Basics of video editing and onset practices

6/10/2022 WEEK THREE AND FOUR

Here is my journey on the basics of video editing. In this I cover topics on basic editing of cut and copy, but also colour correction.

AC1

INFORMING IDEAS

The most significant use of personal research was when we were finding ideas for our horror film. We were told to create a short horror film based on another well-known film to create and colour grade; this required us to research some short films that suited our group. While researching we also had to take into consideration practicality when finding a base idea; including environment, time scale, technical resources, cast, crew and theming.

AC2

PROBLEM SOLVING

Due to us having to film this short film on our phone, most of our issues were down to the duration it took to upload them over to one drive. Because we couldn’t just whack them onto a usb to download, it meant we were relying on the internet that the whole school was also using. This unfortunately took up a lot of editing time, which then distracted us from the main focus of colour correcting our video. Another issue was our acting, don’t get me wrong I know none of us are actors, but we gave it a go. This did waste some time though as we would often have to prolong getting the right take because we struggled to contain our laughter during serious shots. Finally, one hurdle we overcame was again, to do with time, as compared to other groups we had used a lot of time the first day to create an in-depth plan for the process over the following days. This didn't really give us a disadvantage as we were very prepared when it came to production and post. However, after we lost a lot of time uploading the videos to one drive, the extra time on the first day may have helped over the next few days.

AC3

TECHNICAL SKILLS

This week we picked up a lot of useful skills regarding premier pro; specifically, with colour grading our edits. This required us to create a short horror film using our phones, then edit it together to then colour grade it to suit the theme of horror. To be honest I really enjoyed this task and although it seemed complicated to do, once you got the hang of it, it was easy! To get the panel up you click windows>workspace>edit>colour. Then you can pretty much edit anything such as contrast, exposer, brightness, shadows, tone and temp etc. Once I knew how to get this up it was just all about experimenting until you found the picture you were looking for.

How do I setup a sequence correctly in Premiere Pro?

Start new project> open/ import> drag file to create sequence> keep adding and doping files.

How do I export a video from Premiere Pro? What settings/format should I use as default?

File>export>media

Change settings to format h.264 as a default

How does Davinci Resolve differ to Premiere Pro and why would you use it?

(Differences between them)

Premiere pro-

· More advanced and better for creative features

· Better for more in depth editing with more features

· Takes longer but is a great software.

· Pro- specialising in video editing

· Industry standard

· Takes a while to get use to/ very technical

· A lot of different elements

· Subscription based (15month)

· 3rd party resources, can use other adobe apps and software (dynamic link)

· Apple product

Davinci resolve

· you can add text effects, special effects, and graphics to your videos

· its fast and efficient and better for editors who want to produce a short film faster

· better at fast colour grading and better than premiere

· you can do everything including visual effects, audio and colour grading fast

· its free software

· named after da Vinci good for visual effects and colour collection

· made by black magic design

· you need Blackmagic brawl files

· splits the workflow of editing

What are some of the continuities editing rules and how do you apply them?

continuity rules and techniques

· establishing shot- where it’s based

· shot reverse shot- two different angles going between each other

· 180 degrees rule- so it doesn’t distort viewers mindset

· 30-degree rule- so you can see it’s a different angle

· Cross cutting- same time but two different places

· Cut and action- put action into a scene before it gets to the action

· Re-establishing short- a shot that shows all the characters or recap start of film.

How can pace and transitions be used to creatively convey meaning differently?

The importance of video transitions

· Helps in craft the intended intension to the audience

· Screen direction and fluidity

· Adds dramatics and depth to a piece of film

· Moving through the story while boosting its tone

· Time jump cuts which adds excitement/ sometimes not all great

· Adds a new layer of emotion

· Add a deeper tone and dimension

· Time, jumps and progression of a narrative

Type of cut transitions

· Fade- psycho 1960(fades from one clip to another slow or fats or zoomed in or out)

· Cross dissolve

· Wipes- (walking past lens- wipes across screen changing location)

· Cut away- (cut to establishing shot)

· Whip pan- buzzkill (mostly used in moments of action/ comedic values)

· Sound- (use to transition scenes or shots)

How do they help the audience engage with the story

· keep engagement

· continuity effects

· keeps alertness

· helps passing of time and location

simpler ones are the most effective

AC4

PROFESSIONAL PRACTICES

What does a video editor do: creates a pathway for the visual ideology of the final project. Creates the meaning for the audience.

· Rearranging video to create a full film

· Started Edward Weybridge, took still photographs that created the full movement of a horse in motion.

· 1800s created 10,000 still images into a film.

· George milieus says was no point tin all the hustle, he created two shots that could go together with different videos in different locations.

· 1948 tele and film was introduced.

· Video is electronic signal

· 1958 video tape was introduced so it could be played again and again.

· Later another machine was created to allow electronic video editing where you could pause and play without cutting.

Assistant editor

· Assist the editor by giving opinions and running any erns that the chief editor needs.

· Takes charge of the running of everything in the cutting room.

· Making sure the editor isn’t interrupted and communicate with other departments.

· Handle exporting and file formatting

Colourer

· In charge of creating and maintaining the correct colouring during the editing process.

· This includes things like concentration and contrast to make sure it suits the lighting and style of the video.

· This being like whether they want to create a naturalistic look or an enhanced unrealistic tone.

ADR Editor

An ADR editor records the extra dialogue needed to complete a feature film, television drama, and, sometimes, a documentary. ADR stands for ‘automated dialogue replacement’ and is also referred to as ‘post-synching’. It’s basically recording extra dialogue after the film has been captured.

What do they need to be good at?

·  ‘Understanding sound: know how the acoustics work, create a close match between sound on location and the sound in the studio

· Using audio software: have an in-depth knowledge of digital sound recording software

· Using audio hardware: understand the different types of microphones, be able to select the best one for the effect being created

· Diplomacy: be able to work with actors who might be nervous or frustrated by what can be a long, painstaking process

· Collaboration: support the director in trying to get the best performance from the actors’

AC5

COMMUICATION

I think this colour correcting project went really well and I learnt so much within the small space of a week. By getting the opportunity to spend time on premier pro, I was able to figure out most things that I had never done before. Before this course i had never used this software to it was just like starting from scratch with editing. This was a challenge at first, as I knew the ideas I wanted to communicate through my edit, but it was hard to be able to actually put them into practice without youTubing a step-by-step video, asking miss or speaking to my peers. However, like I said previously, by having this time to explore premier, I have learnt the necessities to be able to edit in the future. My end result also suspired me, as I have accepted i am a beginner at all of this, but to be fair I was really proud of this edit, as even though i lacked expert knowledge, I managed to communicate my vision and idea without relying on what everyone else had done as their finished result. I was able to rely on my own instinct and use my current capabilities to deliver a good standard video.

PROBLEM: Cast member is late

SOLUTION: Utilize the extra setup time wisely. Run lines or rehearsals with other actors, test out more lighting or camera set-ups, or, if possible, film scenes or angles where the missing actor member isn't needed.

PROBLEM: Cast member doesn't show up

SOLUTION: Already have a second set of scenes that people are prepared to shoot and put together a new shot list based on who is on set and available. Depending on the cast or crew member's eventual excuse and how many scenes you have already shot with them, you might need to consider recasting. Everyone can be replaced. Sometimes, you can even replace them with an extra or a crew member.

PROBLEM: Crew member is late or doesn't show up

SOLUTION: Always, always already have a backup plan.

PROBLEM: Not enough extras/ actors

SOLUTION: Get creative with the angles you're filming from. Spread people out to make the room or space look fuller, add lots of movement so it appears busy, or have extras dress up in multiple outfits throughout the shoot, so it doesn't look like you're reusing a person. Also, consider changing the location slightly to suit the new change.

PROBLEM: Actors haven't memorized their lines

SOLUTION: If you're doing a traditionally filmed show (where a single scene is filmed from multiple angles), either film the actor who hasn't memorized last, to give them time to practice, or film in small chunks. You're going to piece together the scene from many takes anyways, so focus on a small section at a time instead of going through the full scene all at once. If you're filming found-footage style, meaning you can't cut to different takes during the scene, find somewhere in-world to hide the script, or reschedule the unmemorized scenes for later in the day. In a lot of ways, an unmemorized actor is as bad as an actor not being there at all, so depending on the circumstances, consider recasting.

PROBLEM: Someone must leave early

SOLUTION: Restructure the day so that the person or persons who must leave early do all their scenes first. Sometimes, this will mean filming all their coverage or angles where they're the only ones in frame, and then having a different person read their lines when you get coverage of the other people in the scene. Other times, it means prioritizing your shots, and figuring out what the bare minimum you need to get done is. You might have to sacrifice a beautiful yet complicated setup, but that's the risk of filmmaking on a shoestring.

AC3

TECHNICAL SKILLS

Practiced more basic camera work and editing techniques learnt from the previous weeks. 

I have also learnt how to line a script correctly at a professional level and ow to successfully create rick assessments ahead of shoots. Following on from this I now feel confident in the production process of filming a scene by using the ‘v’ triangle and by following the process of getting all coverage needed. By learning all of this I now feel prepared enough when observing or stepping foot onto a film set. 

AC4

PROFESSIONAL PRACTICES

Before lining up the script we need to think about the shots we want to capture after gaining a creative vision after reading. Lining is essentially annotating the script with the vision for production, in order to gain full coverage when capturing footage.  

Step one- draw a line above the slug line to indicate the start of a new scene 

Step two- annotate where the establishing and mastershot will be 

Step three- put where the first over shoulder shot will be 

Step four- Find the seconded overshot 

Step five- write is where you would like you close ups/ inserts to go 

This makes up complete coverage of the scene. 

This is usually completed by the 1st AD and/ or the producer. While they line the scripts, they also break down the script for the cast and crew, highlighting major points, e.g. Locations, props etc. This then allows them to create breakdown reports to give out and then finally schedule/ stripboards.  

By doing this the first AD’s help ensure the flow of production goes as smoothly and as well prepared and planned as possible. 

Scripts are measured in 1/8 which is roughly 15min per 8th so that means per page 8/8 is around 120 min. This is obviously an estimated and educated guess. Film makers try and stick to this and use it as a base but as we all know, sometimes it won't always be on time. The 1st AD who is usually in charge of doing the daily schedules and call sheets, will use this when creating the said documents, to make sure no time is wasted and everyone is where they should be at the right time, and when needed on set

‘v’ or triangle coverage is the order/ way you go about getting professional shots. These include the establishing shot (outside building/ exterior), the master shot (scene in wide capturing the entire scene), MID CU (repeated shot but from a closer angle on the action or character) and then of course after these main shots are capture you can get your inserts and close ups. The name v shot comes from the angle in which this main coverage is obtained, as it all works at a 180-degree angle.

Cast and screw arrive on set and location, organize and set up the kit, read call sheets get ready to begin day. Then await main instructions from 1st AD 

1. 1st AD will announce to everyone what shot we are setting up for then will request HOD’s/ key crew to come and watch rehearsals and blocking. 

1. Camera and sound crew will get ready to shoot 

1. Once ready to shoot and are ready to go for a take the head of crew and cast decide if they want another take/ will be down to time permit (decide by 1st AD) 

1. The Director will address any notes before moving on 

LINGO: 

1st AD: “LOCK IT UP & STANDBY FOR REHEARSAL / A TAKE”  

1st AD “CAMERA / SOUND HAPPY?” “CAMERA / SOUND START ROLLING PLEASE” 

Sound Op: ‘SOUND SPEED/ROLLING’ - Sound operator announces they are recording 

Camera Op/1st AC: ‘CAMERA SPEED/ROLLING’ - Camera operator/1st AC announces they are recording  

Camera Op/1st AC: ‘board it/get a board in’  

2nd AC: ‘Slate 1, Take 1’ - 

Camera Op/1st AC: ‘camera set’ Camera operator/1st AC announces they are completely ready to go  

1st AD: ‘ACTION!’ or ‘When you’re ready’- The first assistant director will call action for the scene to begin. 

Dir: ‘CUT!’ The director will then call for sound/camera to cut when they are ready 

1st AD: ‘RESET / BACK TO FIRSTS’ - Everyone back to their first positions, ready to go for another take. 

Safety on set is so important, which is why it is required to have things in place to prevent dangers. A risk assessment is a document which is a legal requirement for any employee to sign and review. This is due to a lot of things, one being to make sure everybody is aware of the hazards and the things in place to prevent them, it also is so cast, and the crew cannot sue in case anything happens that is caused by an incident related to any risk mentioned.  iI should be created by the 1st AD every day with up-to-date information for all employees to view. As a crew member you need to revise it and make sure you are aware of the hazards specific to your department. The more awareness you have the better the workplace environment will be for everyone around you. Risk assessments are created regarding four elements; materials, environment, equipment and of course people. This could be location specific things or just simple things like loose cables, but all RA’s have prevention techniques to accompany every liability, e.g., loose wires need to be taped down. They will also be ranked from high to low category and will have a person liable for each hazard. This is a good thing as it makes sure all departments play their part and that a person can be held responsible if the action which resolves the hazard doesn’t take place. 

ON SET

Don'ts 

• Arrive late or not call in to let anyone know you're running late 

• Talk loudly at inconvenient times 

• Touch or mess with kit outside of your department 

• Give directions or advice to input performance 

• Be negative or unhelpful 

Do’s 

• Get stuck in and don’t just sit around 

• Listen to everything anyone with higher power tells you 

• Communicate calmly and in a kind manner 

• Move disagreements off set, don’t bring in negative energy  

• Become aware of where you are and where everything is, to make sure you can let people know/ don't wonder off without somebody knowing where you are going 

• Be kind and helpful! 

• Stay in your dept and stick to your job 

• Have an idea on everything (RA, call sheets, breakdowns, schedules etc.)  

• also so they can fit in different appointment such as make up and costume etc..  

AC5

COMMUNICATION

This helps production as it gives clear indication to everyone about what's going on, it also prepares us for the future when we will have to use professional etiquette. 

“Walkie Check”	“Can someone let me know that my walkie is working”
“Good check”	“Your walkie is working”
“Alex for Mr Butler”	“It’s Alex, can Mr Butler respond please”
“Standby please”	“I hear you but give me a second to respond”
“Go for Butler”	“Ready to hear you”
“Copy / Copy That / On it”	“Understood, I’m on it”
“Have you got eyes on ‘x’?”	“Do you know where ‘x’ is?”
“Can you fly in ‘x’ / Flying in ‘x’	“Can you bring in”

WRITTEN BY JESSICA-CHLOE WATSON