Chapter 20 Process of Digital Editing Mary Walbridge

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1 Chapter 20 Process of Digital Editing Mary Walbridge

2 All projects whether destined for broadcast, DVD, theatrical release regardless of being shot on film, standard DV- HD are edited on a digital, nonlinear editing system

3 Editing in the digital domain means that all the visual and aural components of the project must be transferred as digital data called media files.

4 The media files are brought into a computer running specialized editing software. In data form, any piece of visual footage or any piece of sound can be instantly accessed through a computers' random access capability and easily labeled, organized, duplicated, cut, arranged, rearranged, trimmed, mixed and manipulated with a mere drag and click of a mouse.

5 digital editing completely revolutionized the postproduction process in only a few years.

6 Not limited by linear characteristics of video tape A nonlinear system allows us to move around in the footage in any directions, instantaneously Digital editing never lays any media down onto tape until you are done editing It uses the computer s random access memory (RAM) to perpetually preview all the edits in your program

7 Editing on film was a form of nonlinear editing but destructive- meaning- the physical material was permanently changed with each cut You still had to rewind and fast forward through rolls of films to find specific shots If you had to insert a shot early in the sequence, you simply undo splice two shots and insert the new one and redo the splice. With videotape editing, every time you inserted or deleted a shot in a sequence, you had to relay every shot that came after that point

8 Digital nonlinear editing means any cutting, arranging, trimming, corrections, or effects you might perform occur only virtually, in preview mode. Original media files are not altered

9 All editing is done via media point indicators which only point to original data w/o altering Digitally you indicate the time code numbers where you want to begin ( the in-point) and end ( the outpoints) Then you edit that portion of the shot into the program sequence Nothing is recorded until the last stage when all the editing has been completed and you send movie out to be recorded on a DV for mastering

10 All editing decisions you make- length of shots, order of shots, layering of audio, and so on- they are pointer numbers referencing the media files which constitute your edit decision list. Without any media the EDL is a small file So it is common to have 2 sets of hard drives with the same raw media files on them- one with director, one with the editor-then they the EDL back and forth

11 NLE pushed film and video editing into obsolescence So much cheaper-with so many procedures and capabilities taken out of the hands of labs, rental facilities, and technical specialists and their assistants and placed in our hands Making process faster, cheaper, more accessible

12 Five volumes- 500 pages each

13 Is mostly simple cuts Occasionally a fade in and fade out A few dissolves Rarely a slow motion shot No effects: shattering glass, ripples Chroma key composites, radial blur, cube spin 3-d

14 You see eloquent and thoughtful storytelling with simple, precise, fundamental editing techniques

15 Offered so many bells and whistles 6 kinds of image blur filters- because it was easy for engineers to include Learn the basics first- the essential tools Choosing shots Performing cuts Making a sequence Arranging shots Trimming shots Layer a few tracks of audio, adjust sound levels Keep footage in sync Make a dissolve

16 Bare bones free systems- I Movie not flexible enough limited sound editing capabilities to make narrative films Mid range programs- Final Cut Pro HD, Avid Express Pro, Adobe Premier Pro- reasonable in price Ultra high end Avid Symphony-Nitris DX( has highest image finishing quality and most visual effects

17 Anthony Minghellas feature film Cold Mountain edited with off the shelf Final Cut pro won an academy award

18 For low end non linear edit station Computer ( Mac or PC) with maxed out ram running NLE software, external fire wire hard drive, a media transfer device (DV Deck or card reader) 2 Monitors- high resolution- one with a high def LCD monitor( full screen display of program

19 Don t put media files on internal drive of computer where your software resides speed issue and convenience issue Media files take up a lot of space Must calculate storage needs before transferring your footage 5 minutes standard video with sync sound =1GB 5 minutes DVC Pro HD = 5 GB Extra 1/3 free space for render files

20 To download your footage into NLE system If shooting mini DV- then you need a mini DV Deck with a fire wire cable Shooting on Memory cards?- ( P2 or SxS hard drive then you need a card reader via a fire wire or USB 2 cable Always transfer footage to a second drive for a safety backup

21 All NLE Systems divide into edit environment or desktop into 4 main windows: 1. The browser ( Final cut Pro) or project window ( Avid) 2. The viewer (FCP) or source monitor ( Avid) 3. The timeline window ( FCP and AVID) 4. The canvas ( FCP) or composer monitor -AVID

22 Main window for storing, organizing, accessing all visual and audio elements for your projects Elements are organized in bins

23 Where you store and organize all of your separate editing elements, including video clips, audio clips, graphic files Usually editors will create one bin for each scene Most NLE systems provide great flexibility for customizing, organizing, identifying clips Clip information can include scene, take, and camera roll numbers that correspond to slate and script

24 Can also see In and out time code numbers Shot duration audio channels Frame rates Compression Formats Pixel information, etc. Also notes about like NG sound

25 Click on a clip and it comes up in the viewer or source monitor You can view the clip and then set the in points and out points

26 Once you have decided the parameters of the shot you want to insert in your film--- You place in in the time line The time line is where all the action is where you truly edit your movie-by inserting, deleting, arranging, rearranging and fine tuning The time line is divided into discrete video and audio tracks 1 video and 4 audio tracks typically Can add as many audio tracks as you want, and extra video tracks

27 As you lay down a string of shots and audio tracks in the time line you are creating a sequence Sequences should be clearly named and saved frequently Sequences are also saved in the browser along with clips You can create multiple sequences, copy sequences, create versions of sequences, and treat a sequence like a clip and insert it in to other sequences

28 Inside the timeline is the play head which is a horizontally scrolling vertical line running through all the edited tracks The play head tells you where you are in the timeline and is used to move around your sequence quickly Use the play head to determine where edit points are placed and where shots are inserted

29 Wherever the timeline play head rests, that frame of video is viewable in the canvas or composer The canvas is where you watch your sequence to see how your shots are holding together You can move through the sequence in real time by using the transport control buttons at the bottom of the window, or scroll through in slow motion with the shuttle control or frame by frame with the jog control wheel Or you can drag the play head to move around rapidly

30 Include for convenience Sound level windows Toolbar window

31 Menu Icon Keyboard

32 Set up NLE Audio and Video format settings Establishes the format workflow p 399 Source format Capture preset settings Sequence settings Output

33 Get you raw materials into computer environment to edit All film elements: music, sound effects, graphicsneeds to be put in computer This process is called capturing ( tape media) Ingesting ( file based media Or Transferring video ( turns raw elements into media files that the NLE software can work with Done through container formats: Quick time.mov and Material exchange format.mxf in Avid

34 Organizing begins as soon as you start transferring your media into NLE Establish a single destination folder for all media files on your external hard drive called a capture scratch file in final cut pro

35 As you capture, you will be logging your footage, which involves, labeling your clips, adding descriptive information, and creating bins to organize the clips

36 A bin for each scene contains all the video and audio clips necessary for editing the scene

37 Watch, log and capture one take at a time This will give one media file in your hard drive and one master clip to place in your bin

38 Identify and log all of your select clips first, naming shots and entering the in and out time code numbers first from the dv tape Then batch capture the edit software takes over and automates the batch process. It shuttles to the cue points, captures, and moves on to the next shot on the tape. It requires you to compile the timecode numbers for your selects as you view dailies

39 Capture complete takes- even if you don t plan to use all the take. Why? This will give room for trimming and transitions like dissolves. The extra frames and seconds you need for transition effects are called handles

40 If you shot film or double system DV and planned to sync the footage yourself Capture the image from tape or files and sound from media individually creating separate clips and media files

41 Open image clip in viewer find the exact frame where the clapper arm on the slate closes Place a marker on that frame with marker button Open the corresponding sound clip If you have shot on film- need to compensate for the speed slowdown. With the modify speed command, simply enter 99.9% and the will be slowed down the.01 % to match image. Find the exact point on the time line with the clap sound of the clapper meeting the slate

42 Slide the video clip until the two markers are lined up Make sure the snap function is on Choose the video and audio tracks and using the link command merge them together Link associates the 2 tracks as one merged clip You can now drag the new and synced clip back into the browser Create a separate bin for synced clips

43 Use the 4 basic windows to make cuts

44 1.View and evaluate shot in bin in browser 2.clip will be loaded into viewer

45 1.Find and set an end point, and out point 2.Drag the shot from viewer into timeline

46 play through your timeline and watch your edit in the canvass window Adjusting the out and in points of adjacent shots from within the timeline is called trimming

47 When you enter trim mode you are shown 2 screens, the left shows the very last frame of the first shot and the right screen shows the very first frame of the next shot- the splice. here you can trim the edit points

48 Three in and out points( 2 on the source material and one in the timeline or visa versa determine the cut

49 Viewing dailies First assembly Edit Rough cuts Cutting dialogue The Fine Cut Picture Lock

50 Raw footage also known as dailies The term dailies comes from film being processed overnight after shooting that day. And viewed the next day, so that any reshoots can take place before set is taken down Still works this way, now what is viewed is the dailies and rough cuts of scenes as well

51 Look for selects and out takes Selects note- time code and camera roll Out takes do not need to be downloaded The assemble edit means placing end to end all the shots of the scene or a sequence of scenes Shots are slapped in without finessing First opportunity to see the broad strokes of the general order of shots

52 Get a sense of relationship between scenes Feel for flow of overall story Can easily rearrange shots and scenes at this stage Ask your self: How is the story unfolding? Do scenes belong next to each other? Which shot to include to cover this scene?

53 In the rough cut, all scenes have been edited fairly tightly but usually with the blunter tools available, like the straight cuts instead of transition cuts Rough cuts are edited with picture track and essential audio tracks only, whether sync sound dialogue If no dialogue, then music Or voice over if that is a major component Usually you cut several rough cuts of movie

54 When editing picture and dialogue there are three basic cutting techniques: The straight cut The split end The insert cut

55 Cuts the picture and sound on the same frame

56 Edits in which the transition form one image to another happens at a different time from the transition in the audio tracks L -cuts- the picture cuts to the next shot first- and audio occurs later J-cuts the audio cuts first, while the picture plays a bit longer

57 Involves completely disconnecting either the sync audio or video from its original linked clip and inserting it over a shot that is continuous

58 When you are happy with basic editing and all the sequences are working the way you need Fine Cut involves finessing all of the edits one by one Make all edit adjustments Add a dissolve Trim a few frames Rendering is the process of combining the video and audio with the applied effect to create a new media file Add additional sound effects, ambience, music and get film in final form You arrive at picture lock

59 Turn attention to three areas 1.Sound design 2.Visual effects 3.Color correction- process of tweaking the tonalities and exposures in each scene for balance and consistency

60 Outputting the final film to a sturdy, archaically sound digital form from which distribution copies can be made

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