bar/Bat Mitzvah, you might be able to use the flash from
someone else's camera. Otherwise, you'll have to be inventive with a visual and/or audible cue that all
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cameras have captured.

Another strong recommendation: if you are not Jam Syncing, do not stop recording from any of the
cameras until the tape or event is completed. Otherwise, you'll have to re-sync every time the camera is
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turned off.

One final production consideration that will have a significant impact in the edit bay: most of the higher-
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end programmes (Rs. 35000 and up) that will allow you to multicam edit will require that all of your
cameras record the same codec, image dimensions, and frame rate. You should be fine if all of your
cameras are the same make and model and are set up the same way. Avid Xpress Pro bills itself as the
only consumer programme on the market that supports "mixed resolution clip groups" without the need for
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transcoding.

Ready to Get Ready

Now that your project has been properly shot, it's time to get to work on editing all of these "feeds." The
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set-up for multicam editing is not intuitive. You may need to perform a task on par with getting dental work
or filing taxes: reading the instruction manual for your software. Each programme handles a multicam edit
slightly differently, so do your homework. Multicam editing is also extremely CPU intensive, so if you
intend to use it frequently, make sure you have a powerful computer.
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Capturing is typically the same procedure you are accustomed to. One distinction is that some
programmes will allow you to enter the angle number/name when you capture the image for easier
organisation. Most programmes allow you to add angle numbers after capture, so it is not necessary to do
so during the capture stage.
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 Log and capture your footage, then import it into your editing programme. This is where you must deviate
from your usual workflow. After you've imported your clips into your editing programme, you'll need to

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group them into what some programmes call a 'Multiclip,' or nest your clips into a new sequence, and
enable them for multicam. You can sync your clips by timecode if you jam synced your source footage.

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Otherwise, as described above, you'll need to find a frame to sync to.

After you've combined your clips into "one multiclip," double-click on your new clip to see your grouped

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shots appear in your viewer window. Press the play button to see all of your clips play back at the same
time and in sync. You can use your playhead to scrub through your multiclip, as well as your J, K, and L
keys to navigate through the clips, in most of these programmes.

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Following this process, you will be able to insert new angles or delete existing angles from your multiclip.
You can also rearrange the clips in your viewer window. In most programmes, you can also display
individual camera information for each clip as an overlay, such as timecode and angle number/name.

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Let’s Get Active

You will make your selections "live" in real time as the playhead moves over the multiclip while editing.
You will make decisions in the same way that a live event director, such as Saturday Night Live or a
sporting event, does, switching between video and/or audio segments on the fly. In comparison to a live

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producer, you have the ability to pause, stop, rewind, and undo decisions.

Place your mouse's selection arrow over the desired stream and click on it while the playhead moves in
real time. Keep in mind that all of your source clips are playing; this may take some getting used to. Many
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editors find it easier to designate an angle to a certain key on the keyboard. Choose the method that
works best for you.

It is not necessary for you to cut in real time. You can adjust the multiclip frame by frame or scrub along it
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to locate the ideal moment to cut and perform your edit or perspective change. Most programmes will also
work in multicam mode with standard trimming tools like the rolling edit, slipping, and sliding.
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Audio

Audio is a key factor in multicam editing because you will have as many audio streams as video
channels, if not more. Many producers will use an audio recording device such as a DAT (digital audio
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tape) or one of the cameras to tap into the sound board, if one is available. You can use this "house mix"
audio clip as the main audio track in your multiclip. You can also have the audio accompany your video
selections, so whichever video clip you click on will be heard. Some programmes also permit you to have
many active audio angles.
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Finalize

In some programmes, completing your process will be beneficial. When you're finished with your cuts,
you'll want to "collapse" your clip, converting each clip on the timeline back to a single angle clip. This is
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not a one-way street; with the click of a button, you can return to the multicam edit. These clips can still
be trimmed and edited.
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 3.1.4 Roles and Responsibilities of different Personals

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Film Editor (Offline Editor for video productions)

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Working closely with the director, assembles the various shots into a coherent film. A film editor removes
rejected video content and arranges film clips in a logical order. To create audiovisual content, film editors
collaborate with cinematographers and sound editors.

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Responsibilities of a Film Editor include:

• Reading scripts to understand the Director's vision.

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• Going to set locations while filming.
• Examining footage and selecting scenes based on the vision
• Removing sections of video footage.
• Working alongside sound editors, sound effects editors, and cinematographers.

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• Making revisions at the Director's request.
• Edit raw footage content for film and video production.
• Edit video and audio based on storey sequence and continuity.
• When designing graphics, employ creative techniques.
• Collaborate closely with producers and directors throughout the production process.
•
•
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Write the voiceover text and other video commentary.
Effectively cut video sequences to ensure scenes are seamless and flow logically.
Go over the script again to make sure you understand the video production requirements.
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• Complete all editing tasks, such as inserting music, sound effects, storyboarding, and so on.
• Create a logical storyboard by assembling the most effective scenes.
• Go over all edited tapes to identify any problems and make any necessary changes.
• Gain superior skills and expertise in the use of computer editing equipment, video switching
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devices, and other similar devices.

• Discuss video layouts and editing styles with directors and producers.
• Work closely with others in audio and visual teams to create a complete and continuous storey.
•
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Organize and assemble video segments to deliver a continuous and sequential storey of a
predetermined length.
• Create film post-production models.
• Hold video screenings for directors and producers to solicit feedback.
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Assistant Editor

Assists the editor by gathering and organising all of the edit's elements. The Assistant Editor is a technical
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and creative position that assists the project's main Editor by setting up media and handling all exports
with the appropriate codecs. They are frequently aspiring editors who will be shadowing the Picture
Editor. The Assistant Editor will occasionally cut small sections of a project.
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The Assistant Editor is a film editor who works in the post-production phase of the production process.
They will begin work under the Editor's supervision, creating proxy files for footage, setting up a project to
the Editor's specifications, and prepping each individual shot. They are also in charge of exporting
footage so that off-site managers such as a Director or Producers can review it and make notes.
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The Assistant Editor must follow these instructions and set up the project exactly as written so that the
Director and Editor can assess whether the original intentions were met.
 While the Assistant Editor does not interact with many people on a professional level, they do work
closely with the Editor and Director for months at a time. The Assistant Editor must be able to work well

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with others and provide a pleasant working environment or they will not be asked to return.

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Online Editor (for video productions)

When the offline edit is finished, it adds visual effects, titles, and colour correction. Additionally, it ensures
that the programme meets the technical delivery specifications.

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The On-Line Editor is the "finisher" in the editing process, responsible for producing the final, full-
resolution version of the programme. The position is more technical than creative. He or she receives the

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Edit Decision List (EDL) from the Off-Line Editor, as well as graphics and audio files from the graphics
house/department and sound house/department, respectively, and creates a transmission-ready
programme to the required technical standards. The On-Line Editor frequently performs the role of
Colourist, where colour balance and luminance must be balanced between different shots.

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The On-Line Editor function necessitates very strong IT and file delivery skills, as well as familiarity with
major finishing systems such as Adobe Premiere, DaVinci Resolve, Avid, and Autodesk.

Aside from having very high technical skills in all of the necessary IT and finishing technologies, the On-
Line Editor has a critical quality control function.

•
•
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Have a thorough understanding of the IT and video finishing technologies used in the industry.
Be fully proficient in the use of Adobe Premiere, DaVinci Resolve, Avid, and Autodesk software.
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• Exceptional colour vision.
• Be extremely organised and skilled at working to high levels of detail.
• Be extremely precise, with a keen eye for detail.
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Works with:

• Director
• Producer
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• Edit Assistant
• Post-Production Producer
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Colourist

Adjusts the colour of the film to achieve greater consistency. Colourists contribute to the mood and look of
a film by defining its colours. They work with the director and DOP to decide the palette; whether it’s
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restrained or hyper-coloured, whether it uses milky colours or primary ones. Colourists are able to
contribute to these looks by changing the luminance levels (brightness) and chroma (colour).

Film and television dramas are typically filmed on digital cameras in raw format, which means that colour
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information is captured in the data but cannot be seen until the colour is applied. When filming on film, the
rushes are taken to a lab and processed before being scanned into a digital workflow. The colorist's task
is to perfect the way the colour is applied to the image. This is referred to as grading.

When colorists get edit files, they stylize the colour to match the vision of the director and director of
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photography. They blend the photos together, balancing colour saturation and luminance so that no
single shot jumps out in the sequence. They also provide innovative solutions to image-related issues.
 What’s a colourist good at?

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• Color understanding: know how to utilise colour to enrich a storey, understand the psychological
effect of colour, have a good eye, and know what appearance fits the drama's style.

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• Understanding of digital and film processes: how to best extract the artistic aesthetic from the raw
camera negative.

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• Knowledge of film production: comprehend the full filmmaking process, such as Baselight or
Davinci Studio, stay up to date on software changes, and know the finest tools for the work.

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• Communication: collaborate well with the director, comprehend the director of photography's
vision, and share the process with the edit assistants and script supervisor.

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Pay attention to detail: be patient, work with tiny colour and tone changes, and pay attention to
detail even while under pressure.

The colourist works closely with the editor, director and director of photography. It’s quite a solitary job as
much of the detailed work is done alone.

Negative Cutter

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The film is cut and spliced. Delivers assembled negative reels to the lab for printing.
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Negative cutters must be able to work well under pressure as film needs change and deadlines become
increasingly unrealistic. They are in charge of comprehending the visual effects and processes involved in
film editing. In post-production, they cut and splice film together to create a final cut that is ready for
release.
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Changes to film in the 1990s simplified negative cutting by adding barcodes and keycode sections to
allow shots to be more easily tracked and identified.
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In post-production, the negative cutter cuts and splices together the final version of the edited film. They
must be able to splice and glue film very precisely in order to create seamless changes to the reel. Even
the smallest mistake can result in a massive error that costs the production tens of thousands of dollars.
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The working environment is extremely sensitive, and negative cutters are subjected to a great deal of
stress. They must be patient and thorough while working under pressure.

They must precisely cut the frame to obtain the desired footage, and they are responsible for glueing the
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cut without causing any intrusion on the film that would cause the video to skip or jump.

Visual Effects (VFX)

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Visual Effects Supervisor

The visual effects department is overseen by the visual effects supervisor. The entire VFX project is
overseen by VFX supervisors. They oversee the VFX pipeline, which includes all of the VFX artists
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involved in the process. They are ultimately responsible for all VFX elements created by their company or
studio for a project.
 VFX supervisors begin working on a project during the preproduction stage. They serve as the primary
point of contact between a VFX studio and the director or producer of the film or television programme.

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They collaborate to determine what VFX is required for each shot in the film. VFX supervisors then
collaborate with VFX artists to develop prototype materials for presentation. Concept art and 3D

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computer-generated images are examples of this (CG). The prototype materials contribute to the style of
the VFX in production.

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VFX supervisors are present during filming to ensure that the shots are satisfactory and ready for the VFX
elements. VFX studios prefer that shots (pictures) be 'locked' (edited and approved, ready for VFX
elements to be added) during filming. That means they can begin work on the visual effects while the rest
of the film is being shot. When the film is being assembled in post-production, VFX supervisors continue

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to lead their team. They oversee the quality of all work produced and ensure that it is consistent with the
director's or producer's vision.

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What's a VFX supervisor?

• Art: great design, layout, colour, and composition abilities; • Photography knowledge: understand
cameras, cinematography, and how films are made; be able to influence the shoot so that it
works for VFX;

•
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VFX software knowledge: be adept in using appropriate programmes such as Maya, Nuke, and
Photoshop; and
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• Collaboration: work with the director or producer in preproduction to determine which shots will
require VFX work, and respond to their creative and artistic direction.
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• Leadership: convey the vision of the film's director or producers with all VFX artists, inspire them
to perform their best work, and control their output in terms of quality and timelines.

VFX supervisors collaborate with the VFX production management team. They collaborate with VFX
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producers to bid on work from prospective clients and set schedules and budgets. They provide notes to
the VFX production coordinators so that they can do the necessary admin to keep the project on track.

VFX supervisors collaborate with filmmakers and producers. They collaborate to determine what VFX is
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required for each shot of a film. They also supervise all of the various types of VFX artists within a VFX
company or studio.

Compositor
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Anyone who has worked in the film industry knows that there are numerous roles that must be played
flawlessly in order for a film to be successful. A compositor is one of the key roles in this process. A
compositor is a visual effects artist who combines images from various sources, including video, film,
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computer generated 3-D imagery, 2-D animations, matte paintings, and text.

This person is in charge of ensuring that all of the film's visual elements work flawlessly together. These
people have had jobs since the beginning of filmmaking, when they had to ensure that the props were in
the right place at the right time. This role has grown in importance as technology has advanced. With so
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many special effects, video editing, graphic design, and different locations involved in making a movie, it
can be difficult to make all of these elements work together perfectly. From the blue screen to the green
 screen and even the chroma key, the compositor had to bring multiple cinematic elements together to
express the right message.

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Primary roles of Compositor

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Green Screen and chroma key

Most people are aware of the significance of the green screen or chroma key in a film's special effects.

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Today, the green screen, also known as chroma key, is a backdrop screen that permits the merging of
two or more features into a single image based on multiple colour colours. This is how powerful live-
action film scenes are captured. Without this important position, the green screen scenes would not be

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possible.

Digital image manipulation

As technology has advanced, much of the role of compositing today is based on digital image

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manipulation. While green screen technology is still used, the majority of digital image manipulation takes
place on the computer. This person sits at a computer and combines multiple images into a single scene
before running the scene to ensure that everything runs smoothly. Technology has advanced to the point
where much of this can be done without the use of a green screen because everything can be combined

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digitally without the need for a special screen in the background.

Physical compositing
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Because much of this is now done digitally, this is largely a secondary role. Previously, some scenes
were too large to be filmed in a single take. Instead, the scene would be shot in multiple shots, with the
compositor physically assembling the images. Today, this job is primarily used to add a nostalgic feel to
films. Because camera technology and digital image manipulation have advanced, physical compositing
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is no longer as common; however, it remains a secondary role.

Background editing
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This is still a secondary role in filmmaking, but it entails projecting a background while filming a scene.
This is sometimes referred to as background compositing. Because of the chroma key and digital image
manipulation, this is no longer widely used; however, it is still used sparingly in film production. If this was
required in film production, the compositor would be in charge of it.
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Roto/Paint Artist

Roto artists manually draw around and cut out objects from movie frames in order to use the necessary
parts of the image, a process known as rotoscoping. Mattes are the parts of an image that are desired
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after being cut out. Roto artists work on live action frames in which computer-generated (CG) images or
other live-action images will overlap or interact with the live image. If the live-action camera does not
move within a shot, rotoscoping may only require one frame. If the camera is moving, roto artists trace the
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relevant areas of every frame within the shot so that CG and live-action can be combined accurately.
Roto artists must have a keen eye as well as patience to complete this meticulous and repetitive work.

With addition to rotoscoping, roto artists assist in the preparation of material for compositing. Roto artists
are typically employed by VFX studios, but they can also work as independent contractors.
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What skills does a roto artist have?

 • Tracing ability: trace accurately and with a good line
• Patience: be methodical and thorough, taking care to rotoscope well to assist produce a high-

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quality final image
• Knowledge of programmes: be proficient in utilising necessary applications such as Photoshop

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• Delivery: work well with demanding deadlines, be able to complete work under pressure
• Taking the initiative: observing what is going on, being proactive, and asking pertinent questions.

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Matte Painter

Matte Painters are animation artists who create painted representations of landscapes, sets, and other
locations as backgrounds for scenes that are difficult or impossible to find and film. Instead of traditional

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painting, most Matte Painters now work digitally. A Matte Painter's primary responsibility is to create
realistic elements capable of replacing live-action elements and/or improving existing live-action footage
in films. Matte Painters work with a variety of content, including live-action footage, digital still
photography, computer graphics, and digital paint. They are in charge of creating environments that are

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realistic, believable, and can be seamlessly integrated into the film. Matte Painters primarily work digitally,
with software, and with a variety of 2D backdrops and 3D projections.

Matte Painters, like many other occupations in this field, will collaborate with a variety of people on each
project they complete, so good communication skills are essential. You must be able to follow the

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Production Designer's direction and work alongside technical colleagues to produce complex matte
painted elements to a high standard. All of this will be necessary while working in a fast-paced, dynamic,
deadline-driven environment.
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What's a Matte Painter good at?

• Composition, colour, perspective, depth, and lighting knowledge

• Good communication skills
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• Knowledge of a range of applications, including corel draw Zbrush, Apple Shake, and Maya
• Ability to work both solo and as part of a team
• Motivation and commitment to perfect all parts of your trade
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• Patience and flexibility

• Knowledge of both conventional and digital art
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With the rapid advancement of technology, the entertainment industry has progressed beyond the days of
traditional matte painting, and we are now in the era of digital special effects. It is not an exaggeration to
say that the world is in the process of being digitalized, a process that will render traditional methods of
performing a task or carrying out a specific assignment obsolete. The invention of Photoshop, which is
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capable of producing stunning digital effects, is the most recent positive trend for an artist to create a
stunning cinematic movie that will not only capture the mind and attention of the audience, but will also
ensure that all effort contributed to the success of the work is appreciated. There may be a transitional
phase between traditional and digital matte painting, but there is an interphase known as the Williams
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Process in between.
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The modern digital matte painting, on the other hand, has replaced the traditional one, with the use of
both digital 2-D images and 3-D computer animation, which has replaced the traditional black matte
painting with blue or green backdrops. The matte painter collaborates with the film director to create
concept art that is drawn using two techniques. Some matte painters use Photoshop to achieve the

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desired visual effect, while others draw it in the film using pencils, paper, and pastels. The process of
creating a Photoshop matte painting begins with the search for reference material, which could be
mountains, seas, or any other desired material that best depicts the concept art. Additional digital effects
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are applied to the material. Both 2D and 3D images are used for digital animation, with 3D computer
animation taking the lead in recent years. Several films, including Game of Thrones, Lord of the Rings,
and Harry Porter, have used modern digital matte painting.
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Matte Painting for "Game of Thrones"
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Post Production - Sound/Music

Sound Designer
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The art and practise of creating sound tracks for a variety of purposes is known as sound design. It
entails using audio production techniques and tools to specify, acquire, or create auditory elements. It is
used in a variety of fields, including filmmaking, television production, video game development, theatre,
sound recording and reproduction, live performance, sound art, post-production, radio, and the
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development of musical instruments. Sound design frequently entails performing (see, for example, foley)
and editing before composed or recorded audio, such as sound effects and dialogue, for the purposes of
the medium. A sound designer is someone who works in the field of sound design.
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The person directly in charge of creating a film's sound design is the sound designer. On a particularly
small production, the sound designer's role may be all-encompassing. They may be the sole person in
charge of a film's entire audio component. On larger productions, the sound designer generally leads an
audio team comprised of some or all of the following sound design positions: Foley artists, Audio
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Engineers, Re-recording Mixers, Dialogue Editors, Supervising Sound Editors, ADR teams, Music Editors
and Supervisors, and even Composers.

Although the vast majority of a sound designer's work is completed during post-production, the best film
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sound designers can be involved in a film as early as the pre-production stage. Some filmmakers have
specific visions for the aural landscapes and know exactly how they want their films to sound before they
begin filming. Meetings and in-depth discussions between a director and a sound designer can take place
early in the process to prepare for what is to come later in Post-Production. If a sound designer is made
aware of specific sounds that will be required in advance, they can begin crafting key SFX concurrently
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with the film's production.

 The Sound Designer should read the script and meet with the Director to discuss the show's sound
design and start creating the cue list. There are numerous types of sound effects and numerous methods

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for producing them. There could be a composer working on music for the production. The Director may
have selected specific pieces of music or may wish for the Sound Designer to make some selections. It's

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possible that no musical effects will be required. These can be recorded from other sources and played
back later, or they can be created live during the performance. The Sound Designer is also in charge of
setting up any necessary sound reinforcement equipment.

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The Sound Designer must become intimately acquainted with the sound equipment in the booth. He or
she will need to understand how to record the effects onto various types of playback equipment.
Complete understanding of the cues and their placement in the performance is critical. The Sound

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Designer must be able to decide how complicated the cueing will be. All run throughs and other acting
rehearsals that are deemed necessary should be attended by the Sound Designer. The board operator
must be trained on the equipment, and any unusual speaker placement must be determined at this time.
The Sound Designer should meet with the Stage Manager a few days before Tech rehearsals begin to

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provide preliminary cue placements. He or she is required to attend all Technical/Dress rehearsals.
During these rehearsals, volume levels, specific cueing, and changes will be made. Any changes must be
completed by the Sound Designer before the next rehearsal.

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Dialogue Editor

A dialogue editor is a type of sound editor in filmmaking who is responsible for assembling, synchronising,
and editing all of the sound that comes from the set and is captured by the production's sound
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mixer/recordist. A dialogue editor's main goals are to make tracks smoother and clearer, to give the
sound depth, and to cut for perspective. Conversation editing, in particular, necessitates close attention to
detail because the words spoken must be in sync with the image. Furthermore, the conversation between
characters must have a natural rhythm. If any of the audio tracks are rendered unusable for any reason,
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such as background noise obscuring the words, the actors can be brought back into the sound studio to
watch their performances and re-record their lines.

While the specific duties of a dialogue editor can vary greatly depending on the industry or the scope and
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budget of the project, the core job is to ensure that the dialogue audio is clean, matches the visual action,
and fits into the world of the production.

Cleaning up pops, clicks, and artefacts; adjusting levels; equalising voices; devising process patches to
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modulate voices (e.g., to make a voice sound like it's coming from a walkie-talkie or belongs to a
humanoid creature); and reviewing the visuals to ensure that every minor mouth movement syncs with
the sound.

Cutting for perspective implies altering the sound based on the picture when the camera shot varies
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considerably during a scene. A close-up view of someone pouring a drink into a glass, for example, would
necessitate altering the audio to assist viewers feel very close to the action; yet, if this cuts into a medium
view of the drink being poured, the audio would be altered to sound farther away.
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Every sound recorded during the shoot is the responsibility of a dialogue editor. He takes the picture
editor's nearly finished film, makes sense of the edited sounds, organises them, and determines what
works and what doesn't.
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The dialogue editor sifts through the outtakes in search of better articulations, quieter passages, sexier
breaths, and less vulgar lip smacks. He replaces washed-out wide-shot audio with clean close-up takes,
adds depth to otherwise flat scenes, and edits tracks for maximum punch and clarity. Dialogue editors
 work to remove the filmmaking from the film as well. Dolly squeaks, camera noise, crew rustling, and light
buzzes must be eliminated; otherwise, the magic of the movies is jeopardised.

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These editors assist in presenting the actors in the best light possible by quieting dentures, eliminating

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belly noises, and sobering slurred syllables. When the production sound cannot be saved, the dialogue
editor participates in the ADR process, which involves re-recording voices in the studio to replace
problematic field recordings or to improve performances.

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Sound Editor

The person in charge of editing sound on the film, which may include all of the sound, all of the sound

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except for the music, or just the sound effects and foley (the term comes from the latter, but in the case of
very talented major sound editors and/or low budget features with small crews, the sound editor may do
all of the sound). Without effects and foley, a film sounds flat and lifeless; this is a critical job that is
frequently neglected.

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The sound editor is the creative genius behind a video production’s selected sound. The final sound
assortments play an artful role in calibrating the sound to the visual production. Depending on the scope
of the production, some sounds are real-life captured on location. Other sounds are prerecorded and re-
reenacted in the studio. The sound editor’s position actually developed over time to trigger the human
senses.

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Today’s technology has heightened this artistic performance using automated or computerized audio
effects. There are three pieces that make up the final sound for a production. During early production, the
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sound editor generally functions as the supervising sound editor. They are responsible for directing and
coordinating the sound staff before the final production cut. If the staff budget doesn’t exist, the sound
editor is expected to handle it all. The sound staff supports the administrative duties involving technical
changes in the early production screenings.
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Primary roles
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Controlling the sound

The primary responsibility of the sound editor is to collaborate with the production director. The first
responsibility is to ensure that the dialogue sound flows in accordance with the director's vision. The
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background sounds, sound effects, and music are all included in the final sound mix. The work and
preview schedules are the most difficult challenges for the sound editor. Without a complete soundtrack,
the director will not be able to preview the production. The director and the editor are both aware that the
final production soundtrack is a work sample. The reason is that it's not uncommon for the preview
soundtrack to be tweaked before the final release. Consider how we watch videos. If the sound is muted
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or does not mix with the screen presentation, the viewer's attention is lost. The sound helps the viewer
understand the dialogue and keeps their attention while engaging their senses.

Editing the sound

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The actual editing of the sound is performed by secondary roles. Sound editing was done on magnetic
tape before technology. Editors essentially cut the tap to remove audio segments before resplicing the
tape. Because the sound is usually recorded with a digital audio recorder, computers now make it easier
for editors to clean up the dialogue. The audio effects that have been edited are synchronised with the
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video production by the sound editor. Finally, the sound editor removes any unwanted or background
noise from the track.
 Re-recording Mixer

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Re-recording mixers are, in many respects, the final gatekeepers through which all audio must pass
during the postproduction cycle of cinema, television, and advertising. Re-recording mixers seek to

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correct any final audio issues that may have slipped through the cracks by working in two stages: an
initial sound mix and a final mix after the material has been shown to test audiences. They conceal any
background noise, cross-fade across songs, apply reverb and other filters, and adjust varied audio levels,

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all in the aim of a unified audio experience.

While re-recording mixers must deal with some technical issues, their primary role is to ensure that the
storey is successfully presented through sound. This means that each piece of audio is in the right

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position, requiring the appropriate amount of attention from the audience while also supporting the
project's overall visual goal. The re-recording mixer must decide when dialogue should rule the mix, when
a plot-relevant sound effect should rise above other competing sounds, and when music should take the
lead to drive home an emotionally resonant moment, all while taking feedback from the director,

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producers, supervising sound editor, and test audiences into consideration.

The production sound mixer (sometimes known as the site sound mixer) is the most senior sound role
during pre-production and production. They work as a sound recordist on set, recording and balancing the
audio effects.

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It's natural to think of film and television as visual arts, but there's a lot of labour that goes into a
completely different sensory experience: sound. The production sound mixer is an essential member of
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every feature film's sound crew, and they are a large part of what makes outstanding sound possible.

• Determines which audio equipment will be used for that specific project, as well as delivering that
equipment.
• Pre-visits filming areas to assess any potential sound issues, such as heavy background noise.
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For example, they consider whether the area is prone to high winds or whether there is a lot of
road noise.
• Hires or assembles their team, which typically consists of boom operators, sound assistants, and,
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on occasion, sound trainees.

What Are The Roles Of A Sound Mixer

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• On-set sound recording for the film. This contains all of the actors' dialogue during each take, as
well as "wild sound," which refers to any location sounds that the post-production team may
choose to incorporate in the film or as a reference.
• Real-time audio mixing, which includes balancing loudness and other sound qualities to ensure
the audio will work for the final output.
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• Evaluates the audio quality after each take and requests retakes if appropriate.
• Sets up and dismantles all sound equipment.
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Re-Recording (Dubbing) Mixer

A re-recording mixer in North America, also known as a dubbing mixer in Europe, is a post-production
audio engineer that blends recorded speech, sound effects, and music to create the final version of a
soundtrack for a feature film, television programme, or television commercial.
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The final mix must achieve the intended audio balance between its numerous elements and must
correspond to the director's or sound designer's original vision for the project. The final mix for broadcast
 material must also adhere to all applicable sound mixing laws (e.g., the CALM Act in the United States
and the EBU R128 loudness protocol in Europe).

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The many designations for this profession stem from the fact that the mixer is not mixing a live

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performance in front of an audience or a recording. That is, he or she is re-recording previously recorded
sound after running it through mixing equipment, such as a digital audio workstation, and may dub in
other sounds in the process. While mixing can be done in a recording studio or home office, a full-size

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mixing stage or dubbing stage is utilised for feature films intended for theatrical release to assist the mixer
picture how the final mix would sound in such big locations.

• • Sound editors, sound designers, sound engineers, production sound mixers, and/or music

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editors put together the tracks that will be used by the re-recording mixer during production or the
early phases of post-production. These tracks are then derived from sounds created by
professional musicians, singers, actors, and Foley artists.

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• The usual re-recording procedure begins with a "premix." In the conversation premix, the re-
recording mixer does preliminary processing such as initial loudness adjustments, cross-fading,
and decreasing environmental noise or spill picked up by the on-set microphone. Audio
restoration software can be employed in the majority of circumstances.

•
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A temporary/permanent music soundtrack generated by the music editor may be added to film or
television productions, and the resulting work is examined by test audiences before the film or
television programme is re-cut and the soundtrack is mixed again. The re-recording mixer can
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also increase or minimise audience reactions in television programmes filmed in front of a studio
audience. A laugh track can help to accentuate these reactions in some circumstances.

• During the "final mix," the re-recording/dubbing mixers must make creative decisions in each
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scene about how loud each main sound element (dialogue, sound effects, laugh track, and
music) should be relative to each other, with the director or producer guiding them. They can also
change the volume and spectral content of individual sounds, as well as add artificial
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reverberation, if needed. They can place sounds in a three-dimensional listening environment for
a number of locations and release formats, such as movie theatres, home theatre systems, and
so on, that have stereo and multi-channel (5.1, 7.1, and so on) surround sound systems. 'Object-
based' audio formats such as Dolby Atmos can now be used to mix films.
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• The inclusion of ceiling speakers and the removal of audio channels produces a more intimate
environment within the sound field.
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Why Are Re--Recording Mixers Critical During The Post-Production Phase Of Film Production?
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• One of the final phases before releasing a film, television show, or advertisement to the public is
the preparation of its soundtrack, which in the industry refers to all synchronised audio, including
dialogue and effects. This is the job of the re-recording mixer, who takes previously recorded and
edited audio elements—the work of production sound teams, dialogue editors, Foley Artists,
sound effects editors, composers, music editors, and music supervisors—and layers them
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together, balancing the levels so that the sound tells a clear and effective story.
 • Re-recording mixers are the final gatekeepers through which all audio in the post-production
cycle of cinema, television, and advertising must pass. Re-recording mixers seek to correct any

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final audio issues that may have slipped through the cracks by working in two stages: an initial
sound mix and a final mix after the material has been shown to test audiences. They conceal any

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background noise, cross-fade between songs, apply reverb and other filters, and modify varied
audio levels all in the name of offering a seamless audio experience.

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• While re-recording mixers are in charge of certain technical damage control, their primary role is
to ensure that the storey is delivered successfully through sound. This means that each piece of
audio is in the right position, requiring the appropriate amount of attention from the audience

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while also supporting the project's overall visual goal. The re-recording mixer must assess when
dialogue should control the mix and when plot-relevant sound effects must rise above other
competing sounds, taking feedback from the supervising sound editor, test audiences, and the
director into account.

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Music Supervisor

Few positions have the ability to make an impact like a music supervisor when it comes to adding that
extra element that brings a production to life. Music has the power to elevate a project from good to great,

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and it is the music supervisor's responsibility to find, oversee, and manage all musical talent during
production. Due to their excellent musical accompaniments, films such as O' Brother, Where Art Thou?,
The Graduate, and Titanic were elevated above simply being films and into the minds of the global public.
The music supervisor was in charge of orchestrating these soundtracks, deciding which pieces appeared
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where and when, and dealing with any talent issues that arose. Furthermore, music supervisors have the
added benefit of potentially receiving royalties for successful soundtracks, making the position both
competitive and sought after.
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Music supervisors are a newer addition to the industry. The Guild of Music Supervisors, based in Los
Angeles, was founded in 2010 to raise awareness and understanding of the position within the Hollywood
film industry.
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Roles & Responsibilities of Music Supervisor

Choosing the music

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The music supervisor, as the title implies, is in charge of all aspects of a project's music.

1. A music supervisor, like a director in charge of the entire film or video team, works within a
budget to realise their artistic vision.
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2. While working closely with both the director and the producer, the music supervisor must
investigate songs and pieces that enrich the scenes in the film.
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3. Negotiating with performers and publishers: After finding the appropriate piece of music to
accompany a film, the music supervisor must begin the process of assuring that it may be lawfully
utilised in the film. If it's an existing song, contact the creator's publishing company to negotiate
cinematic rights for the desired piece of music. While not needed, a legal background can be
incredibly helpful for an aspiring music supervisor because it will assist them to negotiate the
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muddy waters of copyright ownership and fair use.

 4. A music supervisor's job is comparable to that of a business manager in that you must keep an
eye on the project's finances or risk going over budget.

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5. Obtaining the rights to a vital piece of music can be expensive, and it's not uncommon for

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producers to be obliged to select a popular piece of music for one scene while perhaps cutting
cuts elsewhere. A smart music supervisor knows how to keep within a budget while not allowing
music choices to detract from a project.

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Make certain that artist royalties are collected: The contact between a supervisor and an artist and their
publisher does not end with the acquisition of song rights; the supervisor must also ensure that the
musician receives their proper remuneration. When a previously recorded piece of music is used in a film,

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the music supervisor must contact one of the Performance Rights Organizations. These organisations
keep track of how music is utilised in visual media, which allows musicians to be fairly compensated.

• Have a meeting with the director and producers. The director and producers will have a vision for

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their film, and it is up to the music supervisor to discuss how music can contribute to that vision.
The music supervisor will then suggest various styles of music to capture the desired mood.

• Locate the visual media. This means that the music supervisor will go through the rough cut of

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the film or TV show and indicate where background music is required. The opening and closing
credits, as well as scenes where music can be used to support the emotion of the storytelling, are
the traditional places for music. During spotting, the music supervisor collaborates closely with
the production's composer to determine which scenes require an original score, if a unique theme
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song is required, and which scenes will use pre-existing music.

• Select, negotiate, and licence music After that, the music supervisor chooses existing music or
collaborates with artists to develop new songs or cover old ones. This requires negotiating the
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tangle of rights holders, intellectual-property laws, music licencing, and the public domain; if the
music supervisor does not do so thoroughly, the production may be sued for copyright
infringement. When negotiating music rights, the music supervisor must also keep the production
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budget in mind.

• Ensure that royalties are distributed. Cue sheets, which are lists of all songs utilised in a specific
production, are used to determine royalties. The music supervisor keeps track of the cue sheets
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to ensure that all artists are properly recognised and that any music utilised in the production
receives royalties.

Music supervisor jobs, as the head of the music department, are not entry-level positions. A few specific
abilities that make a good music supervisor are as follows:
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• A broad understanding of music and music history. A music supervisor must have a broad
knowledge of most types of music and their cultural backgrounds in order to suggest music for
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any situation in any type of film or TV show.

• Knowledge of licencing and creative rights. Music supervision entails understanding the legal
ramifications of licencing music, such as who receives royalties, who owns creative rights to
specific songs, which songs are essentially unattainable, and which songs are in the public
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domain.
 • Music supervisors spend a lot of time negotiating song rights with artists and record labels. They
also take pitches from licencing companies and music-publishing companies (also known as

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music publishers) for songs that the companies want to use. A music supervisor frequently has
strong connections in the music industry. Furthermore, music supervisors collaborate closely with

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composers, music editors, music directors, production directors, and producers to ensure that the
music is perfect.

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Composer

Composers write, direct, and create music for a wide range of genres. Compositions, scores, and
arrangements for theatre, film, television, and even video games may be created. Composers have a

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keen musical ear and are frequently sought out for advice by musicians. They are usually proficient in one
or more instruments. The score may add mood or emotion to a dramatic scene in a play, or it may provide
a stormy backdrop for a groundbreaking action scene in a film or video game. Composers will also spend
time meeting with directors or producers to discuss their contract's requirements. The discussion focuses

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on topics such as the mood and tone of each scene so that the composer knows where the soundtrack or
score should go. Before the score is deemed ready, it is common for revisions to be required.

Composers are needed to complete projects such as movies, television shows, video games, plays,
commercials, songs, and orchestras. Composers can create and arrange scores for various forms of

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media from home or in a studio. They must also travel to and from rehearsals in order to direct and fine-
tune performances. Composers typically work under contract with media or performance companies. After
completing one project, they seek the next, which may be with a different company or even in a different
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city. As a result, composers frequently work long, irregular hours in a variety of locations.

Composers are known to do the following:

• Compose original music for orchestras, bands, and other musical groups; arrange existing music
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into new compositions;

• write lyrics for music or collaborate with a lyricist;
• meet with orchestras, musical groups, and others interested in commissioning a piece of music;
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• study and listen to music of various styles for inspiration; and

• Collaborate with musicians to record their music.

Composers create music for a wide range of musical groups and users. Some specialise in a specific
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musical genre, such as classical or jazz. They may also write for musicals, operas, or other types of stage
productions. Some composers create scores for films or television shows, while others create jingles for
commercials. Many songwriters concentrate on writing music for popular music audiences. Some
composers use instruments to assist them in writing music. Others employ software that allows them to
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hear a piece without the presence of musicians.

Foley Artist
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Artists in charge of "Foley" have one of the coolest jobs in the industry that requires a deep knowledge of
sound, music, and rhythm. The importance of sound in creating an immersive experience for the
audience cannot be overstated — our focus is on the visuals, but the sound brings them to life. Images
can be grainy, and the camera can be handheld and jerky, but the sound must be flawless. It is nearly
impossible to capture pristine sound on location, and almost all of it must be re-recorded later.
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A Foley artist is someone who re-creates sounds in post-production for film, video, and other media to
improve audio quality. They are used to replace sounds that could not be properly recorded on set. Foley
 studios have viewing screens, props, and recording equipment to capture sounds while watching the film.
These sounds can range from clothing swishing to glass breaking, footsteps, or squeaking doors. They

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make specific sounds by using a variety of props. Footsteps are created by the artist wearing the
appropriate shoe and walking on the appropriate surface (e.g., wood floors, asphalt, grass). Foley artists

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also re-record low-quality sounds from the initial set recording, which becomes the majority of the sounds
heard in a film.

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The term 'Foley' is derived from Jack Foley (1891-1967), a pioneer in sound effects. He collaborated with
Stanley Kubrick but received little credit other than the term itself.

Three types of foley:

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• Footsteps
• Movement
• Props

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Elements of Foley sound

Foley sound is entirely within the realm of diegetic sound, or sound within the world of a film. Non-diegetic
sound, which is typically music and narration, is a completely different animal. Even with the best sound

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recording equipment and techniques, Foley sound recording is unavoidable. There are a lot of sounds to
consider in any given scene, if you think about it. Re-recording dialogue, or ADR, is handled by a
separate department; it may be the most visible sound element, but it is far from the only one. Let's take a
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look at the various elements that make up the job description of a Foley artist.

Footsteps

As stated in the Foley artist definition, reproducing the sound of footsteps is accomplished by wearing
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various types of shoes and walking on various types of surfaces to achieve the perfect sound for the
character.

Movement
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The level of detail and meticulousness required is exorbitant. Even the smallest movement, such as a
person crossing their legs while wearing jeans, must be audible.
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Props

Marko Costanzo, a foley artist, used leaves to create the swirling sound of the witch from Into the Woods.
In The Big Lebowski, he also used the cracking of celery to create the sound of breaking bones.
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3.1.5 Importance of a Edit Display List- EDL

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An edit decision list, or EDL, is a list of video clips and time codes that can be used to either:

• Edit a long unedited or "raw" video file into a shorter finished video piece.
• Combine multiple videos to make a finished video piece.

Purpose: An edit decision list is used when the person making the content decisions for a video (usually
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the subject matter expert/faculty) needs to communicate that information to the person (media team) who
will be editing the video.
 Shot lists and EDLs (Edit Decision Lists) have long been used in post-production. Shot lists and edit
decision lists help the editor keep track of the footage he or she is working with. They inform the editor

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about what to keep and what to discard, and they, above all, keep the edit together as it passes through
multiple hands in the post-production pipeline.

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A bin was a bin once upon a time in the land of acetate and silver halide crystals, and film was real. It was
a massive canvas bucket containing a spaghetti sea of film. The tangled mass was made up entirely of

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workprint, copies of the original footage cut into individual takes. The only way to make sense of it all was
to label each strip of film and record it in a paper log. Each camera take was recorded in a shot list during
production. There were no databases containing metadata, allowing the editor to bring up whatever shot
the director requested. There were only written lists on paper. The more accurate and detailed the shot

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list, the easier it was for the editor to pull the necessary footage. This may have appeared to be a time-
consuming process, but it was protected from computer crashes, hard drive failures, and data dumps. It
served as a guiding force during post-production. The film editor would take meticulous notes, on which
clips were used, right down to the frame level. These notes were entered into an EDL. When it came time

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to make a final cut on the original footage, they'd get the exact same film as the one they'd cut to pieces
in their bin.

The Origins of EDLs

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In its early stages, video production adopted the film industry's practise of offline editing. Video editors
would not use the original source tapes; instead, they would use copies. This kept the original footage
from becoming corrupted or damaged. Offline editing is a technique that is still used in larger post-
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production facilities and digital productions that work with data-intensive video formats.

Previously, editors would create their edits by playing one tape and recording the desired shot onto
another tape. When that clip was completed, they would cue up the next tape to the desired shot and
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record it. The editor would keep a detailed log of every clip used as the edit progressed. The log would
include information such as the tape or reel from which the clip was taken and the timecode of the
footage used. It would also indicate any transitions and overlaps between clips, such as the audio from
one clip being used underneath the imagery from another. This log mirrored the edit's linear order. It was
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a lengthy process that required the editor to pay close attention to detail. The completed list is referred to
as an EDL. It would be used by the editor, along with the source footage, to put together the finished
production.
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Editing While Not Online EDLs and offline editing are still used today, and are far more advanced than a
timecode listing on paper.
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EDLs are now digital, and most video editing software can output an EDL or a more detailed digital format
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for use in other software. Extensible Markup Language, XML, and Advanced Authoring Format are the
two most widely used formats today. These formats make it possible for an editor to transfer an editing
project from one editing application to another. Final Cut Pro 7, for example, can generate an XML file
that Adobe Premiere Pro can read. An editor using Final Cut Pro 7 can edit a production and then send
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his or her edited project to an editor using Premiere Pro to finish it. The true power of these output
formats is found in the interaction of conforming edits with a suite of task-specific applications. Color
grading applications, visual effects suites, and audio editing workstations are frequently used to transfer
edits and timelines. This enables the project to be worked on in task-specific applications before being
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transferred back to the video editing application for final output and archiving.

Lists of shots
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A shot list is a similar organisational tool that works well on any size production, but an EDL is a terrific
tool that is sometimes missed on one-man crew projects. There are three different sorts of shot lists that
can be used in every production. All three have their applications and are useful to the editor during post-
production.
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The first shot list is made during pre-production by breaking down the script. This is commonly known as
the shot breakdown. During production, the director and director of photography will shoot from this list. It
 specifies which shots were planned and which must be filmed. It may appear irrelevant to the post-
production workflow, but having it on hand can assist the editor in knowing what to search for and cue up

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what the director is looking for in a certain scene.

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In the early days of film and video editing, the editor would keep a complete ledger of every reel, clip,
timecode, and transition. It was a time-consuming process that demanded precise attention to detail.

The production shot log is the second shot list. The production shot list should include every take that the

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camera rolled on. Each record should include the reel number (of the tape, card, or other recording
medium), the date, the scene, the shot number, the take, and the timecode. It would be helpful if this list
includes notes about each take, stating whether it was a good or bad take, as well as any other relevant

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information. This list will be highly beneficial to the editor. It can save hours of scouring through footage
by assisting the editor in swiftly locating shots. Video editing software can now incorporate metadata, or
information connected with each individual clip. During ingest, the information obtained on the production
shot list can be entered in with the matching footage.

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During post-production, the third shot list is created. The editor's log details which clips were utilised in the
edit and how much of each clip was used. It can be used as a guide for anybody participating in the post-
production process, as well as to help the editor recreate the edit if something terrible occurs in the edit
bay.

Examples:
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Content Editing – If a subject matter expert interview is shot, the client can take the "raw" or unedited
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video piece and use time coding to choose the desired bits of the interview for the finished piece.

When modifying for content, here's an example EDL: Edit the responses together to make a topic-related
video with a variety of expert comments. In this example, you would specify the source video's name and
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time as a section of the video.

Sample EDL when editing multi-source videos:

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Special Notes about multi-source editing:

• ASU-produced media cannot be included into these types of videos. Only media generated
internally by ASU or available under Creative Commons or Public Domain licences.
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• Incorporating externally generated media requires written authorization from a copyright holder.

Example: With regard to copyright law, it is not possible to request that a YouTube video be edited into a
video.
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1. Save a copy of the EDL template to your Google Drive. * You must be logged in to Google
Apps with your ASURITE account.
2. Include the title of the video/project as well as your name.
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3. Enter information such as the media name, location, and in/out points, as well as any
additional notes.
4. Distribute your EDL document to your media editor.
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Check your Understanding

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1. Cameras are strategically placed in films to ensure spatial and temporal continuity and to guide
the audience's _ _ _ _ _ _ _ _ _ _ _of events.
2. A _ _ _ _ _ _ _cut is something that happens between a rough cut and a final cut.
3. The assembly cut is a type of cut that comes before the _ _ _ _ _ _ _ _ _ _ _.
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4. A _ _ _ _ _ _ _ _ _ _ removes rejected video content and arranges film clips in a logical order.
5. A _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ is a type of sound editor in filmmaking who is responsible for
assembling, synchronising, and editing all of the sound that comes from the set and is captured
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by the production's sound mixer/recordist.

6. Every take that the camera rolled on should be documented in the _ _ _ _ _ _ _ _ _ _shot list.

Summary
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 Film Editing Patterns (FEP) is a language used to formalise multi-shot film editing practises. FEP
constructs, in more specific terms, are constraints on the visual features of a sequence of shots.
  A final cut is the version of a film that is released, as opposed to a director's cut, alternate cut, or
extended cut, which may be released after the fact on physical media, streaming platforms, or in

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theatres.

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 Multicam editing occurs when you shoot the same event/scene with more than one camera and
attempt to edit the footage from the various cameras together.

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 The art and practise of creating sound tracks for a variety of purposes is known as sound design.
It entails using audio production techniques and tools to specify, acquire, or create auditory
elements. It is used in a variety of fields, including filmmaking, television production, video game

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development, theatre, sound recording and reproduction, live performance, sound art, post-
production, radio, and the development of musical instruments.

 Visual effects (sometimes abbreviated VFX) is the process by which imagery is created or

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manipulated outside the context of a live action shot in filmmaking and video production. The
integration of live action footage and other live action footage or CG elements to create realistic
imagery is called VFX.

 EDLs are now digital, and most video editing software can output an EDL or a more detailed


digital format for use in other software.

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An EDL is a great tool that is often overlooked on one-man crew productions, but a shot list is a
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similar organisational tool that works well on any size production.

Activity
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If you directing a movie how many various personals you hire for your feature film and Why?

Glossary
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 FEP: Film Editing Patterns

 VTR : Video Tape Recorder
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 CPU: Central processing unit

 DI: Digital intermediate
 EDL: Edit decision list
 SFX: Special Effects
 VFX: Visual Effects
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 SD Standard Definition

Questions and exercises

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1. What are different editing pattern?

2. What do you understand by rough cut?
3. Define Multi CAM Online Editing System?
4. Define various Roles and Responsibilities of different Personals in production?
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5. Define Edit Display List- EDL?

 Further Readings:

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1. Techniques de montage avec Final Cut Pro, Michael Wohl
2. Color Correction Handbook, Alexis Van Hurkman

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3. The Visual Effects Producer: Understanding the Art and Business of VFX, Charles Finance,
Susan Zwerman
4. Writing for The Cut, Greg Loftin

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5. The Healthy Edit, 2nd Edition, John Rosenberg
6. The Total Filmmaker, Jerry Lewis

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Check Your Understanding:

Answers

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1. interpretation
2. fine
3. rough cut
4. film editor
5. dialogue editor
6. production

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 Module IV: Understand requirements and plan workflow

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Unit 4.1: Editing Techniques

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At the end of this unit, you will be able to understand:

 Cut, Sequence and merge the material using digital software to create an output that meets the

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guidelines and has the required attributes(e.g pace, direction, style, mood and Impact) that would
appeal the target audience"
 Basic transitions and their use in editing

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 Creating sequences with meanings
 Essential attributes : direction, style, mood and impact that would appeal to the target audience.
 Authorship and style of edited content


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Role of sound /music in adding emotion
 Experimental editing styles
 Sound Track Pro - Introduction of Sound Track Pro,
 Focus on concepts and processes of audio editing,
 Sound Effects, Single Track and Multi-Track audio



Ambience sound)and finally mixing them.
Creating Graphics and Tittles for your Video. rs
Sound Track Pro Gallery. Leveling of all the soundtracks ( sound effects, Music, Voiceover AND
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4.1.1 Cut, Sequence and merge the material using digital software to create an output that
meets the guidelines and has the required attributes (e.g pace, direction, style, mood and Impact)
that would appeal the target audience
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A large number of decision-makers may be involved in video production, many of whom are dispersed
across multiple locations and skill sets. At various stages of video creation, several stakeholders and
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teams must contribute feedback and expertise.

With such a large team working on complicated projects, establishing repeatable processes at each stage
of your video production workflow is critical to ensuring your project meets deadlines, gets in front of the
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right people at the right time, and goes quickly along the production line.

The following are important safeguards to put in place:

Pre-defined phases that assign specific project team members and content routes to each step of
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production—and ensuring that the next step of content creation does not begin until all requirements,
content, and approvals for the previous steps have been completed.

Triggers based on time and/or decision that submit files for examination only after specified events occur
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(a new version is created, a client indicates a first review on a rough cut, a file is exported from Adobe
Premiere into a folder, etc.)

Approval decision checklists that monitor when and why team members signed off on a video file or not,
as well as whether or not they requested changes during the production process.
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 Notifications and reminders are automated to keep all team members accountable and informed of
changes to the video, deadlines, and more.

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The automation of these guardrails helps to standardize the cycle of video creation and avoids

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uncertainty among teams about roles, responsibilities, approvals, and project expectations. It expedites
production review procedures, keeps assets organised, and aids in the elimination of human error.
Finally, your video editing crew will have more time to focus on creating great content rather than

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clarifying or following down feedback.

The studio's stranglehold on the film prevents the creation of original films with diversity and cultural
appeal. This level of control creates a creative barrier between the studio and the director, resulting in

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films with little substance. Filmmakers must be given the freedom to make these types of films in order to
change the film industry's current landscape. While a hands-off approach by the studio would be ideal for
filmmakers, it would have an impact on the film's profitability because filmmakers would be able to run
wild with such an unrestricted time and budget. Furthermore, this approach disregards the studio's

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financial interests as well as its contractual obligations to distributors. The current model, however, is
equally unsatisfactory, "forcefully reinstating recycled and safe cinematic trends, models, and personnel."
As a result, a better creative control compromise is required to balance the interests of studios and
filmmakers.

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While many of the creative struggles with editing deal with marketability concepts after screening
analysis, clearer expectations from both parties about the final outcome of the film can be solidified during
pre-production in order to lessen the impact of editing during post-production. As a result, increased
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studio participation and collaboration with the director prior to the start of principal photography may
reduce post-production editing because the director will have clearer guidelines to make his final cut
without studio interference. Knowing what the studio's expectations are ahead of time prevents
interference in the end, giving the director more control over the film's final version.
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These kinds of collaborative efforts can also have a positive impact on the film's quality. With so many
people involved in the production of a film, films frequently fail due to clashing visions of the film, which,
ironically, leads to films with no vision. This was the case with Miramax Films' failure.
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As a result, the importance of pre-production planning cannot be overstated. In some cases, it can make
or break the film, both commercially and financially.
 As a result, providing a framework in which the director can create his film—even if this meant more
studio involvement during pre-production and possibly even principal photography—could be a strategic

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compromise to secure a director's right to final cut, reduce postproduction editing conflicts, and improve
the film's quality. The director has a better space to work within in order to arrive at a cohesive final cut if

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he sets the stage for a more united front early in the process. This, in turn, would allow both the studio
and the director to achieve their objectives—a final product that is beneficial to both parties (financial,
contractual and artistic).

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Given that the financing entity has the most control, compensation in the motion picture industry is closely
related to artistic control. While movies made within the system are subject to the studio's financial and
risk-averse pressures, there are ways to mitigate these influences. When the director is flexible on the

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amount of up-front payment, studios may be more willing to negotiate the final cut. Compensation in such
cases is linked to artistic control decisions.

In exchange for a percentage of the film's gross receipts, the director may waive some or all of his

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compensation. In contrast to pay-or-play or the standard fixed compensation scheme, when the director
has a stake in the film's financial success, he has a clear stake in its success. In this way, the director's
compensation scheme may incentivize him to make commercial considerations, making studios more
comfortable with the idea of giving the director more creative control. By putting the filmmaker more

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financially in step with the studio, this changes the traditional structure of the motion picture industry in
which the artists bear the reputational risks and the studios bear the financial risks. This arrangement
benefits both parties: while the director gains more creative control with the right of final cut, the studio
can reduce production costs and cash outlay, lowering the potential losses in the event of a box office
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failure. This is especially true in cases where "the effect of making blockbusters has increased the
studios' financial risk."

These types of deals are more common with established actors and directors. For example, for Universal
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Studio's film Twins, actors Danny DeVito and Arnold Schwarzenegger, as well as director Ivan Reitman,
waived their usual upfront salaries in exchange for significant percentages of gross film rentals. As a
result, Universal was able to keep production costs under $15 million.
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This can be viewed as a strategic alliance between the director and the studio, in which the filmmaker and
the studio begin the filmmaking process with the director more commercially aligned with the studio and
the studio more creatively aligned with the director. By overlapping the goals of both parties, such an
arrangement can reduce the adversarial relationship that is common in the film industry between the
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artistic and financial sides.

Studio executives will save time and money by not cutting corners in the first place and having a better
roadmap to follow during production. A lot of time will be spent in the editing room if there is no clear
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roadmap—a polished script, a clear vision with cast, set, and wardrobe, and a reasonable budget within
which to work. Creating a budget that is both financially feasible for the studio and appropriate for putting
the script on camera can even reduce post-production costs.
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In an ideal world, a filmmaker would have complete freedom to make a film of his own creation, including
the ability to write the script and produce the film on whatever budget was necessary—with final cut, no
interference, and adequate resources for marketing and distribution. 243 However, because feature
filmmaking is a massive undertaking that necessitates a large number of people and a large sum of
money, it is an endeavour that cannot be undertaken by one person alone. This reflects two pervasive
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issues in the film industry: one person cannot take on such a massive undertaking alone, and investors
demand a return on their investment or they will not take the financial risk.
 As a result, in a more realistically ideal world, a director would be hired to realise his vision. In such
cases, the studio endorses the director's vision, at least as long as it adheres to the studio's budgetary

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and scheduling constraints. Creating a roadmap prior to production allows the director's vision to be
realised on screen while also meeting the studio's expectations. However, when a director is hired as a

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puzzle piece rather than for his vision, the director's vision is always lost. Consider that under the
blockbuster formula, directors, like actors, are frequently brought to the film for their commercial appeal,
and in such cases, the director's name, rather than his vision, drives his employment. Similarly, a studio

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may hire a director known for success in a specific genre, such as action, based on his track record of
box-office success. All else being equal (director's status and availability, film budget, etc.), if a director is
hired for any reason other than being the person with the best vision to translate the screenplay to film,

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the studio may treat the director as a prop rather than the creative leader.

This is not to say that studio filmmaking is always bad, or that a filmmaker should never work with a
studio. To the contrary, there are numerous advantages to making a studio film, not the least of which is
the opportunity to work with top-tier talent, substantial compensation, and a large production budget

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(without the responsibility of securing financing). Furthermore, and perhaps most importantly, with
international distribution and exhibition channels, studio filmmakers can create a film for a global
audience. Thus, rather than condemning studio filmmaking, the goal of this paper was to investigate the
conflicts between studios and filmmakers in order to find ways to modify industry practises in a way that

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benefits both parties.

4.1.2 Basic transitions and their use in editing

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Editors use cuts and transitions to move from one camera shot to the next. The term "cutting film" refers
to the process of cutting pieces of film and assembling them with other pieces. This process began
seriously, with filmmakers shooting only two or three tableau scenes from the perspective of an audience
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member. However, by the mid-1910s, filmmakers were cutting and transitioning more frequently and
effectively. From Georges Méliès to D.W. Griffith, this video does an excellent job of explaining the early
years of film cutting and editing.
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Griffith is widely regarded as the father of continuity editing and the originator of the 180-degree rule in
film. Eleven years after the release of Griffith's most iconic work, The Birth of a Nation, Russian filmmaker
Sergei Eisenstein released Battleship Potemkin, which has become synonymous with Soviet Montage
Theory. So, from the turn of the twentieth century to 1925, a lot of the film language that we still use today
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was established — everything from wipes to dissolves to fades had already been invented and mastered
by some of cinema's most inventive pioneers.

Asynchronous Audio
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When the sound is not synchronised with the video, it is referred to as asynchronous sound. This sound
can be used to introduce a new shot or to highlight an auditory aspect before transitioning.
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The Godfather baptism scene does an excellent job of using asynchronous sound to create an
overarching tone while juxtaposing it with imagery. This technique is applicable to both diegetic and non-
diegetic sound.

Crosscut
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Cross cuts are used to create scale, continuity, and/or tension by switching back and forth between two
shots that are taking place at the same time. Cross cuts rely heavily on "sequential clarity," so it's difficult
 to cross cut things in post-production if they weren't planned ahead of time. Crosscuts are frequently used
in scripts with the intention of having the corresponding scenes shot separately and then cut together in

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post.

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Cut

Crosscuts are frequently used in scripts with the intention of having the corresponding scenes shot
separately and then cut together in post.

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A cut occurs when one shot seamlessly transitions to the next. In filmmaking, we see cuts all the time —
for example, "shot reverse-shot." In "shot reverse shot," we see one shot, then a cut, and then a reverse

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shot. Transitioning between shots can be done in a variety of ways. But keep in mind that a cut occurs
when a shot transitions to another shot without any effect – just shot-to-shot.

Cutaway

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A cutaway shot is one in which the camera "cuts away" from the main action to show supporting
information before returning to the main shot to reinforce that information. Cutaways can be used to
transport us to another time and place to confirm what a character has said.

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Insertion & Cut-in Shot

When you transition from a wide shot to a close-up to show more detail on an object or person, this is
referred to as a cut-in. The insert shot is a transition technique similar to the cut-in, but it does not
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necessitate a change from a long-shot to a close-up. The insert shot, on the other hand, can be used at
any time to draw attention to a specific aspect of a scene. Cut-in and insert shots are both useful tools for
filmmakers when focusing on key details in a scene.
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Cut for Contrast

It's all about contrast with the contrast cut. It happens when you cut from one tonal element to another to
show diametricity. Contrast cuts can be used visually, auditorily, or both – but they work best when the
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video and audio match, as in the video above, where the swelling music cuts simultaneously with the
video.

Defocus
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The defocus transition is one of the simplest and most effective transitions. It's simply adjusting the
camera's focus until it becomes completely blurred – which can then be used as a transition between
shots.
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Dynamic Cutting

Dynamic editing is also known as "call attention to itself editing." It employs a number of transition
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techniques to help the viewer understand the editing. There are some elements of continuity editing in the
second half of the clip, such as cutting on action, but there is so much overt cutting in the first half that it's
difficult to ignore the self-consciousness. Dynamic cutting is, at the very least, a fast-paced, self-
conscious editing style. The direct cut, like dynamic cutting, is an instantaneous cut that draws attention
to itself by changing the time of day or location between shots.
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J and L cuts
 A J-cut occurs when the sound of a shot or scene plays before the next shot. To put it another way, it
happens when the visual outperforms the audio. An L-cut occurs when the sound of a shot or scene

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transitions to the next shot even though it no longer matches the video. The J-cut and L-cut are so-called
because of how they appear in an editing timeline when a "ensuing shot" is placed before or after the

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corresponding audio clip.

Dissolve

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In film, a dissolve transition is a smooth transition from one shot to the next. Dissolves are usually
completed in 24-48 frames (or 1-2 seconds), but they can last as long as the director/editor wants. An
optical printer, which is expensive, is required to dissolve between two film images. However, for digital

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shots, you can simply use preset dissolve effects in software such as Adobe Premiere Pro or Final Cut
Pro.

Dissolve Ripple

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The ripple dissolve is a type of dissolve that has a wavering effect. The ripple dissolve is commonly used
to move from the present to a flashback. The transition is mostly out of fashion nowadays, but it is a
cinematic icon from the 1970s and 1980s.

Fade

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The most basic type of transition is a fade transition, which occurs when a shot dissolves to or from black.
The storey will frequently begin with a FADE IN and end with a FADE OUT in shooting scripts. A fade in
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video editing becomes a fade when the entire frame of a shot is completely black. Fades can be used
effectively to close out scenes; however, because fades are most commonly used to close out acts,
audiences may believe the storey has come to an end.
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Iris

Iris transitions were first used to describe the physical opening and closing of a camera's iris to fade in or
out a shot. "Iris wipes" are now more commonly used stylistically. Because iris transitions were popular
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during the silent era, most people associate them with "old movies." Keep in mind that using an iris wipe
in your own film may distract the audience. As a result, you can break the fourth wall by using immersion-
breaking iris wipes.
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The Invisible Cut

The invisible cut conceals the fact that there has been a cut. This technique is frequently used in films
that appear to be shot in "one-shot," such as Birdman, Rope, or the excellent illusion of 1917's "one-shot"
techniques.
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Cut to Match
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Match cuts are audio or video transitions that use elements from one scene to transition from one to the
next.

The following are three different types of match cuts:

1. Graphics cuts
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2. During the game, there are action cuts.

 3. Sound bridge cuts that match

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Cut to the chase

Jump cuts are primarily used to show the passage of time – but, unlike match cuts, which are meant to be

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seamless in their transitions, jump cuts cannot help but draw attention to them. Jump cuts can also be
used effectively in montages, such as when a group of characters wait for something, or for jump scares,
such as when a monster appears to jump into a shot.

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Wash

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A wash is similar to a fade, but instead of black, it uses any solid colour. When characters ascend to
heaven or faint, we occasionally see washes used. A wash is when the entire frame of a shot is
enveloped in colour. Because a wash is a dissolve, you can use it to wash in or out, just like a fade.

Using a Whipping Pan

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The whip pan, unlike the majority of the other terms on this list, is more commonly used as a camera
technique than as a transition technique. A whip pan is a good video transition for showing a flashback or
a change in location.

Wipe

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A wipe occurs when one shot replaces another shot from a specific direction or with a specific shape.
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"Wipe" is a fairly broad term; perhaps it's better to consider it a transition technique rather than a
transition in and of it. Here are five different kinds of transition wipes you can use in your own edits:

• Iris' (shape of a circle)

• Heart-shaped wipe
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• Matrix wipe (pattern of shapes)

• Clock wipe (rotate in the shape of clock hands) (using walls to cover cut)
• Wipe invisibly (using walls to cover cut)
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The natural wipe, similar to an invisible cut, aims to transition from one shot to the next without disturbing
the viewer. The defocus transition is the inverse of the iris wipe. Instead of emphasising the central
subject of the frame, the iris wipe emphasises it by cropping out the rest of it.
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Morph

To create the morph effect, use editing techniques in any full-featured video editing programme.
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4.1.3 Creating sequences with meanings

Films are made up of shot sequences. So, if a single shot is analogous to a sentence in a storey, a
sequence is analogous to a paragraph.
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When you're filming, consider how the clips will fit together in these sequences. You can help yourself by
following some simple systems and rules.

Coverage
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 You must film enough shots to show everything that the director requires. Director must also ensure that
there is enough material to edit with. Director can figure this out by planning the film with a storyboard or

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shot list. A director can also adhere to some basic patterns or sets of shots.

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It's critical to film each shot for at least ten seconds if nothing happens, and at least five seconds before
and after any action or speech.

• move in: begin with a long or extreme long shot to set the scene, then move closer

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• use three shots: the thing, the person, and the person with the thing
• follow a shooting 'pattern'
• film cutaways/B-roll: extra shots of details and objects in the scene

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• capture a master shot: a long or wide shot of all the action from beginning to end.

The director must also ensure that your shots are properly aligned. In order to do so, the Director must
first comprehend the continuity system. This is a simple set of guidelines for positioning the camera,

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framing the shots, and editing them. The audience will have a better understanding of what is going on if
the Director follows the rules. Furthermore, your film will appear to flow more smoothly, allowing viewers
to become more immersed in the storey.

The system consists of:

•
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Match on action: shoot different shots of the same action with different framing/camera positions
so you can cut between them when editing.
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• shot-reverse shot: shoot in one direction, then in the opposite direction; and
• The 180-degree rule: keep your camera on one side of an imaginary line, and the shots will make
sense when combined.
• Eye line match: when combining shots of a person looking at something in the next shot, they
must be looking in the correct direction.
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The editor juxtaposes a variety of shots to highlight the interrelationships between them. Consider the
concept of cause and effect: the action in the first shot A is completed in the second shot B. Alternatively,
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the action could be played out in a series of B, C, and D shots. The editing must clearly demonstrate that
A causes B or that B logically follows A. Of course, when viewers see a collection of images, they will
automatically attempt to construct their own cause and effect relationship, even if the images are not
obviously related. A Sequence is when we shoot a series of shots that all relate to the same activity. The
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sequence is the bedrock of visual storytelling. Sequences not only provide visual variety, but they can
also compress real time into dramatic time, assisting editors in developing better storey pacing.
Furthermore, the shots in the sequence advance new information to help move the storey along more
quickly. Viewers who watch sequences of Wide, Medium, and Close-up shots learn more with each
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progressive shot. Many still photographers can tell a storey with a single image. When we broadcast
news, however, there simply isn't enough time for our audience to let their eyes linger over the image until
they see the important detail; they can only take in so much information at a time. As videographers, it is
our responsibility to consider multiple images that can be used to add interest, provide more detail and
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understanding, and effectively direct viewers to the detail in the image that we deem important.
Sequences come into play at this point.

Essentially, we're doing what our brains do naturally by collecting a series of images with the camera,
which works similarly to the eye. The brain is in charge of connecting the images to convey meaning.
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Consider yourself an editor as a photographer. How will you transition from one image to the next? To
 accomplish this, collect a variety of shots. Professionals always consider getting several wide shots
followed by several tight shots when shooting a Sequence.

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Wide shots depict the entire scene and are useful for setting the scene; medium shots depict characters

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from the waist up and their proximity to one another; and close-ups depict a specific part of the character,
usually their face.

We shoot so many close-ups for a reason. Photographers must consider themselves to be editors. Back-

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to-back close-ups make the text read more naturally. This is how we could interpret a two-person
conversation. Our brain perceives close-ups of each person as our eyes volley back and forth. When we
edit adjacent wide shots, however, the effect can be disorienting. A jump cut is visible because the

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framing and distance are so similar that it appears as if the subject shifts or jumps abruptly. Another
reason to focus on close-ups is that many of us consume media on our phones. We watch videos on
small-screen devices, making it difficult to see details in a wide shot. Photographers will employ a specific
shooting ratio in order to avoid editing wide shots back-to-back and to ensure that the audience does not

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miss important details in the activity:

The photos below are a collection of images taken at CU's Varsity Pond. These are some of the 15
photos that were taken over the course of a 10-minute period. A sequence created by a variety of shots
adds visual interest and aids in the telling of a storey. You can also use the variety of shots to make your

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writing more creative. Always remember to write in conjunction with your visuals. And the shots will just
fall into place when it comes time to edit.
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The following example shows a traditional approach to editing in which the first shot is frequently a wide
shot that establishes the location. The shots that follow provide more detail within the wide shot, directing
our attention to the information we need.
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The Reveal is another editing pattern. Begin with a close-up and gradually widen the shot to provide
context. Make sure to get a variety of angles by moving the camera around the subject so that there is at
least a 45-degree angle difference between each shot. However, if you are unable to move freely, you
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can still use the telephoto lens.

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The world revolves around sequences. In Adobe Premiere Pro, you can create many sequences. Here
are A few facts you need to know about sequences:

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 You can have several sequences in a project.
 You can insert a sequence into a sequence. This is called a nested sequence.


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You can copy and paste a sequence.
 You can delete, rename, and search for a sequence.

Generally, in order to get things "just right," editor should choose one of these rules to follow when
choosing a preset.


followed rule.
Editor preset should match with target output.
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The sequence preset should match the bulk of your source footage. This is the most commonly
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 Film sequence should match Editor project size. For example, for 640x360 videos, create a
640x360 preset.
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4.1.4 Essential attributes: direction, style, mood and impact that would appeal to the target
audience.
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Directing Styles

The tyrant
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The director has a strong assertive role and is very dominant in the process of creating a theatrical work
in this style of directing. Rehearsals are mostly controlled and predictable, with little or no input from the
actors.

The negotiator
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'The negotiator' is a direction style in which the director focuses on a more improvised and mediated form
of rehearsal and creation, shaping a theatrical work democratically using the ideas of the production team
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and actors.

The imaginative artist

The director sees himself or herself as a creative artist working with the ‘materials' of dramatic creativity,
whether they are actors, designers, or members of the production team. The "creative artist" wants the
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actors' input, but as the artist, he or she has the final say on what is included and how ideas are
incorporated.
 The antagonistic

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The director is constantly in dialogue and debate with the cast and production team about creative
decisions and interpretations in this style of directing. The director actively seeks out and participates in

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such exchanges. These exchanges, which can be heated or risky at times, result in a final contested
product.

Being creative necessitates more than just being funny. In video/film, it is critical to target consumer

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needs with the appropriate appeals.

There are numerous options available in videos for conveying the message. The message must be

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communicated in a strategic and well-thought-out manner. One of the most important first steps is to
figure out what the video's purpose is and who the intended audience is. When the purpose and intended
target audience are clearly defined, Creative talents can be focused on determining what the appropriate
common theme should be, as well as which set of video appeals and execution styles should be used.

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A video appeal is a marketing strategy that uses a message to influence how the viewer perceives the
product being sold. To accomplish this, the appropriate appeal (tactic) must be used, which is determined
by the video's goal and the type of consumer being targeted.

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The most common type of appeal used by marketers is an emotional one. In order to influence
engagement, this type of appeal appeals to a viewer's emotions. The percentage of conversion increases
dramatically when a director can make a viewer identify with the situation, particularly through emotion.
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Emotional appeals include the following:

Personal appeal based on emotions such as the desire for love, joy, self-esteem, happiness, safety, and
family well-being
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The individual's need for recognition, respect, involvement, affiliation, and status is the focus of this study.
social attractiveness
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Fear appeal-Focused on individual needs based on fears...fear of losing one's health, safety, and beauty.

Humor appeal-It has been proven that "humour" sells because a humorous message that is engaging
improves attention, association, and memory recall.
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Other types of appeals include sex appeal, music appeal, scarcity appeal, brand appeal, adventure
appeal, endorsement, romance appeal, and others.

The following step in implementing a specific appeal is to identify video executional styles. This is critical
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to get right and must be appropriate for the type of appeal.

Overall, creativity is essential; however, before being creative in the right direction, the purpose of the
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video/film and the target audience must be determined. Following that, the creative direction will be
provided by a suitable type of video appeals and execution style. Even the most amusing message in the
world may fail to have the desired effect if it fails to elicit the appropriate emotional recognition of a need
and appeal to the person who "sees" the video/film/advertisement.
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 4.1.5 Authorship and style of edited content

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An author is someone whose written work has been published. Authors are individuals who create the
ideas and content for their written work in addition to producing published work.

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The act of authorship confers credit and has important academic, social, and financial consequences.
Authorship implies responsibility and accountability for published work. The following recommendations
are intended to ensure that contributors who have made significant intellectual contributions to a paper

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are credited as authors, but also that contributors who are credited as authors understand their role in
accepting responsibility and being accountable for what is published.

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Because authorship does not communicate what contributions qualified an individual to be an author,
some journals now request and publish information about the contributions of each person named as
having participated in a submitted study, at least for original research. Editors should create and
implement contributorship policies. These policies remove much of the ambiguity surrounding

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contributions, but they do not address the quantity and quality of contributions required to qualify an
individual for authorship. As a result, the ICMJE has created authorship criteria that can be used by all
journals, including those that differentiate authors from other contributors.

An editor will review your draught and make suggestions to improve the structure, flow, and logic. A good

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editor will be a subject matter expert who will critically review your paper and edit it so that your ideas are
clearly communicated. A good editor is also aware of the manuscript's target audience and will suggest
changes to help your manuscript appeal to that audience specifically.
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Editing may result in significant changes to the content. It is ideally a collaborative process in which the
editor suggests changes to the language and overall structure and the author either agrees or requests
alternative suggestions.
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In comparison to editing, copyediting is more concerned with the details of the language on a sentence-
by-sentence basis. Copyediting services ensure accuracy, consistency, and the absence of grammar,
spelling, syntax, and punctuation errors. They also ensure that correct subject-specific terminology is
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used, subject-specific conventions are followed, and information contained within the manuscript is
accurate, such as names of equipment and institutions, dates of events, and other factual data. As a
result, copyediting entails proofreading as well as ensuring that awkward language and obvious errors are
corrected.
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The process of putting together, cleaning up, and finalising a video for presentation or output is known as
video editing. It is most commonly used to describe post-production work, which is the work done after all
of the shots and footage have been captured and all that remains is to put them together to create the
final output.
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However, the term "video editing" is most commonly used to refer to amateur productions and other
professional but small-scale works, such as those found in TV stations and news networks. Video editing,
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on the other hand, is only a minor component of post-production work in professional cinema and
Hollywood productions.

Tasks in video editing include:

• Removing unwanted footage or editing out some scene elements

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• Selecting the best shots and footage for the final output
• Creating the narrative flow by arranging and rearranging scenes
 • Including effects, filters, and other elements such as CGI

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4.1.6 Role of sound /music in adding emotion

Sound has always accompanied our motion pictures throughout film history. Films were never completely
silent, even during the art form's early trembling steps and what would come to be known as the silent

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era. While some of the industry's leading innovators, such as Edison, were interested in sound, the
technology was not advanced enough to entertain a larger audience.

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So, during the silent era, something new emerged to keep viewers interested: music. The music, which
was frequently performed by a live musician hired by the cinema, made all the difference. It set the
tempo, created the mood, and told the audience how they should feel at any given time.

In Japan, where filmmakers took a different approach than in the West, they even hired benshi — men

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who would stand beside the screen and narrate what was happening in the film. The benshi became very
popular among the audience and would create sound effects, handle all of the dialogue, and be the true
performer of the film. Music is more rooted in primitive brain structures than it appears to be in features of
our language.

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Language is processed on the left side of the brain (the left hemisphere) for most people, and music was
thought to have a more right-hemisphere bias for a long time. A closer examination reveals, however, that
music activates many parts of our brain, including the so-called limbic system, which is involved in
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motivation, emotion, learning, and memory.

Indeed, music has been shown to stimulate nearly every part of the brain. Researchers in Finland were
able to record the brain responses of people listening to music while also analysing the musical content
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such as the rhythmic, tonal, and timbral components over time. What they discovered was as follows:

Music listening, according to the researchers, recruits not only auditory areas of the brain, but also large-
scale neural networks. For example, they discovered that processing musical pulses recruits motor areas
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in the brain, lending credence to the notion that music and movement are inextricably linked. Limbic areas
of the brain, which have been linked to emotions, were discovered to be involved in rhythm and tonality
processing. Timbre processing (the character or quality of a musical sound or voice that differs from its
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pitch and intensity) was linked to activations in the so-called default mode network, which is thought to be
associated with mind-wandering and creativity." The findings were reported in the journal NeuroImage.

Memories and Music

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The connection between music and memory is enthralling. Songs from the past have the power to evoke
strong emotions and memories. It's an experience that almost everyone can relate to: hearing a piece of
music from decades ago transports you back to a specific point in time, almost like stepping into a time
machine. Everything comes across as very real, as if you were there.
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There are various types of memory, such as explicit and implicit memory, that involve different parts of the
brain. Explicit memories are simple memories that are frequently prompted by questions such as, "What
did you do 5 minutes ago?" What were you doing last summer? With whom were you travelling? It's
essentially a conscious recollection of the past. Implicit memories, on the other hand, are memories that
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are stored in the unconscious and are a more reactive type of memory. Nonetheless, they can be
 retrieved by our conscious mind and last longer than explicit memories. The key to this long-term memory
ability is that it is usually associated with a specific emotion.

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According to another research-based theory, music evokes memories because it is associated with

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movement. While listening to music, participants had an MRI, and the researchers discovered that certain
parts of the brain (the cerebellum and cerebrum) that involve our motor abilities were stimulated. It
demonstrates how music, emotion, and movement are all interconnected, in addition to stimulating the

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limbic system in the brain, which controls emotions. It could also explain why I was biking through
Amsterdam's canals, feeling extremely happy, and listening to the song, and can still recall that moment
to this day.

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Components of Sound Design

Any film's sound design can be divided into several components. Each sound component can be
manipulated by filmmakers to contribute to the emotional feelings created in that moment. Typically, the

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only sounds recorded during filming are the dialogue. Other important elements, such as music, weather,
the sound of objects, and a character's interaction with them, are all added later. The reason filmmakers
do this is that sound is crucial in allowing the audience to fully grasp the emotional moment of a scene.
Being able to manipulate the sound after filming is therefore critical in creating the message you want to
convey.

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There is diegetic sound in a film, which is sound heard by the characters within the filmic universe.
Dialogue, sound effects, or radio music are examples of this, as in the infamous scene in Reservoir Dogs
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(Tarantino, 1992) where a cheerful song accompanies Mr. Blonde as he commits a violent act.

Music Is the Emotional Orchestrator of Film

Music has been a major component of creating emotional and suspenseful stories since the beginning of
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cinematic history. Music can be thought of as film's emotional orchestrator. It implies to the viewer how
they should feel. For example, the piano tune created by the AI in Her (Jonze, 2013) expresses the
characters' bittersweet technological love, whereas the intense violins in the shower scene of Psycho
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(Hitchcock, 1960) convey precisely how terrifying this encounter is to the audience. Filmmakers can use
our expectations to quickly alert us to what we should be feeling by attaching a signature melody to the
storey. Consider the character of Darth Vader. The ominous imperial march establishes the tone. After
hearing it a few times throughout the storey, even someone who is not watching the screen will be able to
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tell when the Imperial Empire is present and strong. Darth Vader would simply be a man in a black suit
breathing heavily without it.

Sound Design's Deep Emotional Cues

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Because sound effects add realism to what we see on screen, each sound must be carefully considered.
Footsteps will sound different depending on whether the scene is happy or frightening, and whether the
character is stomping or sneaking. Foley artists — professionals who recreate sounds for moving pictures
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— work hard to incorporate various elements to enhance a sound in order to make it believable and
appropriate for the storey at hand. To take it a step further, sound designers frequently employ "sonic
metaphors," in which a different sound is added to the mix to create emotional depth. As the War Rig
roars through the desert in Mad Max: Fury Road (Miller, 2015), whale sounds were added to the mix to
reinforce the feeling of this vehicle as a metaphor for a heavy, slow animal. The whale groans as the truck
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collides with it. It's not noticeable unless you're looking for it, but it adds emotional depth to the vehicle's
sound. This is an effective tool for keeping the audience interested.
 Mood Enhancement

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While listening to music has more health benefits, making it can also be an effective therapy. According to
researchers at the Bournemouth University Dementia Institute (BUDI) in Dorset, UK, a unique orchestra

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for people with dementia helped improve their mood and boost their self-confidence. The orchestra is one
of several BUDI research projects designed to show how people with dementia can still learn new skills
and have fun.

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• national anthems unite crowds at sporting events;
• protest songs instil a sense of common purpose during marches;
• hymns foster group identity in houses of worship;

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• love songs help prospective partners bond during courtship; and
• lullabies allow parents and infants to form secure attachments.

Music in Daily Life:

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The Role of Emotions: To truly understand the important role that music plays in influencing an
audience's emotions, we must first examine the historical and cultural factors surrounding the concept of
emotion in music. Since the days of the ancient Greeks, music and emotion have been inextricably linked.
They are credited with coining the terms mimesis (the representation or imitation of the real world in art

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and literature) and catharsis (the process of releasing, and thus providing relief from, strong or repressed
emotion), both of which they frequently applied to music. Mimesis "values music for its representational
function, embracing it in this sense within the theory of knowledge." Catharsis, on the other hand, "locates
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the value of music in the effect it has on the experiencing subject" (Cook and Dibben). With this
information, we can conclude that the concept of catharsis serves as a link between music and emotion.
As humans, we seek solace and meaning in a variety of aspects of our daily lives. Throughout history, the
general disposition and attitude of any group of people has been heavily influenced by societal,
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environmental, and physical factors affecting the world around them. A time period, like musical periods
such as the Baroque, Classical, and Romantic, can be classified by its overall mood.

The 1960s, for example, began as a time of free love and innocence, but quickly turned into a time of
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protest and unrest among the younger generation as a result of the Vietnam War and various political
assassinations. Tensions were high during this time period, which is reflected in the films that were
released at the time. Night of the Living Dead, Dr. Strangelove, and Rosemary's Baby are all prime
examples of films with overtly intense subject matter and accompanying scores; they profoundly reflect
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the decade's violence and discourse.

Is Emotion Different from Culture to Culture?

The majority of research on the relationship between music and emotion has focused on the experiences
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of Western audiences while consistently ignoring the experiences of non-Western audiences. This
disparity implies that we cannot see the full extent to which perception and experience differ across non-
Western cultures (Thompson and Balkwill). Music has always played a role in cultures all over the world,
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but its functionality and level of significance varies greatly from one to the next. Music can be used in
social contexts, for entertainment, in rituals, and so on, and its relationship to the emotional status of the
people it affects is crucial to our understanding of their relationship:

Cross-cultural music cognition has largely focused on music as sound, but there is growing recognition
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that music is a multimodal phenomenon. The behavioural aspect of music cannot be treated as a
separate level of analysis, but is inextricably linked to musical perceptions and experiences. Indeed,
 viewing a music performer's facial expressions and gestures can have a significant impact on a listener's
emotional responses to music.

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Film Music's Influence on Psychological Transportation and Narrative Persuasion

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Technology advances at a breakneck pace, frequently altering the way many industries operate; music
and film are not immune to this phenomenon. With the advent of cinema in the late 1890s, it was only a
matter of time before music was woven into the fabric of the industry. Due to the lack of technology

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capable of reproducing recorded sound, orchestras frequently accompanied film screenings during the
1920s. The transition from the late 1920s to the 1930s became a period of putting the recording world's
research and advancements into action. The establishment and standardisation of sound reproduction

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practises within the theatre setting made accurate synchronised sound sequences possible; this resulted
in the end of silent film production in 1929 and the transition to sound films by the early 1930s. Music and
sound for film in the 1930s and 1940s were limited to the use of monaural sound, and theatres were
typically equipped with two to six speaker horns. Once sound-permeable projection screens became

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common, the speaker horns would be placed directly behind the screen to "reinforce the illusion that the
sound emanated from the film."

How Music Is Used to Enhance Film

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When we watch a great film, we often find ourselves completely immersed in the storey. There could be a
variety of reasons for this, such as an intriguing plot, captivating cinematography, and thought-provoking
dialogue. Despite the fact that "unlike other types of popular or art music, much music for film has been
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composed with the understanding that it will not be consciously attended," the music keeps us there.
Even if we aren't paying close attention to the music we hear, we are subconsciously keeping track of its
existence and relationship to the film.

Film music can provide descriptive cues that help us understand the narrative within the film. We can rely
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on these cues to increase our emotional response to the visuals on screen and, as a result, interpret the
specific emotions that are inferred. Music is used in all film genres to enhance the impact of the film on
the audience. Music is especially important in genres such as action, thriller, horror, and, of course,
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musicals. Horror, in particular, is a genre that heavily relies on music to enhance the visuals.

Visual jump scares are almost always followed by an audible climax. This concept of an audible climax is
perfectly demonstrated in Alfred Hitchcock's Psycho during its famous "shower scene," when Norman
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Bates begins erratically stabbing Marion Crane. Sharper violin strings that synchronise the movements
are paired with hard visual cuts of a quick-moving knife. The end result is a stinger, which is a short
musical phrase that often foreshadows an impending dramatic climax and stays with you until the scene
eventually fades to silence.
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These piercing shocks reinforce an innate primal instinct within us that dates back to a time when our
hearing was used to distinguish threats, such as predators, from everyday sounds. Other well-known
horror film scores include John Carpenter's Halloween and Wes Craven's A Nightmare On Elm Street.
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These films use techniques similar to Psycho's in that they use sharply dissonant climaxes to elicit an
emotional response from the audience: "Frightening images and ideas can be made even more intense
when accompanied by frightening musical sounds, and music in horror film frequently makes us feel
threatened and uncomfortable through its sudden stinger chords and other shock effects."
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 4.1.7 Experimental editing styles

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Although the first films were shot in one take with no editing, cutting is so fundamental to the medium that
it emerged relatively quickly. There was a fundamental disparity between the amount of film that a

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camera's magazine could hold and filmmakers' and audiences' evolving desire for longer and more
elaborate storey films. Longer narrative forms could only be achieved by editing shots together. A Trip to
the Moon (1914), directed by Georges Méliès (1861–1938), for example, constructs a narrative by

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assembling a series of scenes, each shot in a single take. The edit points are placed between the scenes
to connect them.

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However, it did show how cutting could impose its own time and space laws on narrative. Porter's The
Great Train Robbery (1903) follows a band of Western outlaws robbing a train and interrupts the action
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with a cutaway showing the rescue of a telegraph operator previously imprisoned by the outlaws.
Following the cutaway, Porter introduces a second line of action, depicting the roundup of a posse and
the pursuit of the outlaws.
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Although Porter's use of this device here is ambiguous, film historians commonly cite it as an early
example of parallel editing, depicting two lines of narrative action occurring at the same time. It's unclear
whether he intends for the parallel editing to establish that the two lines of action are, in fact, happening at
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the same time. In other ways, The Great Train Robbery's editing remains crude, with cuts used only to
connect scenes and no intercutting within a scene. D. W. Griffith (1875–1948), in contrast to Porter,
liberated the camera from stage perspective conventions by breaking the action of scenes into many
different shots and editing them according to the emotional and narrative rhythms of the action.
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From 1908 to 1913, Griffith experimented with editing capabilities in the films he made at the Biograph
studio, primarily through the use of continuity matches to link shots smoothly and according to their
dramatic and kinesthetic properties. Griffith was able to connect filming locations that were physically
separated but adjacent in terms of the time and place of the storey by matching the action on a cut as a
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character walks from an exterior into a doorway and, in the next shot, enters an interior set. Griffith
became famous for his use of crosscutting in the numerous "ride to the rescue" sequences that serve as
the climax of his films. Griffith, for example, cuts back and forth in The Girl and Her Trust from a pair of
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robbers who have abducted the heroine and are fleeing on a railroad pump car to the hero, who is
attempting to overtake them by train (1912).

Griffith builds suspense by intercutting these lines of action, and he quickens the pace by shortening the
shot lengths. Crosscutting established the foundation for narrative in film, and there is little structural
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difference between what Griffith did here and what a later filmmaker, such as Steven Spielberg (b. 1946),
does in Jaws (1975). Griffith's use of crosscutting and continuity editing was expanded in his epics The
Birth of a Nation (1915) and Intolerance (1916). (1916). The latter film is a masterwork of crosscutting,
 using four stories set in different time periods to tell four stories at the same time.

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4.1.8 Sound Track Pro - Introduction of Sound Track Pro,

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Soundtrack Pro is a new professional audio application for Macintosh computers that provides tools for a
variety of audio postproduction tasks. Soundtrack Pro allows you to edit audio files, repair field
recordings, perform multitrack arranging and mixing, synchronise audio and video, analyse and fix

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common audio problems, and create creative sound effects. In Soundtrack Pro, you can work on two
types of projects: multitrack projects and audio file projects.

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In multitrack projects, you add and arrange audio clips on the Timeline, where you can edit them,
synchronise audio and video, and use envelopes to automate volume, pan, and other changes over time.

You can also record audio directly to a Timeline track. The Mixer is where you mix multitrack projects

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because it has a channel strip for each track, bus, and output in the project. You can add and adjust
professional-quality realtime effects like compression, EQ, and reverb in both the Timeline and the Mixer.
You can save your project mix as an audio file or as a QuickTime movie, use Compressor to compress it,
and export individual tracks, buses, and outputs.

Soundtrack Pro includes the following features:

 rs
Powerful audio editing: The Waveform Editor allows you to edit audio files without destroying
them. You can edit audio files graphically with sample-accurate precision, and you can process
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files with actions that can be reordered and turned on and off individually.

 Audio file analysis and repair: The Waveform Editor includes audio file analysis. You can select
which problems to analyse the file for, and then either individually or in a single operation, fix the
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problems discovered by the analysis. For easy viewing, selected problems are highlighted in the
waveform display.
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 Advanced mixing capabilities: The Mixer, which displays a virtual mixing console for a project,
allows you to mix multitrack projects. You can adjust levels, mute and solo tracks, and add
realtime effects using the channel strips in the Mixer. You can use buses to create submixes and
outputs to send audio to multiple physical outputs.
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 Add professional-quality effects: Soundtrack Pro includes high-quality effects plug-ins from the
Logic Pro effects library, including the Space Designer convolution reverb that you can use in
your projects. Third-party effects in the Audio Units plug-in format can also be installed.
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 Record and edit automation: You can record movements to sliders and other onscreen controls,
then play them back and edit them in the Timeline.
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 Control surface support: In addition to recording onscreen control movements, you can connect a
supported control surface and record automation of control surface movements.

 Synchronized video display: You can add a video to a project and view it in the Video tab, or you
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can use an external video monitor to view the video. Up to HD resolutions, audio/video
synchronisation is precise both onscreen and on the external monitor. You can precisely place
audio clips in the video to sync with specific frames or points in time.
  Capability for audio recording: You can record audio directly in tracks in the Soundtrack Pro
Timeline, including multiple takes.

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 Integrated workflow with Final Cut Pro: From the Final Cut Pro Timeline, you can send a clip to

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Soundtrack Pro and edit it in the Waveform Editor. The clip is automatically updated in your Final
Cut Pro project when you save it. You can also send clips or sequences to a multitrack
Soundtrack Pro project.

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Soundtrack Pro Onscreen User Manual

The Soundtrack Pro onscreen user manual allows you to access information while working in Soundtrack

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Pro directly onscreen. Select Help > Soundtrack Pro User Manual to view this information. The
Soundtrack Pro onscreen user manual is a fully hyperlinked version of the Soundtrack Pro User Manual
that has been enhanced with many features that make it easier to find information.

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 The homepage provides quick access to a variety of features, such as Late-Breaking News, the
index, and the Soundtrack Pro website.

 A comprehensive bookmark list enables you to quickly select what you want to see and directs

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you there as soon as you click the link.

In addition to these navigational tools, the Soundtrack Pro onscreen user manual provides additional
methods for quickly locating information:
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 The text's cross-references are all linked. You can go directly to any cross-reference by clicking it.
Then, using the Preview Back button, you can go back to where you were before you clicked the
cross-reference.
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 The index and table of contents are also linked. If you click a link in either of these sections, you
will be taken directly to that section of the user manual.
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 The Find dialogue can also be used to search the text for specific words or phrases.

4.1.9 Focus on concepts and processes of audio editing

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What exactly comes to mind when you think of audio editing? When most people think of editing, they
don't think of music or audio. In fact, in many cases, it's more common to think of writing in terms of
editing. In reality, audio editing is similar to writing document editing. Things are deleted, replaced, cut,
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copied, and pasted in the same way that they would be in an essay or a novel. Only this time, instead of
words, you're tinkering with sounds. So, the answer to the question, "What is audio editing?" is a method
of editing, shortening, or otherwise shifting a piece of music or spoken audio to make it suitable for
listening or viewing.
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With the introduction of new technologies in audio editing, editing has become more accurate and simple
over the years. Editors can use software and hardware programmes to help them piece together music or
audio pieces. These programmes are commonly known as digital audio workstations (DAWs). The goal of
audio editing is to take a piece of music and slice and dice it so that it is error-free and consistent to listen
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to.
 Editing can be done solely for audio (for example, audio podcasts, music CDs, etc.) or for video. For
audio that needs to be synced with video, editors are given a video clip and an audio clip that must be

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matched. Obviously, the video clip will not be edited because it is the section of media to which the music
is supposed to conform (not the other way around).

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Some general applications of audio editing include:

• removing breaths, coughs, phone ringing, or any other unwanted interference.

• Remove any repeated dialogues.
• Include a music intro/outro.
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• Audio and sound effects can be stretched or shortened to match the length of the visual.
• Splice audio from different sittings together.
• Sync up various musical instruments so that they all sound in time.
• Beats can be looped, sliced, and edited.
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In many cases, the audio editor is given a file that is compatible with their DAW. They can then
manipulate almost every aspect of the musical composition. Most DAWs provide access to all of the
individual tracks that comprise a complete song. Editors now have access to the vocal track, the guitar
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track (or other instrumental track), the drum track, and many other tracks. This is not simply an mp3 audio
file, but rather a song divided into individual tracks (or stems). It's also conveniently integrated into a
visual interface—generally referred to as a "waveform"—that serves as a visual representation of each
audio track.
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There is no one method of recording and editing music that will work for every artist and situation. There
are numerous factors that contribute to making the best decisions. The amount of editing required will be
 determined by a variety of factors, the majority of which have less to do with the artist's ability to perform
well in a recording studio situation and more to do with their level of talent.

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Recording

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When you enter any type of recording situation, you never know what you're going to get. Inadequate
monitoring, an uncomfortable recording environment, psychological issues, physical issues, equipment
issues, time issues, and so on can all arise. The ability to minimise and control the impact of these issues

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in the studio will help determine how much editing work is required. My top priorities are preparation,
communication, and making the artist feel at ease. A producer or engineer has no control over how an
artist reacts to a recording situation. They have very little influence over the artist's abilities. They do,

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however, have control over adapting the recording environment to provide the artist with whatever they
require to feel at ease. Few artists outperform in stressful, encumbered situations.

Always put the artist in the best possible position for success. Before you begin recording, make sure

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they are completely comfortable with everything. Keep an eye on them and notice if they are stressed or
uncomfortable. Address it as soon as possible before it takes over the session. Never accept mediocre
performances with the hope of editing them into something better. When it comes to music editing, there
are only so many variables that you can control. Attitude, energy, and emotion cannot be consistently
edited into a performance.

The Music Editing Procedure

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The amount of work that the music editor will do is determined by the quality of the performances that the
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editor has captured. The better the performances, the less editing is required. If the editor focuses first on
the quality of the performances, editing will be a breeze. All subsequent editing work should adhere to the
three-step process outlined below. It may not be necessary to complete all three steps depending on how
well the recording stage went. It is a process that will prevent the editor from delving too deeply and too
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quickly. The three steps for editing music described here can be approached in two ways. One approach
is to work section by section, going as deep as necessary with each step. The other approach is to
approach the song as a whole, working each step in the context of the overall picture. I prefer the latter
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approach because it keeps the song in perspective and keeps the editor from going down the rabbit hole
of over-editing.

• Amplitude: The Amplify Effect in Audio Effects Processing

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An audio amplifier is the final stage in a typical audio playback chain. It is an electronic amplifier that
amplifies low-power audio signals (signals composed primarily of frequencies between 20 – 20 000 Hz,
the human range of hearing) to a level suitable for driving loudspeakers. The gain of an amplifier is the
degree to which it magnifies the low-level input signal in comparison to its output signal, and it is
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expressed in decibels (dB) because it is a ratio of the amplifier's output divided by its input.

• Pitch Shifting Effect: Frequency

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Pitch-shifting refers to any analogue or digital process that transposes the notes produced organically or
naturally by an instrument.

• Playback Speeds for Vinyl Records

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Vibrations from the grooves on a vinyl record are converted into analogue sound waves by record
players. Analog transmitters, as opposed to the more common digital sound transmission used by MP3s
 and streaming music, omit a continuous signal that varies depending on the pressure of the needle on the
grooves. The varying part of the signal, which most audiophiles refer to as the "warmth" or "natural

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sound" of a vinyl record, is a representation of another time-varying quantity—the grooves' integrity. The
most common commercially available vinyl records spin at 33, 45, and 78 RPM, which is represented in

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revolutions per minute. The speed of the records is frequently used to refer to them. A 7" single with a
single song, for example, is commonly referred to as a "45," and a shellac disc is commonly referred to as
a "78."

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• Equalization: The Algorithm of Equalization

For many years, researchers have been investigating the sound pressure equalisation of audio signals

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using digital signal processors. The traditional approach is to equalise sound at a specific point in a
listening environment, but due to its specific dependence on the room frequency response between a
source and receiver position, this equalisation generally causes the spectral response at other locations
in the room to worsen significantly.

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• Reverberation: The Effect of Reverberation

Through a series of calculations, algorithmic reverb simulates reverb (an algorithm). You can
mathematically create reflections to imitate the sound of real spaces or to design new sonic environments
that would be impossible to create otherwise.

• The Delay Effect in the Echo Chamber rs

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Delay is an effect that simulates the sound of echoes by taking incoming signals and playing back
delayed duplicates. In real-world acoustic spaces, an echo occurs when the reflection surface is far
enough away from the sound source and listener that the reflection sounds like a distinct separated
repeat or tap of the original sound. This can be heard when you scream something into a well, for
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example. When two identical sounds are played in rapid succession with a delay of 1ms to 50ms between
them, the listener perceives them as one fused sound. Any delay longer than this will begin to sound
more like an echo. Reverb, flange, and chorus effects are all delay-based effects in which the delay
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parameters or signal are modulated to produce different-sounding results than a straight delay effect.

• The Low Pass Filter Effect in Shaving

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A low-pass filter (LPF) is an audio signal processor that removes unwanted frequencies from a signal that
are higher than a preset cutoff frequency. It gradually filters out (attenuates) the high-end above its cutoff
frequency while allowing the low-end to pass through with minimal changes.

• The Notch Filter: Tunneling Into Your Waveform

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The inverse of a bandpass filter; it blocks frequencies within a specific range while allowing all others to
pass through. Notch filters are less common in synthesisers than the other three basic types. They are
more commonly used for noise reduction or the removal of unwanted artefacts in a signal than for musical
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purposes. Formant responses, on the other hand, are created using a combination of bandpass and
notch filters.

Challenges of Audio Editing

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It is important not to underestimate the difficulty of matching audio and video. In fact, many audio editors
are given a 30-second video clip to work with and, of course, a song that is well over 3 minutes long. You
 must compress the audio file so that it fits within the 30-second window, but you must also ensure that it
is visually appealing and feasible within the time constraints.

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The script may be flipped in some cases (for example, in films). Audio editors may be given a 30-second

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audio clip that must be squeezed into a 53-second video window. In that case, they must stretch the
audio by looping it in some sections or slowing it down. Looping is essentially the repetition of a section of
music (think of it as copying and pasting some DAWs even use those terms). But, once again, the edit

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must be flawless and completely integrated with the video. It's not often that you recognise the music in a
film during an emotionally charged scene, if only because it generally fits so well with the visual.

Editing only for audio is less difficult but no less difficult. The editor must ensure that the voice flow is

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natural and that the audio is free of jerks. Music editing necessitates extremely fine cuts (correct up to 1
millisecond), ensuring that the song sits perfectly on the tempo.

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4.1.10 Sound Effects, Single Track and Multi-Track audio

Since the beginning of the rerecording process in the late 1920s, sound effects in film have been created
in three ways: they were either recorded directly on the set, gathered wild (i.e., non-sync), or created by a

rs
Foley artist. During the classic Hollywood era, the majority of films were produced in a studio setting. This
practise resulted in a shift toward sound effects being produced primarily in postproduction. Many
functions of sound effects were taken over by music at the same time, partly due to the technical
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properties of the optical track. A minor shift occurred with the introduction of magnetic multi-channel
systems in the 1950s. Except for a few notable exceptions, sound effects were not widely used in a
variety of functions until the mid-1970s. Explanations for this shift can be found not only in differences in
production conditions, but also in broader cultural developments, such as the influence of European art
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cinema on academically trained film directors and a heightened sense of the power of sound in general in
popular culture.

Sound effect synthesis

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There are numerous methods and techniques for generating various sound effects, each with its own set
of advantages and disadvantages. There are nearly as many sound synthesis classification methods as
there are sound synthesis methods, but Smith's is the most well-known (1991). Sound synthesis can be
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broadly classified into the following categories:

 Sample Based Synthesis

Audio recordings are cut and spliced together to create new or similar sounds in sample-based
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synthesis. This is useful for creating pulse-train or granular sound textures based on a specific
sound timbre. Granular synthesis is the most common example of this. Granular synthesis is a
technique for analysing a sound file or set of sound files and extracting sonic "grains." A sound
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grain is a small element or component of a sound, typically lasting between 10-200ms. After
extracting a set of sound grains, they can be reconstructed and played back with various
components of the sound modified, such as selecting a subset of grains for a different timbre or
changing the grain density or rate to change the pitched qualities of the sound.
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 Signal Modelling Synthesis

 Signal Modelling Synthesis is a method of creating sounds based on an analysis of real-world
sounds and then attempting to resynthesise the waveform sound rather than the underlying

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physical system. The basic idea behind signal modelling is that by comparing and reproducing
actual sound components, we can extrapolate control parameters and accurately model the

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synthesis system. Serra and Smith's Spectral Modelling Synthesis (SMS) is the most widely used
method of signal modelling synthesis (1990). SMS assumes that sounds can be created by
combining sine waves and filtered noise.

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 Abstract Synthesis

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Sounds are generated using abstract methods and algorithms, which are typically used to
generate entirely new sounds. Frequency Modulation (FM) Synthesis is a classic example of
abstract synthesis (Chowning, 1973). FM Synthesis is a telecommunications-derived method. To
produce a much richer sound, two sine waves are multiplied together. Because computation is

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low, these sounds can be controlled in real time to create a set of sounds that do not exist in the
natural world. FM synthesis was used to create many traditional video game sounds and 1980s
keyboard sounds.

 Physical Modeling Synthesis

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Sounds are generated by simulating the physics of the system that produced the sound. The
more physics that is incorporated into the system, the better the model is thought to be; however,
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the models frequently end up being very computational and can take a long time to run. Despite
the computational nature of these approaches, physical models are becoming capable of running
in real time thanks to GPU and accelerated computing. As a result, physical models are based on
fundamental physical properties of a system and the solution of partial differential equations at
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the step sample level (Bilbao, 2009).

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Recommendation of Synthesis Method for Each Sound Type


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Synthesis Methods Conclusion

There are numerous synthesis methods that can produce a wide range of sounds. From
lightweight abstract synthesis techniques that can be implemented on old 80s hardware to
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physical modelling techniques that require optimisation and GPU and are only just capable of
operating in real time. There are numerous synthesis methods, each with its own set of
advantages and disadvantages. Misra and Cook (2009) conduct a thorough survey of synthesis
methods and recommend various synthesis techniques for each type of sound to be produced.
Abstract synthesis is excellent for creating artificial sounds, 80's sounds, and some musical
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sounds. Signal modelling can generate high-quality voiced and environmental sounds. Physical
models are ideal for impact or force-driven sounds, such as a string pluck
 Single Track audio

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A track is similar to one instrument in a symphony or one voice in a podcast. You can add more tracks,
and they will all be mixed together to create your final output, but you can manipulate each track

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independently during editing. If you recorded an interview with two microphones, each one can go on its
own track. If you have background music, it could be included in a third track. All editing actions on a
stereo track are applied to both channels identically, though some effects may treat each channel

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differently. A single audio track contains the same components as a stereo track, but with a single
waveform and one vertical scale instead of two. This is easily visible if you use the Track Dropdown Menu
to split the stereo track into two single tracks and select "Split Stereo Track." Single tracks can be made
mono, left or right, using the same menu. Each individual track can be selected and edited independently

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of the others.

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In most cases, recording the same as a single track containing the entire audio will not result in
professional quality output. A single track recording may lack sound balance among the various
instruments, as well as the necessary perspective (i.e. spacial relationship among the sound sources).
The latter is critical in stereo programmes because it allows the listener to distinguish which sounds are
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coming from the left and right sides and which are coming from the centre. As a result, professional
programme production prefers to record multiple sounds on separate tracks and then mix (i.e. combine)
them with proper relative levels, so that all of the individual instruments can be heard clearly and in proper
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balance. The mixing process will also account for left / right differences in the mixed audio's contents,
ensuring that the final output is stereo-ready.

Multi-Track audio
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A multitrack recording is made up of multiple, separate streams of sound that do not have defined
locations in the sound field. Individual instruments or voices are recorded on separate tracks during a
typical music-recording session. When these multiple tracks are mixed at the end of the session, sound
combinations are assigned positions in a sound field for future playback, resulting in a mixed and edited
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multichannel recording.

Multitrack recording (or'multitracking') is a method of recording music in which multiple sound sources are
recorded separately and then combined to create a single recording. During this process, each instrument
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or voice is recorded on its own 'track' (often at different times) and can then be played back at the same
time. Each track can also be mixed to the appropriate volume using a mixing desk, and various audio
effects (such as reverb, delay, compression, and so on) can be applied. This is the most common method
of recording popular music, and it is now used to create almost all popular music. After the introduction of
magnetic tape as a recording medium in the late 1940s, multitrack technology was developed. This new
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medium enabled separate recordings to be made on different parts of the tape's surface, which could
then be played back simultaneously. Ampex in the United States and guitarist Les Paul's experiments led
 to the development of multitracking. At Paul's request, Ampex produced the first eight-track tape machine
in 1954, but eight-track machines remained uncommon in the industry until the late 1960s. Nonetheless,

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the techniques pioneered by Paul would become central to the way music is recorded, and have
remained so to this day.

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Multitracking required several leaps forward, the end result of which was that music could be recorded in
novel ways. Overdubs (the layering or replacement of different tracks) enabled musicians to re-record
specific parts or enhance the overall sound by layering instruments (often through 'double tracking,' the
practise of recording the same musical material twice to give the impression of multiple parts). Musicians
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could now perform to a "cue mix" (the name for what happens when performers hear the backing track
isolated in headphones as they overdub). Multitracking also enabled track 'bouncing,' which is the
process of mixing two or more tracks at appropriate levels and recording them on an unused track. The
original tracks can then be erased, making room for more instruments to be recorded.
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Tom Dowd, the chief engineer at Atlantic Records, was a pioneer in multitrack recording. In the late
1950s, Dowd purchased an eight-track prototype and used the new technology to separate the rhythm
section into separate tracks. He was able to emphasise the bass and high frequencies of specific parts
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through the equalisation process.

4.1.11 Sound Track Pro Gallery. Leveling of all the soundtracks (sound effects, Music, Voiceover
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AND Ambience sound) and finally mixing them.

Sound Effects
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Sound effects are frequently added to films during the post-production process. Post-production sound
effects are frequently used to make a scene with multiple actions going on at the same time, such as
dialogue, sword fighting, and other background action, louder. In a theatre, watch the first scene of
Cyrano de Bergerac. There are multiple people speaking at the same time, as well as murmurs from the
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audience. To be as effective and clear as it is in the film, much of this sound would have to be added
later. At the 10-minute mark of Detour, the sound of Al's piano is at the same level when it is in the
background and when it is in the foreground. The sound is effective because it draws the viewer's
 attention to the music while also demonstrating Al's talent as a pianist. The music and sound effects
contribute to the portrayal of Al's personality.

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Ambient Noises (Background Noise)

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Ambient noises are noises in the background that can be found in a room, a house, outside, or anywhere
else. Each location's environment produces distinct and subtle sounds. Ambient noises are examples of
sound effects.

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Stand alone in a room and make no noise to get a sense of what ambient noises are. Ambient noises are
what you hear in the room. Background noise would be higher in an older home than in a newer home.

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Outside ambient noises would also be present depending on the location and the neighbourhood.
Ambient noises include wildlife, wind, rain, running water, thunder, rustling leaves, distant traffic, aircraft
engines, machines operating, muffled talking, creaking floors, and air conditioning.

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The film's realism is enhanced by background noise. A movie character is running through a wooded area
late at night. This scene would be devoid of suspense if there were no ambient noises.

Soundtracks

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A soundtrack is an audio recording made or used during the film's production or post-production. The
dialogue, sound effects, and music in a film are initially recorded on separate tracks (dialogue track,
sound effects track, and music track), which are then mixed together to form the composite track heard in
the film.
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"Sound track" was shortened to "soundtrack" in the late 1940s.

57 A film's soundtrack or original soundtrack became a means of promoting the film.

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Voice Over

Voice over is a production technique where a voice is recorded for off-screen use. While prominently
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used to reference movies and television, voice over can also be used for telephone services, along with
other informational service.

What are the characteristics of voice over?

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 Narration in a film or television show, which is frequently used throughout the runtime.
 In fiction and non-fiction productions, an off-screen voice informs the audience of important facts
or opinions.
 Informative and authoritative tone in commercials or on the phone.
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 A scripted copy statement that is read in a specific manner.

Non-animated films would also make use of voice over, which was first seen in newsreels of the time.
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Voice over became more common in movies by the 1940s, particularly in the film noir genre. Examples of
voice over in this genre can be found in narration, which has become as commonplace as dark lighting
and femme fatales. ADR was also provided by voice over for filmmaking (automated dialogue
replacement). This was especially noticeable in Italian films, which always dub their dialogue in post-
production. However, ADR has been used in a wide range of films, and its use has become fairly
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commonplace and is widely used in filmmaking today.

 By the 1960s and 1970s, the world of voice overice overs that we know and love had further eVoice
overlved and refined itself. While movies and radio still used them, you could now hear voice overs on

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television. Examples of voice overice over here mostly included commercials, but it could also be found
on regular programmes, particularly news.

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Sound Mixing

Once the sound has been edited, the dialogue nice and intelligable, and the music emotionally and

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spiritually uplifting, it’s up to the sound mixer to bring all these sound elements into harmony with each
other. Sound mixers often have long hair, which is to hide the fact they’re wearing earplugs. They also
wear those earplugs to live events like concerts, and occasionally movies because they rely on their razor

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sharp hearing to make a living. Most people might think earplugs at a concert is lame but guess what it’s
actually super cool because once you lose your hearing you never get it back. So while you stumble
around and struggle to hear your grandchildren tell you they love you because you listened to too much
dubstep in your younger years, sound mixers and I will be laughing. All the way to the bank. Which you’ll

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also be unable to hear. Sound mixing can get pretty complex nowadays – back in the day, you’d only mix
for one track – mono.

Now, you might be doing a 7.1 theatrical mix (that’s seven speakers and a subwoofer), and providing
isolated elements to foreign countries so they can bring in local actors and redub all your actors. Funny

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story – when I was doing direct-to-DVD feature films, our sales agent once complained about being
unable to sell a movie to a foreign country because of the acting. “What do they care?” he said, “They’ll
just dub it in Spanish anyway!” Dynamic range, or the difference between the quietest parts and the
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loudest parts, is another issue in the mix. Theatrical mixes often have huge dynamic range because they
can depend on a very controlled listening environment (i.e. a movie theater). Once you start doing mixes
for TVs or online, the range has to be a lot less.
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You ever have that problem while watching a movie where you have to turn up the volume on all the
dialogue parts, and turn it down when the explosions happen? That’s probably because you were dealing
with the dynamic range of a theatrical mix. A ton of home audio systems actually have built-in hardware
that’ll flatten out the dynamic range of a theatrical mix but it’s buried in the menus and let’s be honest
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nobody knows how to program those things. Once the sound is mixed, the sound part of a movie is
completely done.
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4.1.12 Creating Graphics and Tittles for your Video.

Creating Graphics

Design isn't some enigmatic art form that can only be mastered by artistic prodigies. Even the most basic
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design can be divided into separate chunks, or "elements." Line, shape, colour, texture, and type are
examples of these elements. According to ISDA's Most Influential Designer of the 20th Century, Charles
Eames, design is simply "a plan for arranging elements in such a way as to best accomplish a particular
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purpose." If you break down the core elements of design, you can reassemble them into an infinite
number of creations.

Because there are so many moving parts in motion graphics, it can be difficult.
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With the rise of video, there are more opportunities to play within the medium than ever before. One of
our favourite methods? Graphics in motion. These one-of-a-kind animated videos are an excellent
storytelling tool. As a result, we're seeing them in everything from commercials to social media.
 They're especially appealing to creators because they allow you to tell a creative storey without being
constrained by the constraints of live-action video. However, while motion graphics are a fun medium to

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experiment with, not all of them are created equal.

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Motion graphics incorporates numerous elements, ranging from scripting and audio to design and
animation. If any of these are not carried out properly, your final product will be less effective. Even if you
know what you're doing, simple oversights or mistakes can be disastrous, especially if you're working with

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others.

We know this firsthand because we've been producing motion graphics for nearly a decade. We've
learned a lot along the way (and probably made every rookie mistake ourselves), so we know exactly

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what you need to get through the process smoothly.

If you're ready to create your first motion graphic (or if you're trying to figure out how to make your next
one less stressful), we can help. Our step-by-step guide to motion graphic production, as well as our best

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time and energy-saving tips, can be found here.

How to Create Motion Graphics

Before we get started, it's important to understand what a motion graphic is. (This is especially true if

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you're working with people who are unfamiliar with the various types of video.)

Motion graphics, in a nutshell, are animated graphics that tell a storey. Motion graphic stories can be told
using kinetic text, animated images, or a combination of the two. They can be either 2D or 3D. We love
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them because there are so many options.
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 Step 1: Write a Script That Tells a Story

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A storyboard is not required to create a motion graphic. Everything begins with a storey, which is then
turned into a script. Even though motion graphics are typically short (30 seconds to 3 minutes), a script is

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still required to detail either dialogue or storey direction. (By the way, if you're not sure how long your
motion graphic should be, this handy guide can help.)

Ask yourself the following questions to help you discover your storey:

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• Who am I trying to reach?
• What do I desire them to learn?

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• How do I want to make them feel?

Keep looking on the word count as you work on your script. It may be alluring to cram as much
information as possible into your script, but ease and precision are indispensable. Remember that one of

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the benefits of motion is that it allows you to tell your storey in a variety of ways. Unlike static infographics,
which rely on visuals and copy to tell a storey, motion graphics incorporate movement, sound, and other
tools to help with the heavy lifting.

Consider which parts of your storey might be best communicated through the following as you write your
script:

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1) Onscreen (or kinetic) text: Text-only storytelling can be useful in situations where sound isn't an
option, such as trade shows. It's also a clever way to engage people because they have to pay more
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attention when reading.

2) Voiceover: We talk a lot about finding your brand's voice in marketing. Voiceover allows you to do
exactly that. Because VO is used in conjunction with on-screen animation, the two work in tandem.
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However, be wary of over-scripting. Having your voiceover artist read off last year's sales figures is a
waste of time when that same information can be quickly and efficiently displayed on screen with some
animated data visualisation.
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3) Kinetic and Voiceover: As previously stated, combining voiceover and visualisation works well for
data visualisations, explainer videos, and any other time you need to clarify or label something onscreen.

4) Only visuals: While it is less common, you can still create a compelling graphic without using text.
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(Again, consider tradeshows.)

Step 2: Create a storyboard While You Think About the Visual Treatment

After you've finished your script, you can start visualising it during the storyboard stage. At this point, the
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script and visuals are combined, and the final product begins to take shape.

Begin your storyboarding sessions by collaborating with members of your design and production teams in
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a brainstorming session. For us, this entails collaboration between the scriptwriter, producer, and
storyboard sketch artist (aka designer). (You may also include your creative director.)

Before you start, draw out frames on a whiteboard and go over the final script together. Following that,
you can start sketching ideas for bringing the script to life.
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Step 3: Put Your Storyboards to Work in Design
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In any visual project you create, style and colour communicate just as much as the storey itself. Simple
design choices, even when working within your own brand guidelines, can have a significant impact on
the user experience.

Once you have a rough idea of the storyboard with sketches, you can begin translating it into actual
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designs. Keep in mind that everything you do at this stage will be used in the final animation stages, so
pay close attention to the details. It also helps if the person in charge of the design is the same person
who created the storyboards.
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During this stage, write down your visual notes and have your production team (and any other
stakeholders) review them before passing them on to the animation team for use in the final cut.
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Step 4: Animate the Completed Designs

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During the animation phase, everything comes together. Everyone should have a good idea of what's to
come by the time you start animating if you've done your job and gotten sign-off on each stage.

Take into account the following:

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Animation style: This is more than just fading in and out of scenes; how you transition from one point to
the next influences how cohesive the storey is. Moving from point A to point B keeps the storey moving,
 whereas wiping away a scene conveys completion. Remember that you don't want to perplex or jar your
audience.

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Pacing: Your motion graphic's pace can make or break it. If you're rushing, people won't "get" what you're

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trying to say. People will lose interest if you are too slow. The pace maintains the audience's interest.
Consider strategic variations to add excitement.

Music, like all of the other elements, adds another layer to your storey. It has the ability to set the tone, fill

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in the blanks, and influence the tone of the storey.

Sound effects: This can be hit or miss depending on who you're working with. Some animators believe

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that the other elements should be allowed to speak for themselves. Others consider them to be a
necessity. The key is to only use what adds value to your project while not detracting from the storey
you're attempting to tell.

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Tittles for your Video.

An opening title sequence (also known as opening credits or intro title) is a set of clips or graphics that
appear at the beginning of a video. Its primary function is to display the video's title, give the viewer a brief
overview of what they're about to see, and, if applicable, introduce the channel and host's names. It's an

videos.

Creating Effective Opening Titles

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excellent way to set the tone for your video piece and maintain a consistent theme across all of your
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• Keep it brief. Make it long enough to pique people's interest in what they're about to see, but not
too long! A good rule of thumb is to keep it between 5 and 10 seconds.
• Along with the title text, include a channel or company logo.
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• Make them more appealing by using particles, text animation, masks, or other effects. Visual
effects are an excellent way to create a distinct appearance and attract attention.
• Make sure they stand out.
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Simple Titles for Openings

• Be able to say a lot with a little.

• Are pertinent to the content they are about to display.
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• With the right font and effects, they are elegant and cinematic.
• Do not divert users' attention away from your scene/footage.
• Make an impact and are memorable.
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Opening Titles for Films

Opening titles of cinematic quality that will capture the viewer's attention and add wow factor to your
video.
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Selective Tips for Creating Great Film Titles

• Make certain that the title of the film cannot be guessed by someone who is not an insider to your
film. Assume we have chosen the title 'Samson's Love.' Anyone who hears this name knows that
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the movie is about Samson's love. So there's no suspense in that film, correct?
 • Keep the title as short as possible: This makes it easier for anyone to spell your movie title.
Hitchcock's films, which include Notorious, Vertigo, and Psycho, are among the best of all time.

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Nowadays, movie promotion is primarily done through the use of the #hashtag technique on
social media sites. As a result, if your film's title is lengthy, it will be more difficult for others to

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include it in a #hashtag. However, we understand that there are times when you cannot compose
the title of your film in one or two words; in such cases, we recommend that you use the
abbreviated form.

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Sometimes back, in India, a Movie named ‘Oh my God’ was released, the directors of the movie
decided to use the abbreviated name ‘OMG‘ for promotion instead of the long name ‘Oh my god.’
Experiment on Your Own!

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• Copyright: Believe it or not, if someone knows you're making a film, they'll scrutinise you for a
chance to film. COPYRIGHT, the illusionist from 2006 to 2010, takes money from you under the
guise of a copyright issue. There are numerous examples of this. 'The Illusionist,' for example, is

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a contentious film with the working title Infringement. Yari Film Group originally released The
Illusionist in 2006, which was a huge commercial success; it also received positive responses at
leading film festivals such as Sundance Film Festival and the Seattle International Film Festival.
After four years, Sony Pictures is set to release 'The Illusionist,' but Yari Film Group claims rights
to the 2006 film with the same title.

•
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Simple language: Because the possibilities for movies are numerous, we recommend using a
simple title to reach a large audience. 'There are no language barriers in cinema,' says veteran
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actor Mohanlal, and he's right; your audience could be Asian, American, or from anywhere else.
Whatever the case may be, keep in mind that the visuals of your film should be equally
understandable to all viewers.
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 Check your Understanding

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1. In exchange for a percentage of the film's gross receipts, the director may waive some or all of

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his_ _ _ _ _ _ _ _ _ _ _.
2. When the sound is not synchronised with the video, it is referred to as_ _ _ _ _ _ _ _ _ _ _ _.
3. Crosscuts are frequently used in _ _ _ _ _ _ _ with the intention of having the corresponding

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scenes shot separately and then cut together in post.
4. Personal appeal-centered on _ _ _ _ _ _ _ _.
5. An _ _ _ _ _ _is someone who has had their written work published.

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6. The majority of research on the relationship between music and emotion has focused on the_ _ _
_ _ _ _ _ _ _ _.
7. Soundtrack Pro is a new professional audio application for _ _ _ _ _ _ _ _ _ _ _ _ computers

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Summary

 Editors use cuts and transitions to move from one camera shot to the next. The term "cutting film"
refers to the process of cutting pieces of film and assembling them with other pieces.

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The director must also ensure that your shots will fit together properly. To do so, the Director
must first understand the continuity system. This is a simple set of guidelines for where to position
the camera, how to frame the shots, and how to edit them.
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 The art and practise of creating sound tracks for a variety of purposes is known as sound design.
It entails using audio production techniques and tools to specify, acquire, or create auditory
elements. It is used in a variety of fields, including filmmaking, television production, video game
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development, theatre, sound recording and reproduction, live performance, sound art, post-
production, radio, and the development of musical instruments.

 A video appeal is a strategy that employs a type of message in order to influence how the viewer
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perceives the product being sold. To reach, the appropriate appeal (tactic) must be used, which is
determined by the objective of the video and the type of consumer being targeted.


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The connection between music and memory is enthralling. Songs from the past have the power
to evoke strong emotions and memories. It's an experience that almost everyone can relate to:
hearing a piece of music from decades ago transports you back to a specific point in time, almost
like stepping into a time machine. Everything comes across as very real, as if you were there.
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 Soundtrack Pro is a new professional audio application for Macintosh computers that provides
tools for a variety of audio postproduction tasks. Soundtrack Pro allows you to edit audio files,
repair field recordings, perform multitrack arranging and mixing, synchronise audio and video,
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analyse and fix common audio problems

Activity
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1.Create a video using all the techniques of cutting and merging using sound track pro.
 Glossary

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 FEP: Film Editing Patterns
 DAWs: digital audio workstations

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 EQ: Equalization
 DB: Decibels
 LPF: low-pass filter

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 SMS: Spectral Modelling Synthesis
 FM: Frequency Modulation
 GPU: Graphics Processing Unit

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 RPM: Revolutions per minute
 CDs: Compact Disc

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Questions and exercises

1. Define basic transitions and their use in editing?

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2. What do you understand by creating sequences with meanings?
3. What do you understand by direction styles and different mood that impact target audience?
4. Define authorship and style of edited content?
5. What is role of sound /music in adding emotion
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6. What do you mean by experimental editing styles
7. Define Sound Track Pro and its uses?
8. What do you understand by audio editing?
9. Define Sound Effects, Single Track and Multi-Track audio?
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10. Define Sound Track Pro Gallery. Also define sound effects, Music, Voiceover and Ambience
sound?
11. How to create graphics in a video?
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12. How to define Tittles for your Video?

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Further Readings:

1. Film Directing: Shot by Shot, Steven D. Katz

2. Film Directing Fundamentals: See Your Film Before Shooting, Nicholas T. Proferes
3. The Foley Grail: The Art of Performing Sound for Film, Games, and Animation, Vanessa Theme
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4. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art, John Purcell
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Check Your Understanding:

Answers
7. compensation
8. asynchronous sound
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9. scripts
10. emotions
11. author
 12. experiences
13. Macintosh

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 Module V: Final work Product and workplace health and safety

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Unit 5.1 Final output and workplace safety
At the end of this unit, you will be able to understand:

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 Ensuring work-products are distribution/exhibition ready as per the required technical
specifications.


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Ensure final work-products are prepared in appropriate file formats (e.g. mp4, avi, wmv, mpg and
mov) and appropriate medium (e.g. DVD, film, tape and digital) compatible with intended
distribution/exhibition mediums.
 Clear logs/data and keep the software and equipment ready for future use

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 Understanding the health, safety and security risks prevalent in the workplace
 Knowing the people responsible for health and safety and the Resources available
 Identifying and reporting risks Complying with procedures in the event of an emergency

Introduction

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The process of making a film available for viewing by an audience is known as film distribution. This is
typically the responsibility of a professional film distributor, who decides on the marketing strategy for the
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film, the medium through which the film will be exhibited or made available for viewing, and who may set
the release date and other details. The film may be shown directly to the public in a movie theatre or on
television, or it may be viewed at home (including DVD, video-on-demand, download, television
programmes through broadcast syndication). Film distribution is usually accompanied by film promotion
for commercial projects.
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When a feature film is first produced, it is frequently shown to audiences in a movie theatre. Typically,
only one film is shown as the featured presentation (or feature film). Prior to the 1970s, there were
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"double features," which were typically a high-quality "A picture" rented for a lump sum by an independent
theatre and a lower-quality "B picture" rented for a percentage of the gross receipts. Today, the majority
of the material shown before the feature film consists of trailers for upcoming films and paid
advertisements.
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Employees are drawn to a work environment that is free of injuries and accidents. Employees are happier
and more productive in such an environment.

Employees and employers alike require a safe working environment. All employees have the right to work
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in a safe environment.

Workplace safety is critical regardless of a company's size. All businesses, large and small, must
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incorporate workplace safety.

Employees are kept safe by well-implemented safety measures, which also protect industrial equipment.
Employers have the responsibility and duty to protect and keep their employees safe.

The consequences of human casualties cannot be quantified. They can have serious consequences for
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employees, as well as their families and friends.

 This is why workplace safety and health precautions are required. They are critical to the well-being of
both employers and employees. The assurance that one has that he will return safely from work is more

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important than anything else.

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Every business faces occupational safety and health hazards. Unsafe working conditions, environmental
hazards, substance abuse, and workplace violence are all factors that affect workplace safety.

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5.1.1 Ensuring work-products are distribution/exhibition ready as per the Required technical
specifications.

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Films are typically sold in "territories" throughout India. A distributor may purchase only one territory; thus,
a film can be sold to several different distributors covering the entire country. The distributor then
bargains with the exhibitors, who own theatres or theatre chains.

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Although the method and sequence of making a film differs between 'commercial' and 'art films,' the
distribution pattern is the same. It is extremely difficult to exhibit a film if a distributor is not interested in it.
Because India only has large movie theatres, the distributor and exhibitor can select the type of film they
want to show. Inevitably, and understandably, they will select the type of film that is most likely to earn the
most money by attracting the greatest number of viewers. Under such a system, it is the serious cinema,

plexes, which is a global trend.

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designed for more intimate viewing, that suffers. Unlike most other countries, we still lack small cine-

Audiences, too, have come to expect a specific type of film to be shown in a specific type of theatre.
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When expectations are not met, the reaction is typically hostile. Many people involved in the film industry
are now demanding that the government make changes and encourage the establishment of smaller
theatres.
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The Film Council can drive the creation of a strong and sustainable distribution infrastructure by targeting
and assisting the media through which specialised film is delivered. We assessed and recommended
measures to strengthen all forms of specialised film distribution, allowing for greater availability and, as a
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result, a larger audience for specialised product.

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 Distribution Marketing Strategy Tips

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 Think about your target audience - be specific: What age group and demographic is this film
aimed at? Where do they go to watch movies? What platforms in particular? What kinds of

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movies do they like to watch? How can I contact them?

 Select the Appropriate Platforms: Determine which distribution platforms your target audience

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is using and connect with distributors and aggregators who have output agreements with those
platforms. Conduct research and identify a distribution partner or aggregator with a track record
you can rely on. It's critical that your finished film reaches your intended audience.

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 Use Social Media: Is the film being discussed? Do the cast members have a large number of
Twitter, Instagram, Facebook, and TikTok followers? How many people are engaged or could
become engaged online in the near future? A film's social media presence can be a good

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predictor of its success.

 Look for Similar Films: Conduct research, look at how other films in that genre have been
marketed in the past, and make a list of obvious Do's and Don'ts!

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Attempt to be Thorough and adaptable: A thorough and adaptable distribution strategy is
required. Be willing to change what isn't working, listen to veteran filmmakers and distributors'
advice, and keep an open mind to new strategies that could garner a lot of attention for your
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release.

Methods of Distribution
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1. Traditional Distribution
2. Self-Distribution
3. Strategic Distribution
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Traditional Distribution

Traditional distribution is the process by which a content distributor (studio, television network, or
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streaming platform) purchases the exclusive rights to your film for a period of 3 to 25 years, typically with
an upfront payment and, in some cases, profit sharing on the backend. The distributor then oversees the
film's marketing, exhibition, revenue collection, and performance reporting.
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Traditional distribution companies also demand large upfront fees, marketing caps, the majority of all
proceeds generated by your film, and control over all future windowing opportunities, such as physical
DVDs, TVOD, SVOD, and AVOD exploitation within the timeframe specified.
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 After the initial payment has been made, traditional distributors generally conceal the film's
economic performance from the filmmaker.
 Traditional distribution is best suited for films with studio-level production quality and a well-known
cast.
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 Depending on the project, traditional distribution offers can cover specific territories, such as
North America, or the entire world.

The consequences of COVID-19 have severely harmed the traditional distribution market by effectively
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eliminating theatrical releases in favour of SVOD.

Self-Distribution

Self-distribution is the process of releasing a film through an aggregator or similar platform. The disruption
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of the content-viewing experience by technology has provided filmmakers with new ways to reach
audiences, cut costs, and make a profit. Self-Distribution options are structured in such a way that
 filmmakers submit their projects for distribution through a centralised aggregator with output deals with
iTunes, Netflix, Hulu, Amazon Prime Video, Tubi TV, and others, with loose exclusivity restrictions.

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• To distribute your film through a streaming platform, you'll need to work with a content

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aggregator, such as Buffalo 8 Distribution, to leverage their existing content acquisition outputs.
• Self-Distributed titles must contend with the realities of a growing content marketplace, with new
titles appearing on the same platforms on a daily basis.

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• Self-Distributed titles must contend with the realities of a growing content marketplace, with new
titles appearing on the same platforms every day.

For the reasons stated above, our team always suggests consulting with a sales expert to develop an

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optimal self-distribution plan that maximises revenues through structural negotiations while minimising
unnecessary overhead costs.

Strategic Distribution

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Strategic Distribution combines the advantages of traditional distribution with the digital dynamics of
successful self-distribution campaigns.

The role of the government

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Since independence, the government has established committees to investigate and make
recommendations on the film industry's problems and needs. Governments have reaped numerous
benefits from the film industry, particularly in the form of significant revenue generated by a variety of
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taxes levied at both the federal and state levels. Censorship has traditionally been used to exert control
over the content of films.
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5.1.2 Ensure final work-products are prepared in appropriate file formats (e.g. mp4, avi, wmv,
mpg and mov) and appropriate medium (e.g. DVD, film, tape and digital) compatible with intended
distribution/exhibition mediums.
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Different video formats

mp4
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MP4 (short for MPEG-4 Part 14) is a file format based on ISO/IEC 14496-12:2004 that formally specifies
support for Initial Object Descriptors (IOD) and other MPEG features. It is primarily used to store video
and audio, but it can also store subtitles and still images. The.mp4 extension is used to identify MP4 files.
MP4 is a global audio-visual coding standard. MP4, like most modern container formats, supports internet
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streaming. Because of the high compression used in MP4, the resulting files are smaller in size while
retaining nearly all of the original quality.

Avi
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Microsoft introduced the AVI file format as an Audio Video multimedia container file format. It stores audio
and video data that has been created and compressed using various codecs (Coders/Decoders) such as
XVid and DivX. Because different codecs can be used to encode the AVI contents, the retrieving
applications, such as AVI players, should only be able to open these if they have the required codecs
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installed with which the AVI contents were created. The format is supported by default on all Microsoft
Windows platforms and nearly all other major platforms. Several applications and APIs allow you to
create/save, read, and convert AVI to other popular formats such as MP4, MOV, WMV, and so on.
 Wmv

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The Advanced Systems Format (ASF) is a digital multimedia container that is primarily used to store and
transmit media streams. Microsoft Windows Media Video (WMV) is a compressed video format, and

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Microsoft Windows Media Audio (WMA) is a compressed audio format, both of which are stored in
Microsoft's ASF container. When WMV or WMA files are encoded using the Windows Media Video and
Windows Media Audio codecs, they are given the.asf extension. WMV compresses large files to improve

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network transmission rates while maintaining video quality. WMV is purpose-built to run on all Windows
devices. WMV is now considered an open standard format following standardisation by the Society of
Motion Picture and Television Engineers (SMPTE).

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Mpg

The.mpg file extension belongs to the MPEG-1 or MPEG-2 audio and video compression file extensions.
MPEG-1 Part 2 video is difficult to find, and this extension (MPG file format) typically points to an MPEG

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programme stream defined in MPEG-1 and MPEG-2, or an MPEG transport stream defined in MPEG-2.
Other extensions, such as.m2ts, exist to specify the correct container, in this case, MPEG-2 TS, but they
are irrelevant to MPEG-1 media. The most common extension for files containing MP3 audio is.mp3. An
MP3 file is a typical raw audio stream; the traditional method of tagging MP3 files is to write stream data
to "garbage" segments of each frame, which save media information but are discarded by the mpg file

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player. This is a similar technique to tagging AAC files, but it is less widely used nowadays.

Mov
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MOV or QuickTime file format is a multimedia container developed by Apple: it contains one or more
tracks, each of which holds a different type of data, such as video, audio, text, and so on. MOV files can
be played on both Windows and Macintosh computers. MOV uses MPEG-4 compression, and tracks are
stored in objects called atoms that are organized in a hierarchical data structure.
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Video Output
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Each video format has its own set of requirements and must be rendered separately. Typically, video
output is a down conversion process. The digital master has a higher resolution and a wider colour
gamut. Here are some important things to keep in mind when creating various video masters for video
distribution.
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Frame Rate: Film is recorded and displayed at a rate of 24 frames per second. Video is displayed at 30
or 25 frames per second. Because film and video have different frame rates, there is no simple one-to-
one relationship. The difference in frame rates is solved by 3:2 pull down for NTSC, which runs at 30
frames per second (60 fields per second). The first film frame is transferred into the first three video fields
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at output. The second film frame is copied into the next two video fields. This pattern of three fields
followed by two continues until all 30 frames (60 fields) of video have been filled from 24 frames of film.
This method allows film to play at the proper speed on video. The ratio for PAL transfers is much closer:
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24 frames of film for 25 frames of video. Film seen on PAL television is typically transferred at 25 frames
per second to avoid pull-down and establish a one-to-one relationship. The action onscreen is about 4%
faster, a barely discernible improvement. If the pitch of the sound is critical, the track can be processed
and pitch-corrected.
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Color Space: Each video format has a color space. The RGB color space used during image processing
is larger than that of video. This means that some colors are out of gamut and will not appear when
 broadcast. Most systems convert the color space to video safe colors at output, or a look-up table can be
used to convert the colors to the appropriate color space.

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Aspect Ratio: Video formats have different aspect ratios, and there are a variety of techniques available

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to adjust the image for video output. HDTV has an aspect ratio of 1.78:1. This wide aspect ratio works
well for wide screen film images.

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Very little of the image requires cropping. Transferring wide-screen films to the standard 1.33:1 television
aspect ratio poses a challenge because the entire film frame will not fit. Options include:
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Squeeze: The wide image is squeezed onto a standard video frame. Image distortion results.
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Pan and Scan: After the height of the film frame is maximized, the operator pans back and forth selecting
the best part of the film frame for each scene. This technique shows important action occurring inside the
television frame, but alters the original composition.
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Letterbox: Letterbox is a standard television display technique used more frequently in recent years.
 A black band on the top and bottom of the screen is used to maintain a wide-screen look, preserving the
original composition on a standard television screen.

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Film Output
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The inter negative is then sent to the lab for traditional release printing and then distributed to theaters.
Traditional film duplication is simplified because all color-grading decisions were applied digitally during
image processing. This removes theneed to make major color timing adjustments during printing.
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Digital Cinema

Digital cinema projects images from a digital file. It is important to ensure that the digital cinema
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distribution master has the overall look, color, and contrast, of film prints.

Choosing a film stock

The choice of one stock over another largely determines the texture and mood of an image. The use of
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multiple film stocks can help to separate dijerent looks within a film. Within the two main categories—
daylight (D) and tungsten (T)—stocks are available in a variety of sensitivities and contrast
characteristics.
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Color Balance for a demo film
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A combination of aesthetic and practical considerations influences the selection of an appropriate stock.
Faster films have a looser grain structure and produce less texture than slower films. Normally, we shoot
daylight films in outdoor scenes with plenty of light. However, the faster stocks can be shot in the same
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situation to incorporate their textural component. Low contrast films have a greater ability to see into
shadow areas than standard stocks. They also have a softer, less saturated feel to them. These films are
especially useful when the negative is going to be transferred or scanned and the goal is to capture as
much tone scale as possible.
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5.1.3 Clear logs/data and keep the software and equipment ready for future use

The modern batch of highly compressed video files, particularly in high definition, achieves the quality you
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see on the screen by putting tremendous strain on your system. We have 125 frames of video in about 5
seconds of high definition video shot at 25 frames per second. This creates the illusion of motion by
playing 125 small pictures in a row on the screen. However, the compression works by literally discarding
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the majority of the image data in nearly all of those frames in order to make the file smaller. When it finds
something that is repeated, it finds the first instance of it and notes where it is... which frame and where
on the frame. The item is discarded the next time it is repeated, say in the next frame, and a note is
placed there saying the item should be there and to find it go to frame #X and get it, then display it in this
frame as well.
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When editing or playing back these files, the software is constantly scanning up and down the previous
and subsequent frames in order to "re-build" the current frame for display or editing. There are probably
 only 2 or 3 fully formed frames in the 125 frame example; the rest are detailed "notes" about what
information is needed where and where to get that information. In a nutshell, there is enormous stress

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being placed on the hard drive's read/write function, there is a huge need for large amounts of free RAM
to shuffle all the data around, and finally, the CPU is performing immense number crunching.

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This is why the major software companies have rebuilt their products as 64 bit applications (unlimited
RAM) and added the ability for the software to use the video card's processing power.

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The first order of business is housekeeping, and there are three major sources of computer slowdown:

• A disorganised Windows registry.

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• Unnecessary hard drive clutter.
• Disk fragmentation

The Registry in Windows When it comes to useless or incorrect registry entries, Windows is still a pig,

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and this is a major cause of computers slowing down or becoming unstable. The registry is at the heart of
the operating system, and as it becomes more cluttered and disorganised, Windows must sort through an
increasing amount of data to find what it is looking for. The addition and removal of software, as well as
general computer use, causes these useless entries to accumulate in the registry. To keep the registry
neat and tidy, remove these entries on a regular and safe basis.

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The redesigns of those operating systems have nearly eliminated the need for disc defragmentation to be
performed as a separate task. Both of those systems tend to monitor fragmentation on an ongoing basis
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and perform defragmentation in the background. Both of those systems appear to be perfectly capable of
keeping hard drives tidy without the need for user intervention. The only time this becomes a problem
worth investigating is when you are working on very large projects or have imported a large number of
files onto the hard drive in a single session.
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Aside from fixing the operating system, we also consider the following:

• Upgrade PC/Laptop as needed.

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• Increase the size of your hard disc if you're running out of space.
• Increase the RAM size.
• Ensure that all software is up to date.
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Once the video editing is completed and the video has been successfully distributed, we must save the
final output and other data to a backup drive in order to free up disc storage for the next project.

We must ensure that the editing software's caching and storage are clean. For example, if we have the
video editor software "Premiere Pro" and we have edited a video, it is possible that the tool will create
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cache files, causing the tool to run slowly. In this case, we will need to clear the cache from the tool.

How to Delete Cache in "Premiere Pro"

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When you import video and audio into Premiere Pro, it processes versions of these files that are easily
accessible for faster performance. These are known as media cache files. These are saved in the Media
Cache Files directory. In addition, there is a database folder that contains links to each of the media
cache files. These are known as media cache database files. They can be found in the Media Cache
folder. Premiere Pro stores accelerator files, such as peak files (.pek) and conformed audio (.cfa) files, in
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the Media Cache. Clearing out old or unused media cache files can assist in maintaining peak
performance. Cache files that have been deleted are recreated whenever the source media requires
 them.

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5.1.4 Understanding the health, safety and security risks prevalent in the workplace

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Every now and then, a workplace safety storey makes the news due to dangerous conditions that
resulted in a tragic scenario. Mining accidents have occurred all over the world in recent years, as have
explosions that have destroyed oil rigs and small towns, as well as horrific crashes caused by overworked

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train conductors who go off the rails.

Contagious Illnesses

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Employees who are sick come to work because they do not have available time off or do not want to use
those hours for illness. This safety issue can affect any business, regardless of industry.

Driving Accidents

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Accidents that happen on the way to work or while driving a work vehicle are the leading cause of
fatalities. Employees who are tired and distracted by personal or work-provided mobile devices are a
particularly lethal combination.

Workplace Violence

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Workplace violence includes not only employee conflicts, but also violent activity from outside sources.
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Employees of convenience stores, fast-food restaurants, pharmacies, banks, and other easy targets face
a very real threat from armed robbery.

Material Hazards
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Repeated exposure to chemicals of various types can cause long-term physical damage in industrial
workers. Lead, asbestos, benzene, and other toxins that have been linked to cancer and other diseases
are examples.
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Equipment and Machinery

Falls from equipment and machinery, as well as other workplace injuries, are common occurrences for
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many employers. Injuries are common among warehouse workers, equipment operators, electricians,
construction workers, restaurant employees, and even landscapers. The Occupational Safety and Health
Administration (OSHA) has a wealth of resources to assist businesses in communicating potential
hazards.
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OSHA's standard recommendations include the following:

• Regular medical examinations

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• Safety inspections on a regular basis.

• An efficient incident reporting system

• Employee safety equipment.

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• Testing and maintenance of equipment

 • On-site security for high-risk facilities.

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To eliminate or control specific workplace hazards, safety professionals employ a well-known hierarchy of
measures. The following measures are implemented as part of an orderly decision-making process:

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Substitution: Is it possible to replace the existing process, material, or equipment with a less hazardous
process, material, or equipment?

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Isolatio: Are there any barriers or limits that can be placed between people and the hazard? Physical
barriers, time separation, or distance could all be factors.

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Can potentially hazardous airborne substances be ventilated through dilution or capture?

Administrative controls: Can the risks be effectively mitigated by specialised operating procedures?
Access to certain high-risk areas should be restricted to authorised personnel only, work schedules
should be adjusted, and preventive maintenance programmes should be implemented to address

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potential equipment breakdown.

Personal protective equipment: Can personal protective equipment (e.g., safety glasses, gloves, hard
hats, hearing protection, safety footwear, respirators) be provided if the preceding methods are

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insufficient or not feasible?

Safety in the workplace

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The scope of workplace security has grown in recent years. Organizations may need to address the
following issues depending on the nature of their business and the security risks associated with it:

• Creating a formal security function.

• Creating policies and procedures for computers, e-mail, and the Internet.
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• Incorporating non-compete and other types of clauses into employment contracts to protect
proprietary information and intellectual property.
• Creating crisis management and disaster recovery plans.
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• Putting in place procedures to prevent theft and fraud.

• Creating procedures for preventing workplace violence
• Installing property security systems.
• Creating policies for restricted access and key-control procedures.
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Facets of Safety and Security

Safety and security have a number of aspects that are common to all areas of HR practise but are applied
differently in the context of the functional area. These aspects are as follows:
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• Jobs in safety and security.

• Communication in the context of safety and security.
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• Safe and secure practises that work.

• Worldwide safety and security.
• Legal and regulatory issues in the field of safety and security.
• Metrics for safety and security.
• Safety and security outsourcing
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• Safety and security technology.

 5.1.5 Knowing the people responsible for health and safety and the Resources available

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Employees have a reasonable expectation of their employers to provide a safe work environment.
Employees expect their employers to protect them from job hazards, but it's also important for employees

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to understand that they play a role in maintaining a safe workplace. Employers and employees are both
responsible for fostering a safety culture in order to improve workplace behaviour and performance. They
are also responsible for encouraging their peers to value safe work practises and safety programmes in a

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positive, proactive manner. Employers and employees can collaborate to create a successful safety
culture. Safety is everyone's business and responsibility, and it can be achieved through proper
education, training, the use of protective equipment, and adhering to safety rules, regulations, standards,
and laws. Each employee is responsible for understanding and implementing proper safety procedures.

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Act as cautiously at work as you would anywhere else, if not more so.

You should take reasonable precautions for your health and safety regardless of where you are or what

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you are doing. This is especially true in the workplace, where your actions can have an impact on both
your own and others' safety. Cooperation with your employer is essential, as is receiving the necessary
job training and understanding and adhering to your company's health and safety policies. In addition to
your company's policies, you should follow generally accepted safe work practises and laws.

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Maintain a safe environment by utilising the tools at your disposal.

The company will provide you with the necessary equipment to ensure your health and safety on the job.
It is your responsibility as an employee to make use of them. Look for health and safety signs, posters,
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warning signals, and written instructions. Use safe practises and specific guidance from Safety Data
Sheets (SDS) or chemical label instructions if your work involves hazardous materials. Use engineering
controls and personal protective equipment (PPE) appropriate for your job. It is also critical that you never
tamper with or abuse anything that is provided for your health, safety, or welfare.
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Learn about hazards, safety practices, and rules.

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When you are first hired, your company will provide you with adequate training for the work you will be
doing, as well as the tools you will require. They will educate you on the company's safety policies as well
as potential hazards. Your on-the-job training, however, should not end there. As an employee, it is your
responsibility to further your education. Learn about potential hazards associated with your job and work
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environment, where information on these hazards is stored for review, and how to use this information
when it is needed.

To keep this information fresh in your mind, make sure you are familiar with your company's emergency
response plan and participate in emergency drills. Participate in health and safety training, as well as
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monitoring programmes and inspections as appropriate for the job. Continuous education will help you
recognise when you are not qualified or adequately trained for a job task, which will prevent you from
operating equipment or machinery unless you have been properly trained.
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Inform others about unsafe practices and conditions.

You are the first line of defense against potentially hazardous practises. When you become aware of
potentially hazardous conditions or behaviour, defective equipment, or other hazards, it is your
responsibility to warn your coworkers in order to keep them safe. All unsafe acts, unsafe conditions,
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illnesses, and injuries should be reported to the appropriate person at your company. No one knows your
job or tools better than you do – if you believe a job or task is unsafe, stop working and notify your
 supervisor. You should also consider and communicate ways to make a process or piece of equipment
safer.

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Conduct risk assessments

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Employers must conduct both generic and specific risk assessments (for example, coronavirus risk
assessment, manual handling operations risk assessment, and so on) to ensure that employees have all
of the information they need about the hazards, risks, and relevant controls in their workplace. A risk

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assessment entails inspecting the workplace to identify all significant hazards and implementing
measures to eliminate, reduce, or control identified risks. Risk assessments should emphasize how
human resources are protected and are intended to instruct and inform workers on how to manage risks.

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Determine who should be shielded from potential hazards.

Employers must consider the health and safety of everyone on the premises or who may be harmed as a

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result of their operational activities. All employees, contractors, part-time workers, and people with special
needs, such as pregnant women or people with disabilities, are included.

Establish health and safety procedures.

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Employers must put in place adequate health and safety procedures, such as arranging for the
installation, maintenance, and management of any equipment or activity necessary to keep employees
safe. This could include giving your employees PPE (Personal Protective Equipment), replacing old
equipment, or providing additional training.
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Create a health and safety policy.

It is a legal requirement for all businesses to develop a health and safety policy to ensure that all
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employees are aware of the necessary procedures. If you have more than five employees, your policy
should be documented, cover all workplace health and safety procedures, including fire safety and first
aid, and be easily accessible to your employees, on-site contractors, and other interested parties.
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The policy should also cover how you manage workplace health and safety, such as risk assessment
details, evacuation plans, employee training, and consultation. Names of anyone with specific health and
safety responsibilities, such as first responders or fire wardens, should also be included in the policy.
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All employers are required by law to post the health and safety law poster, which outlines British health
and safety laws and summarises the duties of employees and employers. It must be posted in a
prominent location where employees can easily read it. For businesses with multiple locations, this will
imply displaying a poster at each location or providing an equivalent leaflet or pocket card to remote
workers.
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Engage with your employees.

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Employers must communicate regularly with their employees about health and safety issues. This is
especially important during a coronavirus pandemic. You should inform and involve your employees
about any changes or additional controls implemented to manage the risk of coronavirus spread in order
to create a safe working environment.
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Training and first-aid kits should be made available.

 Every company should have designated first-aiders as well as a well-stocked first-aid kit. There is no
standard number of first-aiders required because it is determined by your specific workplace risks and the

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types of injuries that may occur. According to HSE, low-hazard workplaces should have at least one
qualified first-aider for every 100 employees, while high-hazard workplaces should have one for every 50

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employees. To determine the specific requirements for each workplace, a specific first-aid assessment
must be completed. You should also provide training to ensure that all employees are aware of any
potential hazards in the workplace. The specific type of health and safety training required by an

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employee may differ depending on their role. Employees who lift heavy objects on a regular basis, for
example, should receive manual handling training, whereas those who work with hazardous substances
may require chemical spill training.

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Employee health and safety responsibilities

According to the HSE, "workers have a duty to take care of their own health and safety, as well as the
health and safety of others who may be affected by their actions at work." As a result, some workplace

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health and safety responsibilities are shared by employees and their employers. They must work with
their employer and coworkers to ensure that everyone meets their legal responsibilities and stays safe on
the job.

Take all necessary health and safety precautions.

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All employees are required to comply with all health and safety instructions and training. This is done to
ensure that they work safely and protect themselves and others who might be harmed as a result of their
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actions. Employees must never abuse any type of health and safety equipment, such as fire extinguishers
and fire alarms.

Participate in health and safety training.

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• Employees are required to attend any health and safety training in order to keep themselves and
their co-workers safe in the workplace.
• Follow all safety precautions.
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• Employees must always follow safety procedures and wear appropriate PPE at all times.

Any hazards or flaws in safety procedures should be reported.

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If an employee believes that something could endanger their health and safety or the health and safety of
others, they should notify senior management. For example, if an employee discovers faulty equipment or
broken PPE, they must immediately notify a relevant manager so that the hazard can be removed or
appropriately controlled. Employees should also notify senior management if there is a risk and no
appropriate control measures are in place.
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Take initiative.

Employees should be proactive in their approach to upholding health and safety standards because they
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must maintain good health and safety practises within their workplace. To avoid accidents, they should,
for example, clear away any obstacles and clean up after themselves.
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 5.1.6 Identifying and reporting risks complying with procedures in the event of an emergency

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The company will make every effort to ensure that all employees work in a safe and healthy environment.
In this effort, we are developing a protocol for action and determining who to contact in the event of a

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medical emergency on the job.

First and foremost, dial 112 if a severe illness or injury is potentially fatal. In the event of a potentially life-
threatening medical emergency, dial 112 immediately for emergency services. For example, life-

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threatening emergencies may include, but are not limited to, severe chest pains, uncontrollable bleeding,
loss of consciousness, or violent behaviour.

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2nd priority – Contact First Responders (First responders may include your security personnel,
supervisors, or other employees who are trained in first aid/CPR.) Employers should post up-to-date first
responder lists and contact information throughout their facilities, particularly near emergency phones.
Determine whether there is a protocol in place, such as paging a specific code name or dialling a single

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number to reach first responders on-site)]. Until EMS arrives, first responders may provide basic first aid
or CPR.

Contact Human Resources as a third priority. Human Resources will have someone stationed at the
building's entrance to direct EMS to the location of the medical emergency. Human Resources will then

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make an attempt to contact the employee's designated emergency contact.

Point someone in the right direction or state unequivocally that you will dial 112 if necessary.
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• Instruct someone or state unequivocally that you will contact/locate first responders.

• Identify and/or remove any threats to the victim's or others' safety in the area. DO NOT MOVE
THE VICTIM unless their life is in jeopardy due to their current location.
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• Assist the victim as needed/able until a more qualified person can take over (this may just be
talking to them reassuringly or holding their hand). Before providing care, ask for permission if
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you are conscious.

• Point someone in the right direction or state that you will contact/find someone in HR.
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• Take careful note of specifics (who was involved, what happened, when did it occur, where did it
occur). This information may be required by EMS, first responders, or human resources.

• Double-check that someone is at the front of the building to meet EMS.

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• Reduce unnecessary employee traffic in the surrounding area.

An incident report must be completed within 48 hours by the employee’s supervisor or the supervisor of
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the area in which the incident occurred if not an employee. Statements should be obtained by others
involved and witnesses.

Fire / smoke (Code RED)

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Raise the alarm

1. Ensure the immediate safety of anyone in the vicinity of the fire if it is safe to do so.
 2. If the alarm is not already sounding, raise it by using a break glass alarm panel or by shouting
'Fire, Fire, Fire' if one is not available. (The campus alarm system automatically alerts Fire

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and Emergency Services and Security, who then alert other emergency personnel.)

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3. Dial 102 for Emergency Fire Services, which provides information about the workspace, such
as the name of the building and its location.

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4. Evacuate the immediate vicinity.

Fire fighting

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• If it is safe to do so and you are trained in the use of fire equipment, try to extinguish the fire.
• Select the proper fire extinguisher. On an electrical fire, do not use water or foam.

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Evacuate

• Evacuate the building as directed by a Warden.

• Make your way to the assembly area quickly and calmly.
• When leaving, close all doors and windows but do not lock them. Keep the lights on.

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Bomb threat (Code purple)

Maintain Your Calm (Above all, remain calm and avoid alarming others.)
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1. If the threat is made over the phone

Keep the call going – keep the person talking – and ask:
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• Bomb location
• Explosion time
• Exact information to be recorded – see bomb threat checklist
• Do not change the handset (this enables calls to be traced).
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2. Gather information for the police.

3. If an object is discovered, do not touch it; report it to Security (call 112/100); and keep the area clear.
 • Basic guidelines:
• Treat as genuine

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• Keep accurate records

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4. Do not use mobile phones, two-way radios, or other electronic equipment that could activate a device –
turn off phones and two-way radios.

5. Set the alarm

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• Be prepared to evacuate – wait for further instructions from Security.
• Evacuate the building as directed by the Building Warden.

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Medical emergency (code blue)

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Medical Emergency - minor

• Make contact with the nearest First Aid Officer in the building.
• If necessary, transport the injured person to Campus Medical Centre (business hours only).
• Inform the supervisor.

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• Fill out a private incident/injury report form.

Medical Emergency – major

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• Assist the injured person(s) – call for help.
• Have someone call Security (112/102).
• In the event of a life-threatening emergency, dial 112/102.

Provide all information

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Ensure the area is clear for emergency personnel.

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• Inform your manager.

• Fill a classified injury report form.

If assaulted
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• Contact Security (112/1091) as soon as possible and provide details about the assault.
 • Do not wash, shower, change clothes, or clean up until assaulted person have received medical
attention and spoken with police personnel. You run the risk of erasing crucial evidence.

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• Do not consume alcohol, tranquillizers, or other drugs because you will be required to give a

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detailed account of what occurred. Try to recall everything you can about your assailant.

• Remember that you are the victim. There is nothing to be ashamed of or guilty of. Officers are

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aware that an assaulted person is likely to be in emotional distress. They will do everything in
their power to make things as easy for you as possible.

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Personal threat (code black)

Violent / threatening person

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• If it is safe to do so, make a note of such people and report them to Security (call 112) or your
Supervisor or Area Warden.
• Do not argue with or provoke the individual.
• Do not attempt to physically subdue the individual.
•
•
Move back and alert others to do the same.

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Make it simple for the individual to leave the building/area.
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If the person appears psychotic (unusual behavior, saying odd things)

Make an effort to create a relaxed, non-threatening environment. Reduce distractions by turning off loud
equipment and computer monitors.
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 Speak slowly, quietly, firmly, and simply.

 Avoid direct eye contact, and don't get too close.
 If you can get the person to calm down, try to get them to sit down with you.
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 Do not attempt to reason with someone who is experiencing acute psychosis. They may be acting
this way because the hallucinations and voices they are hearing are very real to them.
 Show empathy for the person's emotional distress, but do not pretend that the delusions or voices
are real for you.
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 Comply with reasonable demands.

Look For:

 Any articles touched by the person should be carefully examined.

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 Physical characteristics and attire

 Points that may help with description (including mannerisms).
 The path the person took when leaving the area.
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 Contact Security (call 112) as soon as possible to provide details of the incident, advise of any
unusual behaviour, and seek advice on next steps.
 Keep information for the police.
 Prepare to evacuate or secure the building/area – follow Security's instructions.
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Civil disorder/illegal occupancy

 Contact Security (dial 112/100) and ask for assistance.

  Inform the Building Warden.
 If it is safe to do so, take action to:

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 Restrict entry to the building;
 Limit demonstrators' presence to the ground floor; and

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 Limit contact between demonstrators and company employees.
 Inform designated managers and/or supervisors
 Be prepared to evacuate – follow Security's instructions.

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Internal (uwa) emergency (code yellow)

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Suspicious mail or package

 Wrap the item in a plastic bag. Place all of the items in a second plastic bag and seal it.

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 Maintain your presence in your office or work area. This also applies to coworkers in the same
room. Keep others from entering the area and becoming contaminated. You're not in any
immediate danger.
 The exact location where incident took place building, floor, and room/cabin number
 the number of potentially exposed people


 The package/description device's
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 The action taken (e.g. package sealed or covered, area isolated).
To avoid contaminating your eyes, nose, and mouth, avoid touching your face with your hands.
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 If possible, wash your hands (without leaving your work area).
 Wait for help to arrive.

If suspicious mail or package has been opened

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 Do not disturb the item in any way. Do not distribute it. If any material has spilt from the item, do
not attempt to clean it up or brush it from your clothing, even if it is possible.
 If at all possible, place an object on top of the package without disturbing it (such as a large waste
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bin).
 If possible, turn off the building ventilation system and any fans or equipment that circulates air
around your workplace.

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Wait for assistance to arrive.

Radioisotope or biohazard spill

 Raise the alarm

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 Ensure the immediate safety of anyone in the spill's path.

 Evacuate the immediate vicinity of the spill.
 Inform your supervisor and the Safety Officer or the Safety, Health, and Wellbeing and Security
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Officer about the spill (call 112).

Isolate the hazard

 Anyone who has been exposed must be moved to a safe decontamination area if it is safe to do
so.
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  To avoid spreading contamination, limit unnecessary movement into and through the area. Isolate
the affected area by erecting a temporary barricade and posting radioactive or biohazard warning

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signs at a safe distance.

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Clean-up

 Do not re-enter the area until it has been decontaminated by personnel who have received
special training in radiation or biological safety, as applicable. A minimum of two people are

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required for any clean-up activities.

Evacuate

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 Evacuate the building as directed by emergency personnel, and then walk quickly and calmly to
the assembly area or as directed by emergency personnel.
 Remain in groups in the assembly area.

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Chemical hazard, a spill, or a gas leak

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Set the alarm

 Ensure the immediate safety of anyone in the spill's path.

 For any reason, do not enter an area where there is a suspected toxic or non-breathable
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environment.
 Evacuate the immediate vicinity of the spill.
 Notify your supervisor and the Safety Officer, or Safety, Health, and Wellbeing (call 1906) and
Security, of the spill (call 112).
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Isolate the hazard

 Anyone who has been exposed must be moved to a safe decontamination area if it is safe to do
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so. Serious injury treatment must take precedence over decontamination and containment.
 Limit unnecessary movement into and through the area to prevent contamination from spreading.
 Create a safe buffer zone around the affected area by erecting a temporary barricade and posting
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appropriate warning signs. To limit the spread of gases and vapours, it may be necessary to turn
off the air conditioning.

Clean-up


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Do not re-enter the area until it has been decontaminated by personnel specifically trained and
equipped in chemical safety. A minimum of two people are required for any clean-up activities.

Evacuate
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 Evacuate the buildings as directed by emergency personnel.

 Walk quickly and calmly to the assembly area or as directed by emergency officer.
 Remain in the assembly area in groups till further notice.
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External emergency (code brown)

 Extreme / Hazardous weather event

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 Seek refuge away from windows. Also, be cautious of others.
 Keep an eye on BOM weather warnings to see when the event is expected to pass.

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 Make sure your supervisor is aware of your location and your immediate safety plan (including
when next to report in).
 If the Supervisor cannot be reached, notify the Head of department and report to Security 112.

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Earthquake

In the event of an earthquake:

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 Seek shelter under tables, desks, or in doorways; avoid windows, shelving, and large free-
standing furniture; and, if possible, assist injured people in your area after the earthquake.
 Leave the building as soon as possible.

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Evacuation (code orange)

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Emergency evacuation

 Don't freak out

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 Requirements for social isolation during the pandemic

 When evacuating a building, people should keep 1.5m apart to the best of their ability, whether
due to a fire alarm or otherwise. Keep in mind that a steady flow of people exiting a building is
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more efficient than a crowded rush.

 Once outside, wardens should direct people in the assembly areas to keep appropriate distances;
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additionally, wardens should consider alternative assembly areas and divide people among them
to avoid crowding.

 If anyone in the building is currently in mandatory isolation (student accommodation) due to

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COVID-19 concerns, they must evacuate wearing an appropriate face mask and gloves. They
must maintain a social distance from the primary assembly area at all times.

At all times during an emergency follow the instructions of the Building and Area Wardens.
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• Prepare to leave the building as soon as you hear the evacuation alarm by securing confidential
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materials and valuables, gathering personal belongings, shutting down experiments, and turning
off computers, electrical appliances, equipment, and machinery.

• If the evacuation alarm goes off, or if a Warden instructs you to, exit the building through the
nearest and safest exit. All doors should be closed when leaving (but not locked).
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 • If at all possible, take hand-held personal belongings (such as handbags and briefcases) with you
when you leave. Returning to retrieve your belongings is not a good idea.

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• Assist any disabled person in leaving the building or, in the case of multi-story buildings, to the

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nearest fire isolated or firesafe haven. Do not attempt to carry anyone down the stairs. See the
section on People with Special Needs for more information.

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• Walk quickly and calmly to the designated assembly area in your building, or as directed by a
Warden or Fire and Emergency Services personnel.

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• Remain in the assembly area (in groups) until directed to leave by a Warden or Fire and
Emergency Services personnel.

• Do not re-enter the building until a Warden or Fire and Emergency Services personnel says it is

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safe to do so. In an emergency, do not enter a building.

In the event of an earthquake




Take shelter under tables, desks or in doorways.
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Stay away from windows, shelving and large free-standing furniture.
After the earthquake, look for injured persons in your area and assist, provided it is safe to do so.
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 Leave the building as soon as you are able to.
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People with specific needs

 If you have a medical condition that puts you in the high risk category for COVID-19, you should
discuss it with your relevant supervisor/lecturers and work out accommodations that will allow you
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to continue working/studying in a safe environment. This may include, but is not limited to, the
following:
o Working/Studying remotely
o Alternate methods of lesson delivery
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o Staggered study/contact times to limit exposure

In an emergency, people's needs may differ. People who are frail, have a visual or hearing impairment,
have mobility issues and use walking aids or wheelchairs, have limited walking or standing ability, are
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pregnant, have heart conditions, asthma, or are prone to panic attacks, or are claustrophobic may be
present.

Responsibility of the person with a disability

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Whether your disability is of a temporary or permanent nature, wherever possible it is important that you
know what your needs are and plan ahead for emergency situations and/or evacuation.

 If you are a resident of a University building or a frequent visitor with special needs, take the
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initiative to approach the relevant Wardens or speak to your Supervisor / School Manager and
discuss your requirements.
  Consider who you might ask for help and communicate your needs.

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 Know the exit routes in the buildings you frequent and test them for suitability, even if they are not
your usual route of travel.

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 Remember that you are encouraged to specify what assistance (if any) you might require from
others in the event of an emergency. Expect those around you to have no idea what to do. If you

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are comfortable giving instructions, you will be less likely to be hampered by others who offer
inappropriate assistance.

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Assisting people with physical disabilities

 Never physically guide, hold, lift, or carry a conscious person without their permission. This

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includes pushing someone in a wheelchair or pushing someone to 'hurry them along.'

 Inquire about the person's needs (such as clearing the path before them, walking alongside or
behind on steps). If you don't know the person, try to avoid giving advice or anticipating what they

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need.

 If a person relies on a wheelchair for mobility and there is no way to get down stairs, another
person should wait with them in a fire-island stairwell until emergency services arrive because it is
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the safest place. Make sure the Building Warden is informed.

 If someone needs to be transferred or assisted from the floor and a full body lift is required, it is
best to call Fire and Emergency Services. Make a chair available for the person to climb up on.
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Do not attempt to lift them unless you have been trained to do so.

 Never carry a wheelchair-bound person down the stairs. Wait for their advice (at least two people
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are required) or for emergency personnel.

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People who may be disoriented or having a panic attack

 Reassure the individual by speaking calmly to them. Inform them that you will remain with them.

 Encourage the individual to control their breathing. To the count of three, take three deep breaths
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in and three deep breaths out. To indicate the tempo, move your hands up and down. Keep eye
contact.
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 Check your Understanding

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1. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _is the process by which a content distributor purchases the exclusive
rights to your film for a period of 3 to 25 years

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2. _ _ _ _ _ _ _ _ _ _ _is the process of releasing a film through an aggregator or similar platform.
3. Operating systems have nearly eliminated the need for disc _ _ _ _ _ _ _ _ _ _ _to be performed
as a separate task.

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4. _ _ _ _ _ _files that have been deleted are recreated whenever the source media requires them.
5. OSHA stands for _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.
6. Employers must take into account the health and safety of everyone on the premises or who may

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be affected by their _ _ _ _ _ _ _ _ activities.
7. First and foremost, dial _ _ _ _ if a severe illness or injury is potentially fatal.

Summary

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 The film distribution process begins when you have decided you want people to see your movie.
This is the process that makes your film shift from private to public, and this way people will see
your finished product in cinemas or on any other distribution platform.

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The Film Council can drive the creation of a strong and sustainable distribution infrastructure by
targeting and assisting the media through which specialised film is delivered.
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 Self distribution is a fear of many filmmakers, as they believe that if they don’t have the support of
a distributor they will never have access to valuable services to release their film for maximum
exposure.
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 A combination of aesthetic and practical considerations influences the selection of an appropriate

stock.


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Film sets tend to be full of potential hazards, whether the sets are created by big-budget
production companies or smaller groups. No matter the size of the crew you have or the number
of locations you’ll be in, health and safety should be incorporated into production even before
cameras begin rolling.
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 Employees expect their employers to protect them from job hazards, but it's also important for
employees to understand that they play a role in maintaining a safe workplace. Employers and
employees are both responsible for fostering a safety culture in order to improve workplace
behaviour and performance.
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 Developing a health and safety policy to ensure that all employees are aware of the necessary
procedures is a legal requirement for all businesses.
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Activity

1. Create a video using all the techniques of cutting and merging using sound track pro.
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Glossary
  CPR: Cardiopulmonary resuscitation
 EMS: Emergency Medical Services

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 PPE: Personal protective equipment
 WMV: Windows Media Video

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 WMA: Windows Media Audio
 AVI: Audio Video Interleave
 NTSC: National Television Standards Committee

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 RGB: Red Green Blue
 FPS: Frame Per Second

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Questions and exercises

1. What do you understand film product distribution?

2. What are different file format in video?

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3. What do you mean by Clear logs/data and keep the software and equipment ready for future
use?
4. Define the health, safety and security risks prevalent in the workplace?
5. Who are the people responsible for health and safety?

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6. Define various types risks at workplace and what are the procedures in the event of an
emergency?
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Further Readings:

1. Workplace Safety: A Guide for Small and Midsized Companies, Dan Hopwood and Steve
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Thompson
2. Safety at Work, John Channing, John R. Ridley
3. The Insider's Guide to Independent Film Distribution, Stacey Parks
4. The Independent's Guide to Film Distribution, Erin Trahan, Michele Meek, and Minhae Shim
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Check Your Understanding:

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Answers
1. Traditional distribution
2. Self-distribution
3. defragmentation
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4. Cache
5. Occupational Safety and Health Administration
6. Operational
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7. 112
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