Film editing process - Research Paper Example

?Film Editing Introduction Film editing is one of filmmaking’s most intriguing aspects. On set, films are not filmed exactly the way movie fans view them in a cinema or on a television set. In fact, they are often shot from several different angles numerous times repeatedly, in the opposite order. Once the shoot is finished, the footage has to be analyzed with all the bad takes cut out and the good ones chosen, and then put in the right order. This is just the start of what film editing takes place in the cutting room, and once this is finished, a film is made that can be seen in cinemas and on television (Case 2004). Film editing involves the process of the manipulation and rearrangement of video shots to form a new work. Editing is usually viewed as a part of the process of video production, with other post-production parts including color correction, titling, sound mixing, and image manipulation, among others. The term film editing is usually applied to describe all the post-production work, mostly in non-professional situations. In this essay, the term editing will be used to mean the rearrangement, addition, or removal of sections of a video or audio clip. It can also mean the application of color correction, filters together with other necessary enhancements, and also the creation of transitions between film clips (Clark & Spohr, 2002). There are many reasons for editing a film, with the editing approach applied depending on the desired outcome. Before starting video editing, the editing goals must be clearly defined. Some of these goals include the removal of unwanted footage, which is the most common and simplest task in editing. Many video clips can be improved significantly by simply discarding unwanted or flawed bits. Another editing goal involves choosing the best footage. It is common for filmmakers to shoot far more footages than actually needed and then choose only the best material for the final cut. Often, several takes of a shot are filmed and the best one is chosen during editing (Oldham 1992). The other goal is to create a flow, since most videos are meant for a certain purpose, such as providing information or explaining a story. Thus, editing is a vital step in ensuring the video flows in a manner that achieves this goal. The part of editing that is considered most interesting is the addition of effects, music, graphics, and other enhancements. It involves improving the videos by adding extra elements. Another goal is the altering of the pace, style, or mood of the video, with a good editor having the ability to create in a video mood prompts that are subtle. Techniques such as visual effects and mood music can have a great influence on the reaction of the audience. The editor can also give the video a certain angle, which is tailoring the video in a way that it supports a certain viewpoint, serves an agenda, or imparts a message (Orpen 2004). Perhaps in order to understand film editing, it is important to look briefly into its history. Edwin S. Porter is considered the father of modern film editing. In 1903, he displayed his unprecedented ability to make a film and narrate a story from multiple shots, as opposed to just one whereby the entire story takes place in front of one stationary camera. Porter was the first to apply editing as a means of progressing the story of the film. He also defined numerous film transitions that play a major role in the theory of film editing. He was also the first to transform a found footage into a story he wished to narrate, with the story being unrelated to what the footage was initially intended to portray. This means he actually saw film editing as a form of art capable of narrating stories independently (Weynand 2005). Aims and objectives This essay undertakes a collaborative research in order to develop a framework for analyzing the film editing process together with all the related approaches, theories, and techniques. The essay will address the following aims and objectives: To provide a technical investigation covering the theory of film editing and techniques. To discuss image capture settings and compressing rates, image manipulation, color correction, and the editing techniques that are available in final cut pro software. To come up with a story board/ plan for a 3 minutes film with edits and transitions. To analyze the production and postproduction technology and techniques that can be applied in the editing of the film. To analyze and evaluate the final cut pro software together with its application in the film postproduction design. To define and understand the various introductory terminologies applied in the film editing theory that can assists in understanding the theory for future research. Research Film editing theory and technique There are numerous different ways of editing a video, with each method having its own advantages and disadvantages. Despite the fact that most film editors prefer digital non-linear editing for their projects, it is worthy to acquire an understanding of the working of each method. Film splicing- technically, this method is more of film editing as opposed to video editing but is worthy a mention since it was the earliest way of editing pictures in motion and thus it conceptually forms the basis of all video editing. Traditionally, editing of film involves cutting sections of the film and then either discarding or rearranging them. The process is somewhat mechanical and straightforward, as in theory a film can be edited using a pair of scissors and splicing tape, but for the sake of technology and modernity a splicing machine is applied. The splicing machine enables film footage to be lined up and held in place while it is being spliced together or cut (Pepperman 2004). Linear editing (Tape to tape) - prior to editing computers becoming available in the 1990s, linear editing was originally the method used in the editing of electronic video tapes. Despite it being no longer a preferred option when editing serous work and major studio movies, it is still applicable and in some cases, it is considered the better option. There is a likelihood that linear editing will still be in use a long time for now. In this type of editing, the video is copied selectively from one tape to another. At least two video machines are required connected together, with one acting as the source while the other is the recorder. The procedure is relatively simple, as it involves placing the video to be edited in the source machine while in the recorder a blank tape is inserted. On the source machine the play button is pressed while on the recorder the record button is pressed. The idea is to record from the source tape only the parts that are required, and in this way, the desired footage is copied from the original tape in the correct order to a new tape, which becomes the edited version (Ondaatje 2004). This editing method is known as ‘linear’ since it is done in a linear fashion; that is beginning with the first shot and then progressing towards the last one. Should the editors notice a mistake or change their minds, it is virtually impossible to go back to an earlier video part and reedit it. However, this method is trouble-free and relatively simple, requiring little practice to master and perfect. Non- linear editing (digital/computer) - in this method, the video footage is captured onto the hard drive of a computer and then edited with the use of specialized software. Once the editing is finished, the edited version is recorded back to optical disk or tape. Non-linear editing has numerous advantages over linear editing. Most notably, the method is very flexible since it allows the editors to incorporate changes to any video part at any time. This is why it is known as non-linear, because one does not have to do editing in a linear fashion. One of non-digital linear video’s most difficult aspects is the array of software and hardware options available. There also exist numerous common video standards that are incompatible with one another, leading to the setting up of a robust editing system to be a major challenge. However, the effort is definitely worthy it since although non-linear editing is more difficult to figure out than linear editing, once the editor has mastered the basics he can do much more at a faster rate (Pearlman 2007). The other method of film editing is live editing, whereby several cameras together with other video sources are routed using a central mixing console and then edited in real time. A good example of live editing is live coverage of television. This editing method is a somewhat specialist topic that does not concern most researchers. Image capture settings and compression rates For most film editors, compression is a necessity in the capture and editing of film footages, but the range of settings can be overwhelming. Compression of a video signal is an unavoidable part of film editing for all filmmakers except those working on a HD video that has a high uncompressed data rate, and it will affect the quality of the final picture. Video compression consists of two basic flavors, interframe, and intraframe. Intraframe compression, also known as I-frame, is compression calculated on a video’s individual frame. This happens in the editing codecs that are frame-based used by avid and Apple Cut Pro, including specific frames known as I-frames, of the interframe compressions that are MPEG-based applied by numerous cameras (Pearlman 2007). Intraframe compression involves the division of the whole frame into pixel blocks known as macroblocks, with the macroblock size dependent on the compression type. The pixels data in the macroblocks is then compressed using DCT (Discreet cosine Transformation). The DCT’s precision determines the amount of compression, and thus the result quality. Interframe compression compares video frames with each other. In numerous scenes, there is relatively little content change from one frame to the other, making great compression efficiency possible by storing the frame-to-frame differences only, as opposed to the frames themselves. This forms the MPEG compressions basis, with the number of frames used dependent on the compression system. This frames collection is called a Group of Pictures (GOP), and GOPs of certain lengths are typical of ‘long-GOP’ compressions (Fowler 2007). Color correction Color correction in film editing is generally handles by filters, with examples including the built-in color correction filters that are included in Premier and Final Cut software. The basic principle to remember for film editors is that the goal is to apply color either to white balance the video footage or to unbalance it in a manner that conveys a certain feeling or emotion. White balancing is quite simple, as it involves opening up the color corrector and looking at the footage. If something looks not right, the editors will see it, for instance if the background appears too cold then too much blue will be noticed. If the blue areas are dark, they are in the shadow, if in the middle, they are in the midtones, and if bright, they are in the highlights. In a three-way color collector there is a color wheel representing each tone i.e. midtones, shadows, or highlights (Goodman & McGrath 2003). Each wheel has a dot that can be moved anywhere within the wheel. If the film editor wants to remove the blues in the shadows, he locates blue on the color wheel and starts moving the dot on the other side, observing the footage starting to warm up. To convey an emotion of warmth, choose warm colors and use the color collector to add them in necessary tones. As much as professional color correction is a difficult and complicated art, basic color correction is relatively simple (Pearlman 2007). Image manipulation Image manipulation involves the transformation of an image or footage in manner they conveys a certain required effect as opposed to what the original image or footage may have shown. The process is also called airbrushing or photo shopping. Image manipulation is applied in film editing, made possible by the development of software that is able to process film rapidly. While CGI (computer-generated images) have for a long time been applied for making special effects, the use of image manipulation has become more pervasive and subtle in the area of filmmaking, and has other applications too, with a majority of the interior shots on modern television being in fact green screen effects. Despite these manipulation forms being done for practical reasons, further manipulation of the appearance and performances of actors can also be done. Their facial expressions can also be altered during film editing in a similar manner to still images (Weynand 2005). Analysis and evaluation of Final Cut Pro software Final cut pro is a state-of-the-art video editing program manufactured by apple. It is the editing software of choice used by multimedia journalists with apple laptops, and can be compared to the Premier video editing program made by adobe, although it does not have a version for windows. The software is particularly popular among video journalists who are on the field wishing to edit their videos using laptop computers (Goodman & McGrath 2003). Final cut pro allows one to edit a wide variety of clips, ranging from uncompressed SD to HDV, uncompressed HD, as well as other file-based formats. A film editor can mix and match a wide variety of formats and frame rates in the time line of open format. The software includes a whole set of professional trimming and editing tools that allows one to work quickly, together with an entire range of customization options to give one control and flexibility. It also includes multicamera editing tools that are powerful enough to allow one to cut and view video in real time from multiple sources (Pearlman 2007). Every year, more video formats are introduced, and with Final Cut Pro, relative frame sizes for HD, common SD, and digital camera can be edited. The latest professional video category includes digital cinema formats and cameras. These cameras contain large imaging chips that allow the application of cinema lenses with accompanying depth-of-field control and high quality image, together with high resolution in imaging, field image capture that is progressive and light sensitivity that is advanced. The workflows of the Final Cut Pro for digital cinema formats are the ingesting native RAW camera media that plays the role of QuickTime files, ingesting video decks from Sony HDCAM SR, and sequences of ingesting DPX images (Weynand 2005). Results Storyboard of a 3-minute film The following is the storyboard of a short three-minute film titled “Crash.” Picture: Car accident- Victim with severe injuries Picture: Doctor meets the victim’s wife Doctor: (Comforting relatives of the victim) madam, we are sorry to inform you that your husband has a serious head injury and he could become brain dead. Picture: Wife busts into tears. Victim’s wife: Is there a possibility that my husband can make a recovery? Doctor: Brain death almost certainly leads to death because the supply of blood to the brain is halted and one’s brain cannot be revived. Nevertheless, if you wish you can donate your husband’s organs and give someone a lease of life. Wife: How can I donate my husband’s organs? Doctor: We understand you are in an emotional stress, but we will explain to you the process of organ donation. Doctor: Organs belonging to patients who pass away from brain death can donate their organs to patients waiting for organ transplants to save their lives. Wife: I understand what you are saying. Although I feel sad because of losing my husband, I would be greatly satisfied if my husband’s organs are used to give another patient a new lease of life. Doctor: We appreciate your determination and strength in donating the organs of your husband to a noble cause. For this, you have to sign a form consenting to legal organ transplantation. Picture: Transplant of the husband’s organs takes place. Picture: The organ’s recipient appears to be healthy and well with his new organs. Analysis of technology used to edit the 3-minute film In the editing process two things happened; the film editor identified the problems in the shots and figured out how to fix them. The first thing the editor did was to choose appropriate shots, and even before the film came back from the studio, he had a rough idea of the shots that he wanted to use. On the set, the script supervisor made detailed shooting notes that highlighted the shots considered to be the best. In the processing of the film, the director checked out the takes to decide which ones to use (Weynand 2005). The next step involved creating a bin for every scene, a bin being a folder where the shots effective or necessary for the film’s each scene are placed. The editor applied the Final Cut Pro software, as this technology allowed the editor to store several versions of a certain scene. Once the bins were created, the next step involved creating a rough assembly. The editor assembled each scene, at first working to see how each scene should be constructed. The editor just got together a visual draft that is a mere shape of the film, a sketch without the final elements have not yet been included (Crittenden & Murch 2007). The next step involved reviewing the rough assembly. The editor found some errors in the rough assembly and took note of the problem as started strategizing on the way to solve them. Then, he began shaping the scenes, as some of them needed some minor changes to make them work. In order to tweak the scenes effectively, he had to keep one eye focused obsessively to the tiny details, while locking the other eye firmly on the big picture. He had to be patient as it took time to develop this skill. Eventually the final cut was made, but the director had to ask himself several questions: was the storyline clear? Was the film structure coherent? Were the scenes effective? Once he answered the questions satisfactorily, he could produce the film and make it ready for public viewing (Dancyger 2002). Conclusion and Recommendations This essay outlines the basic principles of film editing. There are many points be put into consideration when a film editor is setting up the editing environment. Compatibility of equipment is vital, as there are numerous options in the professional environment, some of them interchangeable. On the other hand, there are less equipment choices in the consumer realm together with compatibility of equipment. If a film editor wishes to have an easy and smooth edit control, he should use equipment of the same brand. Some companies the likes of Videonics, Datavideo, and Sima manufacture cross rand equipment but it is vital to check before making a purchase (Goodman & McGrath 2003). When doing video editing using a computer, the editor should make sure the personal computer or MAC meets the necessary requirements for the software and hardware used. As much as the future of film editing lies in the non-linear computer environment, there are still a lot of applications for the traditional tape-to-tape editing, especially if the film being edited is low budget and the edit wants to keep expenses down. Although larger computer hard drives with bigger storage capacity are becoming cheaper and more available, they still may not be the best method of editing a film (Murch 2001). In conclusion, the real key to becoming a successful film editor is patience, time, and equipment that are easy to work with and understand, resourcefulness, and a good imagination. Film editors can be surprised how much resourcefulness and a little imagination can do. Remember, film editing is both an art and a technical process. References Case, S 2004, Film Technology in Post Production, 2nd edn, Elsevier, Burlington Clark, B & Spohr, SJ 2002, Guide to Postproduction for TV and Film, 2nd edn, Elsevier, Burlington. Crittenden, R & Murch, W 2007, Finecuts The Art of European Editing, Focal Press Dancyger, K 2002, The Technique of Film and Video Editing, Focal Press Fowler, J 2007, Avid Made Easy: Video Editing with Avid Free DV and the Avid Xpress Family, John Wiley & Sons Goodman, RM & McGrath, P 2003, Editing Digital Video: The Complete Creative and Technical Guide, The McGraw-Hill Companies, Inc Murch, W 2001, In The Blink Of An Eye: A Perspective On Film Editing, Silman-James Press ISBN: 1-879505-23-1 Oldham, G 1992, First Cut: Conversations with Film Editors, University of California Press Ondaatje, M 2004, The Conversations: Walter Murch and the Art of Editing Film, Knopf Doubleday Publishing Group Orpen, V 2003, Film Editing: The Art of the Expressive, Wallflower Press Pearlman, K 2009, Cutting Rhythms: Shaping the Film Edit, Focal Press/Elsevier Pepperman, R D 2004, The Eye Is Quicker: Film Editing: Making a Good Film Better, Michael Wiese Productions Underdal, K 2006, Digital Video For Dummies, John Wiley & Sons Weynand, D 2005, Apple Pro Training Series: Final Cut Pro 5 & 6, DigitalFilm Tree Weynand, D 2005, Apple Pro Training Series: Advanced Editing and Finishing Techniques; DigitalFilm Tree Read More