The Art of Video Editing

? 2019 IJRAR January 2019, Volume 6, Issue 1

(E-ISSN 2348-1269, P- ISSN 2349-5138)

The Art of Video Editing

Kamalanarayanan.K

Instructor School of Design III

What is the Video Editing?

Video editing is the method of deploying and reshuffling video shots to create a desirable look. This process is usually considered one of the post-production, which includes titling, color correction, sound mixing, etc.

Most individuals use the term written material to explain all their post-production work, particularly in non-professional things. Whether or not or not you decide on to be meticulous concerning word is up to the person. during this tutorial, there are a unit moderately liberal with the word and also the use of the word written material to mean any of the succeeding's:

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Reshuffling, adding and/or removing sections of video clips and/or audio clips.

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color correction, filters, and other enhancements to the give clips.

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Transitions between clips

Figure 1: Time line of a footage in a Editing software

Long-standing Perspective of Video Editing? Editing is that the creative method of filmic reality, which

nature provides solely the supply material with that it works. That, indeed, the association between writing and therefore the film."1 This assured statement, from the pen of 1 of the silent cminea's most noted administrators, was written in 1928. By researching the films made within the initial thirty years of the cinema's history and by drawing on his own intensive expertise as a practicing director, Pudovkin came to the choice that the method of writing the choice, temporal arrangement and arrangement of given shots into a movie continuity was the crucial inventive act within the production of a movie. Fashionable

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filmmakers have raised different parts of film production most prominently acting and

dialogue writing to the tier of importance that is incompatible with Pudovkin's statement.

The tradition of communicatory visual association, that is characteristic of the most effective

silent films, has been mostly derelict since the arrival of sound. It will be one in every of the

most arguments among the fashionable day filmmakers that this neglect has brought with it a

good loss to the cinema.

Evolution of Video Editing:

At the beginning of the century in France, two paths along which film would develop were being pioneered. The Lumi?re brothers were representing how events could be the basis of film reality, and Georges M?li?s was showing how the influence of reality could become a film event.

Everything that has consequently been recorded on film or video fits somewhere in the formal spectrum between these two extremes. It was also the potential of editing even hinted at. The Lumi?res were content to show an event as it occurred before the lens, and M?li?s enjoyed influencing images through multiple exposure and creative legerdemain. The cut was not part of their language.

Figure: 2, Movie "A trip to the Moon" However, the basic form of the cinema was established within ten years of the first public presentation of moving pictures. Even though it is common practice to cite the films D.W.Griffith as the first to contain the elements, which allow us to compare different types of shot when cutting, most of these elements had, up to that time been used around the turn of the

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century by a group of British filmmakers. There filmmakers who made significance transformations in the world of cinema.

D.W.GRIFFITH

The vital link between embryonic film and the incorporation of most editing techniques in the films of D.W.Griffith was provided by Edwin S.Porter in his two famous films namely " Life of an American Fireman and The Great Train Robbery" both the films were made in 1903. It was Porter who established that the intercutting of different shots not necessarily related to the same time and place could provide the basis for the structuring of narrative through editing

Figure: 3 Movie "The Great Train Robbery" 1903 Five years after his first movie D.W.Griffith began the process of refining his own methods of shooting which by 1914 included all the basic elements necessary for coherent visual narrative... It is no wonder that the importance that his cinematographer was Billy Bitzer who had earlier worked for Porter. Bitzer deserves more credit than he is given for applying the techniques in Griffith's films. They all made significant first uses of techniques were as Succeeding:

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Figure:4 Five Techniques introduced for the first time in the movie

EISENSTEIN

Sergei Eisenstein was just as concerned as Pudovkin films in the value of montage, but in his hands editing acquired intellectual force. His use of collocation was meant to convey a synthesis of ideas much in the way that the Marxist theory of the dialectic proposed a dynamic progression in society. He was not content to tell stories even when they were related to the significant events of the revolution. To Eisenstein, it was of utmost importance that his montage gave the meaning behind the events.

The classic example is the Odessa Steps sequence in Battleship Potemkin (1925) where he uses more than 150 shots in less than seven minutes to portray an event through complex collocations, whereas the surface drama could have been conveyed in no more than two dozen cuts.

Figure 5: Sergei Eisenstein behind the Camera

However, film producer saw each cut as an opportunity to convey concepts concerning the events, instead of even as a way of pacing and focusing the scene. This point, incidentally, looks to be lost on Brian Diamond State Palma once he plagiarizes the Odessa Steps within the climactic scene of his film "The Untouchables". Even though most of the Eisenstein's approach looks contrived and obscure, it would be wrong to consign his work to the attic of film technique. the approaching of sound place intolerable pressure on the effectiveness of pure visual figure, however, he was as good a thinker on the character of the medium as we've to this point seen, and his aesthetics relating to composition, color and far else square measure still stimulating to up to date minds if we will mud the cobwebs off our own resistance to earlier forms.

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Shooting with Editing in mind

It is essential to bear in mind from the beginning of the impact of various styles on identical material. There are several examples from the history of cinema of various administrators grappling identical or similar stories. A classic example is, however, old master (in 1945) and Bu?uel (in 1964) treated autoimmune disease Journal d'une Femme American state Chambre. Had the two films been given completely different titles, it might be a while before one became aware that they each had their origin within the same story by Octave subversive. the interpretation of Akira Kurosawa's Rashomon (1950) into The Outrage (1964) by Martin Ritt, and his Seven Samurai (1954) into The brilliant Seven (1961) by John Sturges, although impressed by the originals, have little in common with Kurosawa's vogue. the assorted variations of Raymond Chandler's detective thrillers from Edward Dymytryk's Farewell My beautiful to Robert Altman's The Long farewell show the breadth of interpretation out there to administrators on the face of it operating in the same convention

The Process of Shooting:

The Shooting Script or, within the case of a documentary, the shortlist, is meant to produce the United States of America with a model for the film or video before it exists. However, every director is dealing, at the instant of shooting, with the basic question: however do I shoot to provide the foremost effective material for editing? If we have a tendency to perceive the dramatic art of the script we will analyse however the main points of the mise-en-sc?ne are captured on the film or tape or in the digital data to produce the raw material that the editor wants.

Editing Procedure:

The procedure for video written material is remarkably straightforward. With the utilization of the `Smart Slate' or `Digi-slate' in shooting, time-code is incorporated to permit simple synchronization. Once the copy tape has been created for written material, the time-code is accustomed to log the material for economical retrieval. The editor then takings to make up the cut in an exceedingly linear fashion, adding every next shot once previewing the choices. Associate EDL or Edit call List is formed and changed as the method continues. Any alteration to associate existing cut can require repeating to an additional alter a cut position or insert another shot while not ever changing the length of the sequence. Video written material is usually done victimization another sound recording, the foremost common being the utilization of music as in pop videos. The electronic medium additionally permits the editor to experiment with straightforward effects such as fades, wipes, and dissolves; although the additional advanced effects are going to be incorporated on-line.

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