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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