University of Southern California
CTPR 535 INTERMEDIATE EDITING Fall 2008
USC SCHOOL OF CINEMATIC ARTS
Instructor: Robert Jones S.A. Rachel Elias
Home Phone: 310-845-9557 Phone:
Office Phone: 213-740-3322 E-Mail: relias@usc.edu
E-Mail: robcjone@
Class Meetings: Tuesday 7:00 to 10:00 p.m.
First Class: Tuesday, August 26, 2008
Last Class; Tuesday, December 2, 2008
Location: Lucas 210
Office: Lucas 404E
Hours: By Appointment
COURSE DESCRIPTION:
This class will focus on the art of editing, its impact on character development and story telling. The class will be divided into pairs and students will edit sequences available on video from the USC library, some from feature films, others from television. You will edit on the Avid Media Composer non-linear editing system. Each week, the instructor (and class) will view your work, and suggest changes that will be carried out for the following week. Let me stress that I approach editing from an emotional, rather than technical, point of view.
Once during the semester, you will work from 16mm film dailies, learn to sync picture and track, digitize into the Avid system, edit on the Avid, then match back and conform the film to what you have done on the computer. It is required that all students attend the Avid lab, hours and days will be posted in class. After an initial several weeks of mandatory attendance, you will be required to attend every other class. Attendance will be taken at these classes and will count toward your final grade in 535.
Differing styles of editing will be explored, and I will show clips of films in class to demonstrate. I do feel that some styles of editing impede the natural flow of scenes, and my thoughts will be discussed. To me, editing is an art form, and like any other artistic endeavor, the line between right and wrong is blurred. One editor may interpret a scene completely different than another, and both may be acceptable. I feel every student’s interpretation should be encouraged, I want you to be free to experiment with film, be instinctual, show me the unexpected. If it doesn’t work, so be it, but it may lead us down paths not thought of previously.
The final project for the class will be a complex scene in editing terms, where students will edit, make intricate changes, add sound effects and music, and do an Avid audio mix. This project will be due on December 3, and will constitute a final exam.
Students will learn the tremendous importance of editing in the film making process, the collaboration between editor and director. We will discuss the pros and cons of the editor’s presence on the set, enduring through the months of post production, to turn drama into comedy, etcetera. The thousands of decisions that go into finishing a feature film.
CLASS SCHEDULE
Week 1 August 26 Introduction to film editing, view clips, provided by instructor. Students pair off into editing for next class. Discuss syllabus.
teams. Assign the work for the next week. . Discuss syllabus
Week 2 Sept. 2 Students screen clips from feature films. or television shows selected for the editing, explain why clip was selected. Assign work due the next week, students Begin editing their own from TV movie video production orientation
dailies. Post orientation. .
Week 3 Sept. 9 Students screen their own editing. Open for critique from instructor and class. Notes will be given for students to make changes, screen critique from the instructor and class. Notes will
be given to make changes and screen
them the following week. Instructor will screen
his own work on the same scene, edited in
different ways to demonstrate creativity in
editing
Week 4 Sept. 16 Screen changes on student’s work. Assign
work for following week. This will consist of
film dailies, which must be
synchronized and digitized into the Avid
Week 5 Sept. 23 Screen student’s editing of film (Avid) dailies. . Instructor will give notes on changes for
following week
Week 6 Sept 3 Screen ‘Dallas’ editing changes. Begin three
week workshop editing on Final Cut Pro.
Week 7 October 7 Class and instructor critique on FCP edited
footage. Instructor to show more selected clips to
analyze editing techniques.
Week 8 October 14 Screen student’s changes on FCP sequences. Instructor will demonstrate his editing techniques
for the class. Assign new dailies for editing
(Avid)
Week 9 October 21 Screen edited scenes from previous week. Once again, instructor will demonstrate editing of class where instructor will demonstrate additional editing techniques for the class.
Week 10 October 28 Assign final scene to edit. This scene will be
subject to fine editing, to have sound effects and
music added down the line for the final project.
Week 11 Nov. 4 Screen and evaluate student’s work. Give notes for editorial changes. Discuss the value of sound effects and music
Week 12 Nov. 11 Screen the final cut of student’s work. The next week’s assignment is to add music, sound effects and do an Avid audio mix on the project.
Week 13 Nov. 18 Screen Avid mix on final project, critique and
give notes for changes due following week.
Week 14 Nov. 259 Instructor will demonstrate editing techniques
Week 15 Dec. 2 Screen final project. Lecture on Editor’s , responsibilities from prior to shooting to final
answer print. We will cover script reaction,
dailies, assistance on set, titles, sound design, . music spotting and recording, the editor’s role in
the final mix, previews and color timing
GRADES
Grading will be based on class participation, turning in assignments due each week, your creativity and presentation of the final project, openess to suggested changes to your work, attendance in the Avid lab, and grade on the final project. Failing to meet stated deadlines for material due will have a negative effect on your grade. The motion picture industry demands promptness, as does this instructor.
ACADEMIC INTEGRITY
The School of Cinema-Television expects the highest standards of excellence and ethics from all of you. It is particularly important that you avoid plagiarism, cheating on our quiz, or submitting any work that you or your partner have not done. Violations of this policy will result in a failing grade and be reported to the Office of Student Conduct. If you have any doubts about these policies, consult “Scampus” and/or confer with the TA or instructor.
STUDENTS WITH DISABILITIES
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. Please be sure that the letter is delivered to the instructor or SA as early in the semester as possible. DSP is located in STU 301 and is open 8:30am to 5pm, Monday through Friday. Their phone number is 213/740-0776.
RECOMMENDED READING
Dmytryk, Edward. On Film Editing. Dated, yet valuable information how scenes can be changed through editing.
LoBrutto, Vincent. Selected Takes: Film Editors On Editing. A series of interviews with some of the top editors of the past and present.
Murch, Walter. In The Blink of an Eye, A Perspective on Film Editing. Great insights and instincts!
Oldham, Gabriella. First Cut: Conversations with Film Editors. Another series of interviews with some of the top editors around.
Solomons, Tony. The Avid Film Editing Room Handbook. This book is an excellent introductory work to the Avid.
Hollyn, Norman. The Film Editing Room Handbook. A valuable book on setting up an editing room and technical data for apprentice and assistant editors.
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