TELEVISION PRODUCTION II

Transcription

1 TELEVISION PRODUCTION II Program Overview: The TV Production classes at Grosse Pointe North and South High Schools provide a studio setting for those students with a serious interest in pursuing a career in communications. The studio and editing room is equipped with up to date industry standard equipment, enabling students to become familiar with all aspects of broadcasting and the ability to create programs of community-wide interest. Course Description: Beginning Advanced Video Production students will be introduced students to the fundamental, technical, and creative aspects of video editing using the AVID Media Composer Non-Linear editing system. Students will learn the news field reporting, fundamentals of shooting footage in the field with a camcorder, editing footage into a news package. In addition to the editing component, our daily news broadcast will be created using skills developed in TV Production I classes. Advanced Video Production students III-V students also will collaborate with the Advanced Video Production II students in the production of GPTV News. However, they will be responsible for the execution of all the components to the program. As producers, students will insure that materials, projects, scripts, and sports and weather sections are ready prior to taping. They will function as a team leader to set program goals, creatively produce a TV product by applying their knowledge of current TV technology. This course is designed with a focus on the studio workshop & video production. It will provide students with opportunities to experience the total process of television production with a daily objective. Further, it is important for students to learn by doing, inquiring, and discovering. Course Requirements: This course packet and the use of the television studio equipment will provide the major structure for this course. Students will be evaluated on the following: 1. Completion of assigned worksheets 2. Quizzes on the worksheets and lectures 3. Completion and execution of assigned television studio and editing productions 4. Participation in class and studio activities 5. Written or practical exams 6. Independent projects as assigned. Requirements for the course: 1. 3 Ring Binder (Lecture Packet Provided) 2. Pen, pencils, etc. Contact Information: steve.geresy@gpschools.org Web Page: South Website / Departments / TV Production TV Production Materials: Located under your START MENU or My Document Folder 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 1

2 Television Production Projects INTRODUCTION TO EDITING ASSIGNMENTS This unit is designed to introduce students to the practical fundamentals of shooting video and using the AVID video editing system. Assignments include: Shooting a list of shots, recording them in the computer, trimming them and including them in the timeline, adding effects, using motion effects, creating titles, and creating a countdown for video. CONTINUITY EDITING ASSIGNMENT This exercise is designed to introduce students to explore the concept of shooting to edit. In a television studio, the director can switch between multiple angles of the scene LIVE to tape. However, in film, the director usually shoots the scene from each angle using a single camera. This created the look of switching between cameras LIVE, but accomplished through editing. 20 SECOND INTRODUCTION PROJECT The purpose of this project is to create an opening segment for GPTV News. Students will create a 20 second scene to that represents the school and can be a catchy way to introduce the news. All ideas must be approved by the instructor and have an accompanying storyboard detailing the idea. The final project will then be shown to the school. MOOD PROJECT The purpose of this project is to use elements to create a mood in a short scene. The producer must identify the mood and use music, lighting, shot angles, and editing to create a scene that focuses on a certain mood. DONUT TO DANISH The purpose of this project is to develop basic scriptwriting and storytelling techniques. Each group will be provided the choice of three scenarios. Each scenario will include the beginning event and the conclusion. It will be the responsibility of the group to develop the middle of the story. CAMPUS STORY PROJECT The purpose of this project is to create a short documentary related to an activity, person, or event happening. Students will create a 1 minute news report that represents the school. It will begin with a catchy montage to introduce the news. The reporter will appear on-camera to establish the story and then script narration while adding pictures to explain the script. Interviews segments must be included and the script must lead to the statement. The closing must include a signoff and summary on camera and end credits. The final project will then be shown to the school and to the community Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 2

3 Extra Credit Opportunities Taping of a school event for Video Yearbook, GPTV News, and Sports Coverage Taping Scenic Background Footage Editing for a TV Production related project outside of class for show or teacher Active Video Club member Submitting pictures of a South related event through What is shooting a scenic background? Our Broadcaster Pix video switcher has a clip store built into the system. This allows us to have preloaded video clips available for use. A scenic background is video that is taken by students that can be used for credit rolls and openers. Subjects include: Lake St. Clair: Daylight, Sunset, Morning, winter, fall, Close up of Waves against shore, the Pier GP Sites: Lake Shore Drive, The Hill, The Village, Parks, War Memorial, Events, Yacht Club Michigan: Sites, monuments, lakes, rivers, seasons, festivals, museums, and industries Nature: Clouds, fish tanks, trees, rain, animals South High School: Events, Tower (Morning, sunset, evening), Hallways, Track and Fields, classrooms Requirements: 5 Minutes of Non-Stop footage on a Tripod with no talking. Try different angles of the same subject..5 Point per quality scenic background shot Each event is based on the complexity of the event and the time devoted to setting up and videotaping the event. Most events range between 2 and 5 points toward your grade. All extra credit must be logged and signed by Mr. Geresy to count toward your quarter grade. NAME: SEMESTER/QUARTER: Date Activity Points Initials 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 3

4 The Camcorder: As part of the advanced TV class you will be using the studio and the camcorder. A camcorder is a combination of a video camera and a VCR to record and playback the images that were recorded. General Operation Procedures: 1. Attach battery to back of camcorder. The battery release is also located on the back of the camera along side the small eyepiece viewfinder. 2. Turn on the camera by selecting CAMERA. This can be trickier than it sounds. There are several different functions like VCR and M-Card that you accidentally select depending on the camera. 3. You can use the viewfinder on top of the battery or the flip out screen on the left. 4. To record press the red button by where you turned on the power. 5. To zoom in / out use the T/W button located on top of the camera near the record button Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 4

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6 Camcorder Shooting Assignment: The purpose of this assignment is to practice shooting footage, setting up the camera, and using a tripod. The shot types are: Wide (establishing shot) Medium Shot (MS) Bust Close Up (CU) Extreme Close up (ECU) Artistic Angle Identify and operate camera by: Knowing how to turn on power Insert a tape properly Connecting the battery and power Starting and ending the recording process Setting up the tripod and keeping the shot steady Composition Techniques: Creating balance in the frame Focal Point Perspective Depth of Field Point of View Interview vs. Personal Address Anticipating Action In your groups, you are to go through out school. You need to get 5 different angles of the same objects, recording each object for 10 seconds. You are not to disturb any classrooms while you are out in the hallway. Only shoot the people in you group that you are supposed to shoot. All footage will be watched and heard. Wide Shot Medium Shot Bust Shot Close Up Extreme Close Up Draw the type of shot in each of the boxes provided Balance Focal Point Perspective Depth of Field Point of View Draw the type of shot in each of the boxes provided Identify and operate camera by: Knowing how to turn on power: Insert a tape properly: Connecting the battery and power: Starting and ending the recording process: Setting up the tripod and keeping the shot steady: 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 6

7 Shooting Footage for Editing: There are several ways to shoot video footage. Due to the fact we have editing capabilities, we are going to shoot to edit. In most home movies the footage is shot in chronological order and the only the most important scenes are captured. When shooting to edit, the cinematographer can shoot multiple angles of a scene, start recording and then have action start, and capture all the events and make the decisions of what stay in the final project in the edit room. Concepts for Shooting Pre-Roll To create seamless cuts between shots in the camcorder, at the end of each recorded shot the camera rewinds the tape a few frames into the previous shot. Pre-Roll is the footage prior to your action beginning. When the record button is pressed it takes a second or two for the camera to come up to speed. Also, when editing your footage the extra video at the beginning is helpful when placing transitions between shots. Remember tape is cheap, but the first part of your action is a time expense that you do not want to recreate. Post-Roll Knowing that the camera rewinds a few frames into the end of your shot, post-roll is the footage after the action has taken place. Take a few seconds before hitting the record button to stop recording. B-Roll B-Roll refers to a term used in early video editing when it took two video players rolling at the same time synced by an editing station to produce a simple dissolve. Usually A-Roll was an interview, while B-Roll was the footage that corresponded to what the interviewee was talking about. The simple definition is: Additional footage taken that matches the script or what the interview subject is discussing. Timecode Timecode is a number that is assigned to each frame as video is being recorded, usually displayed in time such as: 00;01;12;13 (Hours, Minutes, Seconds, and Frames). This number will be constant between any DV video player and camera. It is also important when logging footage using the Shot Log Sheet. Composition Consider head, nose and lead room when shooting your subject. Also, consider anticipating action and movements of your subject. Rule of Thirds When composing your shots, imagine that a tic-tac-toe board was laid over your viewfinder. This will conceptually allow the camera operator to place important parts of the shot on one of these lines; such as: eyes, head, mouths, horizon lines, two people, and landscapes. Camera Movements and Zooming When watching most movies pans, zooms, and tilts are not commonly used in the coverage of a scene. Usually it is a combination between cuts of multiple angles to keeps the scene moving. Avoid using these movements, especially zooms, when you have the ability to cut between the shots through editing. Continuity When shooting a scene, continuity is important because it allows the editor to cut between the shots without something in the scene being out of place. If the arm of the talent is up in the wide shot, it must be up in the close up as well. If this does not happen, a cutaway is required, which is a shot that is associated with the scene, but is not of the main talent being edited. It provides a buffer between the two angles to fix the mistake Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 7

8 The Cutting Edge: The Art of Film Editing This documentary is a close up look into the history of film editing and the motivations behind cutting film for suspense, action, drama, and etc. The story is told by the actual academy award winning directors and editors of early and modern day films. 1. How has editing evolved into what it is today? What did first films look like compared to today? 2. What is invisible editing? 3. What was early editor s primary role? 4. How much film is shot for an average feature length movie? 5. What kind of relationship is required between the director and editor? 6. According to the experts, how important is a single frame? 7. What is Walter Murch s technique used for editing? Where did it come from? 8. When editing drama, how does editing affect the overall mood of the scene? 9. How important is storyboarding to the editing process? 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 8

9 Basic Editing Techniques Editing & Transitions - Yale Class - Editing with examples - Continuity Editing - Best Film Editing (A historical look) Cut - Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds. Cutting will: Change the scene, compress time, vary the point of view, or build up an image or idea. Matched cut - In a 'matched cut' a familiar relationship between the shots may make the change seem smooth. This is also referred to as cutting on action. This occurs especially when dealing with: Continuity of direction, completed action, a similar center of attention in the frame, a one-step change of shot size (long to medium), or a change of angle (conventionally at least 30 degrees). *The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself. - Cutting on Action Jump cut - A jump cut is an abrupt switch from one scene to another that may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section. Motivated cut - Cut made just at the point where what has occurred makes the viewer immediately want to see something, which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity). - Motivated Cutting Cutting rate - Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize. Cutting rhythm - A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer. Crosscut - A cross cut is from one line of action to another. Cutaway/cutaway shot (CA) - A bridging cut between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time. Reaction shot - Any shot, usually a cutaway, in which a participant reacts to action, which has just occurred. Buffer shot (neutral shot) - A bridging shot (normally taken with a separate camera) to separate two shots, which would have reversed the continuity of direction Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_2013 9

10 Fade / Dissolve (mix) - Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time. Superimpositions - Two of more images placed directly over each other. Wipe - A wipe is an effect marking a transition between two shots using a geometric pattern. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique, which draws attention to it and acts as a clear marker of change. Split screen - The split screen is division of the screen into parts that can be used to show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer. Manipulating Time Subjective time - The subjective time is experienced or felt by a character in a film, as revealed through camera movement and editing (e.g. when a frightened person's flight from danger is prolonged). Compressed time - Compression time is between sequences or scenes, and within scenes. This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves. In a dramatic narrative, if climbing a staircase is not a significant part of the plot, a shot of a character starting up the stairs may then cut to him entering a room. The logic of the situation and our past experience of medium tells us that the room is somewhere at the top of the stairs. Long journeys can be compressed into seconds. Time may also be compressed between cutaways in parallel editing. More subtle compression can occur after reaction shots or close-ups have intervened. The use of dissolves was once a cue for the passage of a relatively long period of time. Simultaneous time -Events in different places can be presented as occurring at the same moment, by parallel editing or crosscutting, by multiple images or split-screen. The conventional clue to indicate that events or shots are taking place at the same time is that there is no progression of shots: shots are either inserted into the main action or alternated with each other until the strands are somehow united. Slow motion - Slow motion is an action that takes place on the screen at a slower rate than the rate at which the action took place before the camera. This is used: a) to make a fast action visible; b) to make a familiar action strange; c) to emphasise a dramatic moment. It can have a lyric and romantic quality or it can amplify violence. Accelerated motion - This is used: a) to make a slow action visible; b) to make a familiar action funny; c) to increase the thrill of speed. Reverse motion -Reproducing action backwards, for comic, magical or explanatory effect. Freeze-frame - This gives the image the appearance of a still photograph. Flashback - A flashback is a break in the chronology of a narrative in which events from the past are disclosed to the viewer. Formerly indicated conventionally with defocus or ripple dissolves. Flash-Forward - Flash-forward is used in foreshadowing or giving the end of the story first and then telling how they got there. Narrative style 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

11 Subjective Style - The camera treatment is called 'subjective' when the viewer is treated as a participant (e.g. when the camera is addressed directly or when it imitates the viewpoint or movement of a character). We may be shown not only what a character sees, but also how he or she sees it. A temporary 'first-person' use of camera as the character can be effective in conveying unusual states of mind or powerful experiences, such as dreaming, remembering, or moving very fast. If overused, it can draw too much attention to the camera. Moving the camera (or zooming) is a subjective camera effect, especially if the movement is not gradual or smooth. Objective Style - The 'objective point of view' involves treating the viewer as an observer. A major example is the 'privileged point of view' that involves watching from omniscient vantage points. Keeping the camera still while the subject moves towards or away from it is an objective camera effect. Parallel development/parallel editing/cross-cutting - Parallel editing is a sequence of shots in which the camera shifts back and forth between one scene and another. Two distinct but related events seem to be happening at approximately the same time. A chase is a good example. Each scene serves as a cutaway for the other. It adds tension and excitement to dramatic action. 'Invisible Editing' - This is the omniscient style of the realist feature films developed in Hollywood. The vast majority of narrative films are now edited in this way. The cuts are intended to be unobtrusive except for special dramatic shots. It supports rather than dominates the narrative: the story and the behaviour of its characters are the centre of attention. The technique gives the impression that the edits are always required are motivated by the events in the 'reality' that the camera is recording rather than the result of a desire to tell a story in a particular way. The 'seamlessness' convinces us of its 'realism', but its devices include: the use of matched cuts (rather than jump cuts), motivated cuts, changes of shot through camera movements, long takes, the use of the sound bridge, and parallel development. The editing isn't really 'invisible', but the conventions have become so familiar to visual literates that they no longer consciously notice them. Montage/montage editing - In its broadest meaning, the process of cutting up film and editing it into the screened sequence. However, it may also be used to mean intellectual montage - the juxtaposition of short shots to represent action or ideas - or (especially in Hollywood), simply cutting between shots to condense a series of events. Intellectual montage is used to consciously convey subjective messages through the juxtaposition of shots that are related in composition or movement, through repetition of images, through cutting rhythm, detail or metaphor. Montage editing, unlike invisible editing, uses conspicuous techniques that may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning. Use of Sound Direct sound or Live sound - This may have a sense of freshness, spontaneity and 'authentic' atmosphere, but it may not be acoustically ideal. Studio sound - Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise ('ambient sound'), e.g. dubbed dialogue. This may be then mixed with live environmental sound. Selective sound - Selective sound is the removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect - to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic. Sound bridge - Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted. Dubbed dialogue - Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

12 Wild Track (asynchronous sound) - Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later. Commentary/voice-over narration - Commentary is narrative spoken off-screen over the shots shown. The voice-over can be used to: Introduce particular parts of a program, to add extra information not evident from the picture, to interpret the images for the audience from a particular point of view, or to link parts of a sequence or programme together. Sound Effects (SFX) - Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking. Music - Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music that accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music that finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western) Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

13 Avid Media Composer: AVID is an industry standard professional editing system. When you watch movies and view the news, AVID is used on a daily basis. The AVID Xpress Pro system is the lower end of the AVID editing line; however, the interface is the same as the high level editing systems. EDITING METHODS LINEAR EDITING: Editing of video started by electronically recording quality footage from your source tape to your record master according to the script. If mistakes occurred the tape would have to be re-edited from the point of the mistake to the end of the tape. NON-LINEAR EDITING: Non-Linear editing requires recording the best footage on to a computer hard drive, and then manipulating it on a graphic timeline until the video is correct. The video is then outputted from the computer back to videotape. Avid Terms and Concepts The following terms and concepts to help you understand the editing process: Media Files: When you record source material from a camera or deck, or when you import computer graphic files into your Avid project, the material is saved in media files on your system s media drive or drives. One media file is created for each track of video or audio. For a video with a stereo sound track, three media files are created: one track of video and two tracks of audio. Clips: When you record media, Avid creates a master clip on your system s internal hard drive. You make your edits by modifying clips, and the corresponding media files remain unchanged. This feature allows you to easily create and undo edits without destroying your original material. Because you work with clips instead of media files, you can create virtually unlimited versions of a program without creating multiple copies of the source material. Sequences: You can join different clips to create a sequence. A sequence is composed of marked material from clips, sub clips, and other sequences. The material outside the IN and OUT points remains in the media file s master clip. These segments of material are called handles. Handles are important; you need them to trim cuts and create transition effects between segments. Bins: Clips, sub clips, and sequences are organized and stored in bins. Traditionally, a bin is a place where film editors store reels of film. In Avid, bins represent a database for organizing the material for a project. Projects: You gather the material you need to create a program in a project. Each project contains information about bins, clips, sub clips, sequences, and the program in the Timeline. You might have several projects on your system, but you can work on only one project at a time. Digitize: This is the process of recording only the good footage to be used in the video to a computer hard drive making it digital. Mark In / Out Mark IN sets the beginning of your shot. Mark Out is the End Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

14 Learning How to Use Avid Media Composer Starting a Project STEP ONE: STEP TWO: Double-Click on the AVID icon located on the desktop. Click on New Project to create a program. Include your group members and the class period. (Example: Joe, John and Jim 1 st Hour) Select Project Window STEP THREE: Select your project from the Projects scroll list located in the left column, and then click OK. STEP FOUR: After the application opens, locate the window with the 4 tabs listed: Bin, Settings, Effect Icon, and Info. Click BIN, and then select New Bin. Make sure to name your Bins! 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

15 The Bins Display The Bins display lists the bins, or storage areas, created to hold your clips and sequences The Settings Display Click the Settings tab at the top of the Project window. A list of settings appears. This list is called the Settings scroll list. Settings are groups of options you can select, depending on your needs and preferences. The Effects Display Click the Effect icon at the top of the Project window. This box lists all the effects included in the AVID. The effects can be added to the timeline between two clips by dragging the icon and placing it between the cut. The Info Display Click the Info tab at the top of the Project window. You see the format of the project (NTSC or PAL). You can get information about your system by clicking the Hardware or Memory button. STEP FIVE: Open your project bin. Viewing Clips in your Editing Bin You can use four views for working with clips in a bin: Brief view, Text view, Frame view, and Script view: Brief view displays only five standard columns of information about your clips and sequences. Text view displays many columns of information about your clips and sequences. Frame view displays each clip as a single representative image. Script view displays each clip with an image and an area in which to enter text as part of a storyboard. STEP SIX: Open toolset on menu bar, and select Capture STEP SEVEN: Record your footage to the hard drive The record window will allow the editor to digitize only the quality footage needed for the project. Make sure to record two seconds before and after your shot. This pre / post roll is called handles Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

16 A. Select the source to digitize. The AVID also allows the editor to select video only / Audio only / or both Video and Audio. B. Use the deck controls to cue your tape to a few seconds prior to your shot. Press the play button C. Once playing, press the Record button located in the top left-hand corner D. Press the Record icon or ESC on your keyboard to stop the shot. STEP EIGHT: Double-click on your first shot in your Bin STEP NINE: The source clip will open. Mark IN to indicate where the shot starts and Mark OUT to indicate where the shot ends. STEP TEN: Click the yellow Splice-in button from the Edit tab in the Command palette or drag the clip into the timeline window Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

17 STEP ELEVEN: Name the Sequence Your newly created sequence appears in your bin. By default, the system names it Untitled Sequence.01. Change this name: 1. Click the name Untitled Sequence.01 to select it; do not click the Sequence icon. The name is highlighted. 2. Type Your Project Name and press Enter (Windows). STEP TWELVE: Open up the second clip and mark in/out. Place the Position Indicator at the end of the first clip. Mark IN on your timeline, and drag the second clip into the timeline. TO ACCOMPLISH A FADE IN FROM BLACK YOU MUST ADD FILLER AT THE BEGINNING OF THE TIMELINE. RIGHT- CLICK ON THE TIMELINE AND SELECT ADD FILLER IN THE PULL DOWN MENU Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

18 TIMELINE EDITING Sometimes you might make a mistake and add the wrong clip. There are several ways to move clips around in your sequence or delete them altogether. Performing a Splice-in Edit (Yellow Arrow) A splice-in edit inserts material from the Source pop-up monitor into the sequence without replacing material already in the sequence. Existing material in the sequence is moved beyond the new material, lengthening the overall duration of the sequence. Performing an Overwrite Edit (Red Arrow) An overwrite edit replaces a section of the sequence with the material you select from a Source pop-up monitor. Unlike a splice-in edit, an overwrite edit replaces existing material and therefore does not lengthen the overall duration of the sequence. When you are in segment mode, either the red or yellow arrow, you can only click on segments in the timeline. You cannot use the blue position indicator. To click off segment mode make sure the blue or red arrow is not highlighted. You can use the yellow arrow to move the segments around without destroying the segments. Be very careful if you use the red arrow because you can easily overwrite footage you want to keep. Adding Filler You can add a small amount of black filler at the start of your sequence. A brief moment of black before the start of your sequence is sometimes useful during playback or when recording a digital cut. You can also add filler at any time during editing to another part of the sequence. You cannot add filler to the end of a sequence. To add filler at the start of a sequence: Right-click in the Timeline, and choose Add Filler at Start from the shortcut menu. Filler appears at the beginning of the sequence in the Timeline Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

19 Lifting and Extracting: Lifting and extracting allow you to remove or reposition material quickly in your sequence. For example, you can move a clip from the end of your sequence to the beginning; or you can remove the material from the sequence altogether. Lifting and extracting place the removed material into the Clipboard. You can then paste the material elsewhere in the sequence or in another sequence altogether. Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Extracting Material The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

20 Avid Media Composer - Review Identify the areas of the AVID Screen: 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

21 Editing Assignment #1 CREATING A PRODUCTION COUNTDOWN A countdown is used at the beginning of most professional projects. The assignment is to create a countdown from 10 to 1 using images and titles. To begin, create a new bin called Countdown. Creating the Countdown 1. Import 12 graphic images from the Public Lacie hard drive into AVID. First, highlight the bin labeled Countdown and pull down the File menu. Select Import and browse for the images on the Lacie drive under the folder Digital Resources. There is a large collection of different images; by holding the CTRL key, individual files can be selected and all 12 can be imported at the same time. By selecting the Thumbnail view, the images can be previewed prior to selecting them for your project. 2. Trim (Mark In & Mark Out) ten shots from the video bin to 1 second and place each in the Timeline on Video Track 1. Rotate in your groups. 3. Create ten titles (1 10). Each title should include: color, be larger than 70 pt. point size, broad font style, a drop shadow, have a border and be centered in the frame. 4. Trim (Mark In & Mark Out) each title from the Countdown bin to 1 second and place over each video clip in the Timeline starting with 10 on Video Track 2. If V2 does not appear, right-click on the timeline and select New Video Track. 5. Highlight the bin used to store your video. Under the File menu, select Import. When the dialogue box appears, select the pull-down menu and browse for project images. Next: Pulldown the menu to Audio Files. Locate the folder with the music files on the Lacie drive under the folder Digital Resources and select the particular music track. A box will appear asking if you would convert the file to the sample rate of the project, select Yes to All. The full audio file will appear in the bin selected. Insert the audio on A1 & A2 6. Place a Dissolve on the beginning and end to Fade In and Out the production 7. Create a title slate. Open Title Tool, and create a graphic page which has Title, Length, Producer, and Date. Align text along the left side within the Title Safe Area. Trim graphic slate to 10 seconds and splice in the beginning. 8. Under file, select SAVE ALL BINS! 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

22 Editing Assignment EDITING AUDIO TO THE BEAT The objective of this assignment is to cover importing audio and edit to the pace and rhythm of the beats in the music. Music has a powerful effect in productions such as: PSA, Short Films, and Documentaries. It is used to create a mood, indicate the time period that the story is happening, or used to drive the story from scene to scene. In feature films, the music is composed to match the final edited cut; however, since there is not a budget for a 30 piece orchestra, music from CDs must be used. The music comes with its own beat and rhythm that the editor must match to create a solid project. IMPORTING AUDIO Highlight the bin used to store your video. Under the File menu, select Import. When the dialogue box appears, select the pull-down menu and browse for project images. Next: Pull-down the menu to Audio Files. Locate the folder with the music files and select the particular music track. A box will appear asking if you would convert the file to the sample rate of the project, select Yes to All. The full audio file will appear in the bin selected. ASSIGNMENT: Editing to the Beat 1. Create a new bin called: Editing to the Beat. 2. Import the selected track into the Editing to the Beat bin. 3. Once imported, open the audio clip and trim it to 1.5 minutes and insert it onto A1 & A2 of the timeline. 4. Under the Fast Menu in the Timeline, select Sample Audio Plot. Expand your timeline view to visual see the beats and changes in the audio. 5. Listen to the music to decide where the beats of the music are and place a Mark In and Mark Out at the beat. 6. Using imported images, clear old Mark IN & OUT points, and Mark IN where the shot should begin. Make sure to select the Overwrite (Red) Arrow at the bottom of the timeline to insert footage over the music. 7. Continue editing according to the changes in the music Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

23 Editing Assignment #3 CREATING A MOTION EFFECT Motion Effect --Motion effect icon allows you to speed up, slow down, reverse or put the clip in strobe effect. The motion effect icon is located in the composer window on the bottom left. You can only use this effect with a clip a sequence will not work. You must decide what you want in slow or fast motion before you put it in the timeline. To speed a clip up increase the % speed number above 100. To slow down a clip put below a 100. To put a clip in reverse put a negative sign in front of the number. Click Add and Render to make the clip. ASSIGNMENT: Shoot original footage depicting forward action of someone walking through a door for 15 seconds 1. Mark an in point at the beginning of the scene and an out point at the end of the scene. Click on the Motion Effect button. The Motion Effect Dialogue box will appear. 2. Under % Speed type in This will put the video in fast motion. Make sure the target drive saves the clip in the Media drive. Click on Create and Render when finished. 3. The newly created clip will automatically appear in your source window as will a clip with the Motion Effect Icon. 4. Make a new sequence and call it Editing Assignment #3. Place your newly created fast motion scene in the sequence. Make the following motion effect clips and place them in your timeline. WS person walking through a door in fast motion, WS person walking through a door in reverse fast motion, WS person walking through a door in slow motion. How slow or how fast each clip is, is up to you Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

24 Editing Assignment #4 TRANSITIONS / EFFECT EDITING Effect Palette- -Purple icon located in the Project Settings Window. The effect palette contains categories of effects. Drag and drop the effect onto your video in your timeline. Effect Mode (Effect Editor)- -Located on your timeline, allows you to manipulate various effects with the use of KEY FRAMES. Key Frames-- Pink icon, located on your composer window, used only when in effect mode. A key frame triggers the events in an effect. Quick Transition--Located on your timeline, allows you to add a transition between clips without using the effect palette. There are 4 types of transitions: Dissolve / Fade to Color / Fade from Color / and Dip to Color The quick transition dialogue box opens. You can select any of the 4 transitions, the position of the transition and the duration. HINT***you must have handle room to make the transitions*** You can select ending at cut, centered on cut, starting at cut, or custom start Click Add and Render when you are finished with your selection. HINT***if you mark in and out points over several segments you can apply a transition to all segments between the in/out points*** -Title Safe/Action Safe grid gives you guidelines for the placement of your effects. The outside box is Action safe meaning only what is inside the box is guaranteed to be seen. The inner box is the Title safe box meaning you must place all titles inside the innermost box for the title to be completely seen by multiple televisions when broadcasted Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

25 Remove Effect- -remove an effect from your sequence. Position indicator must be placed over the effect you want to remove. Render Effect- see some effects. -preparing effects for digital cut. This must be done before a digital cut and to Render in/out Place in and out points in the beginning and end of your sequence, then right click and choose render in/out. This will render all the effects in your sequence. ASSIGNMENT: Create a sequence with any 5 shots from your video footage. The shots should be no longer than 3 seconds each and have Handle room. Name the sequence Editing Assignment #4. ADD TRANSITIONS USING THE QUICK TRANSITION FEATURE: 1. Add Filler in the beginning of your sequence. 2. Place the blue bar in between the first two segments. 3. Click on the quick transition icon 4. In the quick transition dialogue box select the dissolve transition and select centered on cut. If your duration is very short you do not have enough handle room. Choose a segment that has more handle room. 5. Click Add and Render 6. Continue this for each segment, even the beginning and the end. USING KEY FRAMES AND PICTURE IN PICTURE: In the same sequence, edit a 5 Second media clip in the timeline and place a Picture in Picture Effect on one of the segments. The PIP effect is located in the effect palette under Blend. 1. Drag and Picture in Picture (PIP)effect over a media clip in the timeline 2. Place the blue bar over the segment with the effect and click on the effect mode button on your timeline. 3. In the composer window, select the first Key Frame on the left 4. In the Effect Editor Tool, select the pull-down menu under scaling and make it 100%. 5. In the composer window, select the second Key Frame on the right 6. In the Effect Editor Tool, select the pull-down menu under scaling and make it 150%. 7. Play the clip in the composer window to preview. 8. Render the effect by selecting the render button located at the bottom left of the Effect Editor 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

26 Editing Assignment #6 CREATING TITLES To create texts in Avid go to Tools, then select Title Tool. The title tool should open in the right monitor. The background of the title tool will be whatever the position indicator in your timeline is on. If you move the position indicator and then click on the title tool window the background will change. ASSIGNMENT: Create 5 different graphic styles: 1. Create a graphic named A Name of Group Member. The point size is 48; yellow, with a drop shadow of Create a graphic named, A Name of Group Member. The point size 72; red and white gradient, drop-shadow Create a graphic named, A Name of Group Member. The point size 54; with a drop shadow of 3, broad border, gradient colors of choice, and a line underneath the name. 4. Create a graphic named, A Name of Group Member. The point size 48; with a drop shadow of 4 colored white. The text color must be orange. Add a circle behind the text. Make sure the transparency is set to 50%. 5. Create a graphic named, A Name of Group Member. The point size 62; red and yellow text with a white border blurred and transparent. Kern the text. UNDERSTANDING THE TITLE TOOL 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

27 Continuity Editing: Using one camera to have the appearance of a multi camera shoot The video clip focused on several major areas when editing an action sequence: Continuity / Matched cut - In a 'matched cut' a familiar relationship between the shots may make the change seem smooth. Especially when dealing with: Continuity of direction, completed action, a similar focal point in the frame, a onestep change of shot size (long to medium), or a change of angle (conventionally at least 30 degrees). The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer's eye is absorbed by the action he is unlikely to notice the movement of the cut itself. Jump cut - A jump cut is an abrupt switch from one scene to another that may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section. Motivated cut - Cut made just at the point where what has occurred makes the viewer immediately want to see something, which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the 'privileged point of view' (see narrative style: objectivity). Cutting rate - Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize. Cutting rhythm - A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer. Crosscut - A cross cut is from one line of action to another. Cutaway/cutaway shot (CA) - A bridging cut between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a 'jump cut' where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time. Reaction shot - Any shot, usually a cutaway, in which a participant reacts to action, which has just occurred. Buffer shot (neutral shot) - A bridging shot (normally taken with a separate camera) to separate two shots, which would have reversed the continuity of direction. ASSIGNMENT: Create a 16 shot project that involves videotaping a single scene as if it was in real-time 1. Detail each angle on a Storyboard, using all 16 cells provided on the form. The production must include a: Buffer or Reaction Shot. Colour is preferred! 2. Include any audio that might enhance the production 3. Present the storyboard to the class 4. The completed storyboard is worth 20 Points 5. A group will be formed and they will chose one of the storyboards to produce 6. The overall project will be worth 50 Points and be evaluated for Concept, Planning, Technical Production, Editing, and Individual Contribution 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

28 Editing Assignment Using the Chroma-Key Effect The objective of this assignment is to produce a green screen effect within the timeline. The first step is to videotape your main object in front of a solid green background. When videotaping your subject, make sure there is enough light on your subject and the green background. The background requires a back light to eliminate any shadows casted by your subject. Setting up a Key in AVID s Timeline: The Key effects are located in the effect palette under Key. 1. Edit the background of your key on Video Track 1 2. Edit the subject that you videotaped in front of the green screen on Video Track 2 3. Locate and drag the Spectra Matte from the Effects Pallet over the entire media clip in the timeline 4. Place the blue bar over the segment with the effect and click on the Effects Mode button on your timeline. 5. Once the Effect Editor window opens, match the setting of the Chroma Control to the settings below 6. If you need to reset the position of the subject one the screen, resize the subject or crop the edges open the tabs and make the adjustments. 7. If adjustments are needed on the key itself, try adjusting the Inner and Outer Softness settings first and then adjust the rest as needed. 8. Render the effect by selecting the render button located at the bottom left of the Effect Editor 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_

29 Creating a 20 Second GPTV News Opener The purpose of this assignment is to create several short 20 second introductions for the daily announcements. The time allotted for announcements is an average of four minutes. GPTV News will include weather, sports, entertainment, and a This week in history segment. The opener should use be created with the intent that it can be used through the school year and provide a professional look to the news. Develop your Idea Completed Storyboard Shot List Plan for the Shoot Seek permission if required Sign up for Equipment Technical Production Various angles Proper lighting & audio Editing Proper music Multiple Angles One Digital Juice Element GPTV News Graphic Individual Contribution: Everyone Pulls Their Weight! The deadline for this project: 2013 Geresy GROSSE POINTE SOUTH TV PRODUCTION / SEMESTER 2 / 2012_