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AUDIO DAN VIDEO

The Mechanics of EditingAssume you're shooting a documentary about Swedish arts and crafts. You have nearly an hour of footage of the carving of Dala horses. No one but another carver is going to be interested in watching that much unedited footage. The idea is fin' you to choose the best of your shots and string them together in an interesting and informative way, maybe add music and a bit of narration, and move on to glassmaking in Smaland. This, in a nutshell, is the edit process. Hue's the step-by-step.

Step 1: Logging tapeThe first thing you'll do is assess your footage in a process called "logging tape." Logging can be done on paper or directly into the computer. This often depends on how much tape there is, whether it's all going into the computer or just "selects," and whether you're sharing the edit computer. Note every shot, the timecode number where it should begin and end, as well as enough information to be able to recognize the shot by its to,, notes, Don't call shots #1, #2, #3, and so on. The bigger the project, the faster you'll get lost if you've done a sloppy jog logging.

Step 2: Digitization and batch captureUnless you record your footage directly into a computer or a digital file-storage medium, editing will require digitization that is, transferring visual data from the camera tapes to the edit computer. If the logging was done on the edit computer, this may simply be a matter of telling the computer to record the shots in a process often called "batch capture." The computer will talk to the playback deck, usually your camera, through the FireWire cable (IEEE 1394). The computer will say, "Insert tape NYC uptown and you'll do just that. The computer will search the tape for the correct time code address and will digitize the shot's audio and/or video is logged.

Step 3: Creating a timelineOnce the data is in the computer, you will need to create a timeline, a "blank document" where you will lay down will - intended program. Your timeline is like an infinitely long piece of video-tape with many open tracks for video and audio.

Step 4: Arranging your shotsOnce you've created a timeline, you'll begin to arrange your media along that timeline by inserting or overlaying those images mid sounds on the timeline. You'll choose where pieces of media begin and end, whether they overlap, and how they'll interact.

Step 5: Trimming, slippin', and a slidin'As you begin laying media on your timeline, you will see the need to rearrange and adjust the positioning of your media. Adjusting the boundary between two shots is called "trimming." You might trim an edit a couple of frames one way or the other, forcing one shot or audio clip to end sooner and the other to begin sooner. You are always free to trim audio and video together or separately. Uneven trimming of audio and video will result in what's known as a "split edit." You might also recognize the opportunity to improve your edit by moving clips, even groups of-clips, along the timeline. This is called "slipping or "sliding."

Step 6: OutputOnce all your media is in place and you're happy with the look and sound of your project, you will -"output" your project either "printing to tape", burning it to a DVD, or possibly uploading it to a server or streaming over the web.

Every nonlinear editing (NLE) system's graphical user interface or GUI (pronounced "gooey") is a little different. Every NLE's approach to the processes involved in editing will differ, too. Here are many diverse and powerful NLEs on the market. I don't know which system you'll choose, and I don't know if you'll use that system the same way I would, so I'm not going try and tell you "how" to trim or "where" you'll find the titling tools. I will assure you that every system will have a method trimming and titling. Many will be similar in approach and function, but you're going to have to read the manual to learn your system. Every nonlinear edit system I've ever used has come with a practical and helpful tutorial I recommend you take advantage of this.

The Universal Principles of EditingWhile editing mostly involves art and storytelling, it also revolves around organization and information management. After all, you can't produce the best possible edit it you don't know what-shots exist, or worse, you know what shots exist but don't know where; they are, Or worst of all, you saw the shot once but think you accidentally erased it!

All NLE programs have sonic provisions for information management and allow limited searehes. More advanced programs offer more advanced possibilities. Still, I was recently involved in a monstrously large shoot with dozens and dozens of raw tapes and found it faster and more efficient to do rough logs and pick - usable shots, called "selects", before sitting down to begin digitizing shots. You can find my paper log sheets and a legend to help understand my principles by logging on to my website (www.petemay.com).

The RulesProperly applied, "the rules" of editing allow an audience to follow the story being told. It's a convention of storytelling as old as motion pictures and is based on replicating reality. Many of the rules are designed to prevent you from making editing errors that fall broadly into the category of jump cuts. Jump cuts are edits that, visually speaking, defy, the logic and physics of a situation. If in the first shot someone is standing at the sink and after one edit they're sitting at the table, they've jumped to the other side of the room, that's literally a jump cut.

One way to completely avoid a jump cut is allow the subject to exit the frame. Once out of sight, we're willing to loosen the rules of physics. If we see someone enter a front door and disappear inside, our visual language allows us to accept a jump to any room in the house by the time the door swings shut. We, as an audience, are so forgiving of these jumps, we will accept an edit between a shot of someone walking. Through the front door of the terminal at LA ; followed by a shot of the same person hailing a taxi at Heathrow. This tact is easily exploited in your everyday shooting. As a news photographer, I did mama last-minute features as a series of five or six on-camera stand-ups in which the talent entered frame left, spoke her piece, and exited frame right. Getting back to the station with only five or six edits to make was always appreciated as deadlines loomed.When professional editors finish projects, they always have favorite edits. It won't be the edit that grabs attention, but the edit that defies detection. When the rules are followed, edits become transparent and allow the dialogue and action to shine through. It's unfair to say the editing will go unnoticed. People notice: emotionally, in their guts not in their heads. That's the power of a great edit.Though the editor in this example was offered shots of the doctors from both sides of the 180` line, shots of the heart monitors from both sides of the 180' line, and shots of the patient looking at either doctor, the editor picked the shots that told the story clearly and concisely, positively placing each character in relation to the other. In the end, a viewer should be able to sketch out the relative positions of the players and know exactly who or what each one sees. If an actor is talking to someone screen left, the matching shot should have the other actor looking screen right. Success in orienting the viewer depends on having the right shots to work with in the first place, but still, when the photographer delivers a wealth of good shots, the final responsibility falls on the editor's shoulders.Of course, edits aren't always intended to be transparent or even logical. Sometimes, viewers will tolerate being disoriented and tricked. Some commercial spots and many music videos break all the rules, often just for the impact. Still, it's important to understand the rules of editing in order to first, keep the viewer on board in traditional scenes and second, to obtain maximum visual effect when you do color outside the lilies.

Creating a "look"There's no telling what "look" is going to grab the public eye. Sometimes, the look is a result of a new TV technology. Remember "morphing", the transformation of one image to another by computer interpolation? Then there's speed ramping, where shots transition from fast motion to slow motion and back again so seamlessly. For some time, bad framing and drifting cameras were all the rage. There was even a time when the "look" was ordinary.

People shot in the most unflattering ways, as popularized by American commercial director Joe Sedelmaier and his "Where's the beef? ad campaign for a fast-food franchise. No one call tell you what the next look will be, but as a producer/director/videographer constantly buffeted by trends and sky-high expectations, I can certainly share how I see "looks".

First, don't fight it if everyone is talking about a new style, you can be sure You'll hear (lust after you hear your budget is cut in half), "Can we do something like I insert current multimillion dollar tad?" I'll go back to something I mentioned earlier in this book: Don't promise a big laser show if you can't produce. Obviously, a shaky camera look is deliverable at no extra cost but morphing might still be Out of reach. This is when your creativity is tested. Rather than morphing, can you carefully match people's eyes and do dissolves, It might not be the exact look but copying a current trend is more homage than an attempt to fool people into believing you hired I insert current multimillion dollar director here I to shoot your daughter's wedding video or your boss's Training tape.

If it seems impossible to even approximate the latest look, remind your client (or yourself) that looks are appealing because they're new. If the program you're creating is going to have any shelf life, it may be best to stay away, from current looks. Maybe you should stick with a classic navy-blazer-khaki-pants kind of look, something that's not going out of style. Or, you could consider creating your own look.

Steadycam was invented and soon after that, sweeping POV camera moves swept the planet another example of technology giving birth to style. Take that as a lesson. What do you have that can be exploited to create your own look? Optical image stabilization, Can you do an entire production based oil a moving camera, interviews cover, everything? Do you have a wide-angle lens? Can that form the basis of you look? Filters are another way to go. They're cheap and if you understand the situations in which their effects are most noticeable, and design your shoot to make the most of those exact situations, you've just created your own look.

But the best place to find for your look may be on your desktop. NLEs today offer many advanced special effects capabilities including digital effects (sometimes morphing), masks, selective focus, motion tracking, film look, and probably the most effective, color correction.TransitionsWhat they mean and when to use themAs I've talked about the rules of editing, I've been talking about cuts, the simplest transition where the shot on screen is instantaneously replaced by another shot. This fundamental transition usually implies Continuity and chronology, suggesting no time has passed; this is simply one angle, one view, followed by another

The cut naturally mimics the way you see, locking in on an image, then darting to the next. That's partly why we perceive that no time has passed when one shot cuts to the next. Editors and directors make use of this fact. A cut between a shot of someone looking at the sky and a shot of the sky implies the person is seeing that sky. Intercutting-cutting back and forth between shots-implies two simultaneous but separate lines of action. A shot of a train moving screen-right cut with a train moving screen-Ieft implies an imminent collision. Shots of someone in a waiting room intercut with shots of surgery Imply that the person in the waiting room is holding vigil the person on the operating table. Editors and directors will also take advantage of expectations created with crosscutting by changing the expected outcome of a sequence. See if this sounds familiar we see image of the spy secretly searching an office intercut with Images of the traitor arriving at the office, parking the car, and approaching the office door. When the traitor throw's open the door, we expect to see the spy surprised. Instead, the traitor enters the office unaware art we cut to an exterior shot of the same office building and see the spy walking away undetected.

Simple cuts don't stand out when they Join expected images or follow a simple narrative. Cuts used to join odd or discontinuous images can have a jarring or surreal effect. As in Eisenstein's Potemkin, quick cuts can be used to relate images in a montage very quick cuts, a frame or two in length, of slightly varied images is animation.

WipesGenerally, wipes mean whatever you think they mean, although they do suggest a major, bur rarely somber change in scene or storyline

This method of replacement is called the wipe pattern. Wipes can have colored borders of various widths, soft edges, rotation, and modulation in all sorts of combinations. Sonic NLE systems also allow wipes to the positioned, that is, to begin at a specific location on the screen. Wipes (and dissolve) are usually spoken of as having a "duration" expressed in frames.

Transitions can sometimes solve problems follow. If you cut between two shots that are too similar, it can appear to be a jump cut. Sometimes the shots are only similar in dominant line or brightness. Mid even then, the edit could appear to be a jump cut. A dissolve or we could solve your problem by softening or eliminating, the appearance of the jump cut. That's not to say you shouldn't tie very careful while you're shooting it's just that if you do get backed into a corner, a transition might be your escape route. An old friend of mine used to say, "If you can't solve it, dissolve it, if you can't dissolve it, justify it. If you can't justify it, well then ...it's art."

What they can't doTransitions get us from one shot to the next. Some transitions have meaning by tradition or association. We've covered how the passage of time, change in location, simultaneous action, and other information transitions call add to a story. Unfortunately, people try to force: transitions to do things they can't or shouldn't be asked to do, such as make a program more exciting or interesting transitions can't replace content. Connect two boring interviews with an amazing 3-D particle storm and you're still left with two boring Interviews.With all this awesome transitional power comes all awesome responsibility'. You must join-with file and all editors of-good taste and take this oath: "I, [state your name], promise not to produce videos, or stand by quietly and watch others produce videos, that seem to have no other purpose than to use even, transition ever invented." OK, you've been deputized we understand eachother, I have no problem with using a page curl as a transition in a-project that has storybook overtones. It makes sense. I have no problem using a star wipe between patriotic images or a shimmer between hot summer images. In each case, the wipe makes sense. It's defensible. Our problem (I'm counting you in now - that you've joined the team) is rooting out and discouraging the people who still think it's cool to do a slide-on followed by a melt-away, an explosion, a matrix, and a double page peel. Using a string of unrelated and unmotivated transitions is the same thing as zooming in and out simply because you can; it doesn't help the storytelling, it's distracting, amateurish, and it looks like you've run out of ideas.

Using Music and SoundViolins. That's what does it for me. It starts with the distant sound of children's laughter and the whistle of a chestnut warble in the garden. Inside, the summer breeze billows behind white gauze curtains. Grandma stands in the mostly empty room, moving boxes stacked about, pausing to look at that picture of her and grandpa outside this house back when it was new. The chorus sings, "Remember, remember," and the violins kick ill. That does it. My eyes get salty and wet and Kodak can chalk up another direct hit.

We, most of us, anyhow, have buttons. There's the fright button, the righteous anger button, the funny button, and the nostalgia button, the one the Kodak folks have mapped so successfully. A good editor understands buttons and where to find them. I know where many are found and I've pushed my share. It's kind of fun watching the other guy tear up for a change. Gratifying too, finding them. I could show you if you were here, but for the time being, let me share the fact that they're located mostly on your audio tracks. Sure, there are some sad ones right around the soft focus, and some happy ones close to the dog in a fish-eye lens, but they're tons of them beneath carefully crafted layers Of natural sound, compelling music, and strong voices.

I'm not advocating that you find these buttons arid start mashing away at will, but probably not for the reason you might think. I'm all in favor of bringing the occasional tear to the eye or smile to the lips. I think we can all Use a little emotional goose now and then. What I object to is the lazy overuse and ultimate reliance on the formula. I'm not impressed by a piece that finds that old Kodak button, but find the pathos in pop or the comedy in classical and you'll be showing me that you understand the power and you're able to use it for the general good'

Editing the Sound TracksYou'll need one or more video tracks to edit a character-driven feature film, your aunt's life story, or a classic two-narrator training project, with no special effects, no titles, or just the normal back-and-forth of dialogue you might separate characters onto their own tracks or put your B-roll on one and A-roll on another just for the visual pleasure of it, but it wouldn't be necessary. However, for a decent audio mix it'll be necessary to have six, maybe eight tracks. They fill up fast! Consider that you'll give up two right away to stereo music and two more to each layer of sound effects if they're in stereo as well. You'll want to keep each of sour characters on a separate track and you might want a separate track for room tone. Did I say eight tracks,' Maybe you'll need a dozen'.

Split your editsA split edit is an edit where the incue and/or outcue of your video differs from the incue and outcue of your audio. The result is the stairstep look. Split edits are often necessary if you want to hear the whole piece of sound (a sentence or sound effect) but you want to see some other image over the top. Split edits will also help fill in areas where the audio might be unusable on a neighboring shot. To me, split edits are most helpful in deemphasizing your edits. Try this sometime. Edit two shots back-to-back with clearly discernable and differing background audio. Review the edit. Now, extend the audio from one shot under the other shot and listen again. If the audio and video edits aren't coincident, the edit is deemphasized. Add an audio dissolve and you'll hardly notice the transition at all.

Editing the musicMost edit projects involve music. Sometimes, it's a direct involvement as we see musicians on the screen or hear Uncle Jim talk about his favorite song. More often, it's less literal, used to suggest attitude and support the emotion of a scene. Music cues the viewer, building tension or lightening a moment since you'll use music in most of your productions, it's important to know how to use it effectively.

It's obvious that choosing suitable music for a scene is important. The favorites on your shelf might not always be the most appropriate, having a music resource to dip into is critical. It is illegal to use copyrighted music for any purpose without the copyright owner's permission. Even if you're simply putting your niece's favorite song under the dancing at her bat mitzvah, you're in violation. The law in every country in the world is very clear on this account. Further statutes are broken when you duplicate the tape for all your aunts and uncles, or worse, post it on the Web. Now, you might never get caught if it's all kept within the family. It's your decision, but I recommend you look for music that's created for the purpose of building soundtracks. Search the Web for "copyright-free music" and you'll find hundreds of sources offering" thousand of cuts at a variety of prices, from one-time uses to total buyouts.Music cutsMusic is often surprisingly forgiving of edits. I had a line in a script talking about the Louisiana Art Museum in Denmark. Talking about the wealthy farmer who founded the museum, the script line read, "He called it Lousiana, in honor of his first wife...and his second wife...and his third wife...all named Louise." I was able to take the music running under the segment, full of long, sustained notes, and simply repeat the note three times under his first wife, second wife, and third wife. The music edit added another layer of humor to the sentence and always got a chuckle. In another case, I was Unable to find music with sufficient impact for a piece about the Vietnam Veterans Memorial in Washington. I did find a musical selection with a series of haunting flute passages. I was able to take just those parts, add long rests in between, and create a cut of music.Locating edit points with musicMusic cuts created far use by video producers are often recorded in convenient clip lengths of 10, 15, 30, and 60 seconds. That's great if you're cutting commercial spots, but isn't particularly useful if you're creating a family history or documentary. There's usually a full-Iength version of each song, too-two, three, or sometimes four minutes on length but how often will you need a piece exactly four minutes on length? I find myself editing almost every cut of music I use. I like to maintain the original beginning and ending of most pieces because it sounds more natural than simply fading the music up and down. The trick then is locating edit points within compositions. My method involves markers. I'll cue up the music and listen to it all the way through a couple f times, tapping out the rhythm with my fingers. Most contemporary music has a regular rhythm established by percussion. Sometimes the beat is computer generated and you'll find it perfectly precise. When I'm comfortable with the tempo I'll run through the song tapping markers into the time-line. Go back and use the mark-in and mark-out buttons to time the measures. It'll help you map the song's construction. After that, it's a matter of locating edit points in the composition places where the phrasing and instrumentation seem close. If you're careful about marking measures and picking edit points, cuts will often be perfect on the first try. If nor, go into the asymmetrical trim mode (trim one side at a time) and begin tweaking. If I find the edit just doesn't work and a trim one frame this way or that doesn't help, I'll rethink my edit point. I'll ask myself if I should try slipping the clip a whole measure. Sometimes, even if you've chosen the right place to edit, the system isn't precise enough o handle trims less than one-thirtieth of a second (one frame in NTSC).

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