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VIDEO EDITING SCULPTING WITH SOUNDS, IMAGES AND WORDS

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Page 1: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO EDITINGSCULPTING WITH SOUNDS, IMAGES AND WORDS

Page 2: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO TOOLKIT

CONTINUITY EDITING: cutting style that maintains a sense of continuous space and time

https://www.youtube.com/watch?v=6uahjH2cspk&index=22&list=PLrMEncyd64BdPt-iWyxiAdo19tYm7myf1

~ 13 min

Page 3: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO TOOLKIT

importance of the establishing shot

editing’s ability to compress time in favor of impact over reality

varying the distance between long, medium and close-up shots

varying duration

pacing through panning and zooming shots

Page 4: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

https://vimeo.com/blog/category/video-school

TYPES OF VIDEO SHOTS Extreme Long Shot

Long Shot Medium Long Shot

Medium Shot Medium Close-up

Close-up Extreme Close-up

from https://www.asu.edu/alti/ltlab/tutorials/video/basics/types.htm

VIDEO TOOLKIT

Page 5: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Extreme Long Shot (ELS / EWS)

• Also known as extreme wide shot (EWS). • Covers a wide area. • Shows the whole figure of your subject

as well as his surroundings. • Provides context for your scene.

VIDEO TOOLKIT

Page 6: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Long Shot (LS / FS)

• Also known as full shot (FS). • Frames the whole figure of your subject,

from the head to the toes. • Places the subject in relation to the

environment and the people around it. • The point of the focus is the subject but

the environment is also visible. • Shows action rather than emotion.

VIDEO TOOLKIT

Page 7: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Medium Long Shot (MLS)

• Also known as a three-quarters shot. • Frames the whole subject from the

knees up. • An intermediate shot between the long

shot and the medium shot. • Shows the subject in relation to the

surroundings. • May be used when you have 2 or 3

persons in the frame.

VIDEO TOOLKIT

Page 8: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Medium Shot (MS)

• Also known as the waist shot. • Frames the subject from the waist up. • Commonly used in interviews. • Directs the viewer to the subject.

VIDEO TOOLKIT

Page 9: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Medium Close-up (MCU)

• Frames a subject's head and cuts off around mid-chest.

• The focus is on the subject. • Reveals only a little of the surroundings. • Shows the facial expressions of the

subject. • Commonly used for interviews in

documentaries and news programs.

VIDEO TOOLKIT

Page 10: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Close-up (CU)

• Frames a subject's face and cuts off mid-neck, showing the face and entire head.

• The subject fills almost the entire frame. • Captures facial expressions and

emotions.

VIDEO TOOLKIT

Page 11: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

Extreme Close-up (ECU)

• Frames just the person's facial features. • Frames only a portion of the subject. • Shows the person's emotions.

VIDEO TOOLKIT

Page 12: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO TOOLKIT

CONTINUITY EDITING: cutting style that maintains a sense of continuous space and time

https://www.youtube.com/watch?v=6uahjH2cspk&index=22&list=PLrMEncyd64BdPt-iWyxiAdo19tYm7myf1

MONTAGE: cutting style that ignores continuous space and time for the benefit of conceptual logic and richness

https://www.youtube.com/watch?v=JYedfenQ_Mw&list=PLrMEncyd64BdPt-iWyxiAdo19tYm7myf1&index=21

Page 13: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

BY WALTER MURCH

IN THE BLINK OF AN EYE: A PERSPECTIVE ON FILM EDITING

THE RULE OF SIX

1. Emotion (51%) – It is true to the emotion of the moment.

2. Story (22%) – It advances the story.

3. Rhythm (10%) – It occurs at a moment that is rhythmically interesting and ‘right’.

4. Eye-trace (7%) – It acknowledges what you might call ‘eye-trace’ — the concern with the location and movement of the audience’s focus of interest at any one moment.

5. Two-dimensional plane of screen (6%) – It respects ‘planarity’ - the grammar of three dimensions transposed by photography to two (the questions of stage-line)

6. Three-dimensional space of action (4%) – It respects the three-dimensional continuity of the actual space (where people are in the room and in relation to one another).

Page 14: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO TOOLKIT

8 Essential Cuts

http://www.premiumbeat.com/blog/8-essential-cuts-every-editor-should-know/

J-Cuts & L-Cuts

https://vimeo.com/blog/post/j-cuts-l-cuts

Cuts and Transitions 101

https://www.youtube.com/watch?v=OAH0MoAv2CI

Page 15: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

VIDEO TOOLKITCUTS AND TRANSITIONS

Cutting on Action

Cut Away

Cross Cut

Jump Cut

Match Cut

Fade In / Fade out

Dissolve

Smash Cut

Iris

Wipe

Invisible Cut

L-cut and J-cut

Page 16: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

LEONARDO DALESSANDRIWatchtower of Turkey (2015) 4 min

(cutting on action, on sound, in rhythm…)

https://vimeo.com/108018156

Page 17: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

MATTY BROWNA Colorful Life (2015) 6 min

https://vimeo.com/132704505

Page 18: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

CHRIS MARKERCat Listening to Music (1990) 3 min

An Owl is an Owl is an Owl (1990) 3 min

La jetée (1962) excerpthttps://vimeo.com/46620661

Page 19: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

FORCED ENTERTAINMENT Complete Works: Table Top Shakespeare (2015)

excerpt ~2 min and trailer

Page 20: Class Video Editing - CCRMA · VIDEO TOOLKIT importance of the establishing shot editing’s ability to compress time in favor of impact over reality varying the distance between

JÉRÔME BELPichet Klunchun and Myself (2005) excerpt ~2 min

Disabled Theater[3] with the actors of Theater HORA (2012) excerpt ~4 min