WHAT YOU WILL
do is work and participate actively and steadily. You must be organized, able to work for long periods alone, and enjoy the process of creating a film experimentally with time devoted to building and rebuilding it. You will need modest expertise in editing theory and in video editing. You will need to devote 6-10 hours per week to edit your interpretation of these multiple projects. Click below to download in two formats. For Mac, Option+Click; for PC, right click. Then make a copy of the download file and work off that copy. Now launch the appropriate application and then choose File>Open to navigate to your downloaded file. If you do not see your file in the dialog box, choose "All Files" or "All Available" with the dropdown menu and it will come into view. Open and save it.
Grades are based on the quality of your work, your ability to meet the deadlines, and your ability to work responsibly and creatively with editing problems and issues. Grades are awarded as follows:
ABSOLUTELY no incompletes.
F 3 classes missed.
C 2 misses, work not presented on time, assignments presented on dates other than deadlines, or of average quality and with average participation.
B Assignments presented on time, regular attendance, good participation, and steady significant efforts throughout. This includes attention to craft (leadering and cueing your work for viewing. The originality with which you solve the problems that the footage suggests will also be a factor in your grade.
A "B" requirements, along with outstanding participation and work.
Edward Dmytryk, ON FILM EDITING: AN INTRODUCTION TO THE ART OF FILM CONSTRUCTION, Focal Press, 1984.
Walter Murch, IN THE BLINK OF AN EYE: A PERSPECTIVE ON FILM EDITING,Silman-James Press, Los Angeles, 1995. pb.
NARRATIVE 2 EDITING EXERCISES
All the editing exercises, except the Tech III project, are sequences or scenes. In addition to having a script, they have a scenario which puts the scene or sequence into context within the larger film. Before viewing the rushes for that exercise, editors should read the script for the director's intent, the dramatic beats and the point-of-view. A description of your approach to the material of each exercise should be written in your Editor's Notebook. You should also note any problems or questions the material suggests, such as any conflicts between the script and the rushes, continuity conflicts, etc. I will look at the notebooks from time to time.
At the beginning of the semester, you will be given a VHS tape with window-dubbed time coded rushes for all the exercises except the recut and repair project and the Tech III film. You will need to make selects from this tape as well as develop a reasonable idea of how you will assemble the footage. This footage is already digitized.
In week eight you will receive a package from the director whose name you draw out of a hat. In that package, you will find the telephone number of the director, a script, and a VHS tape of all the rushes for that Tech III film. The footage is already captured. Editors should read the script for the director's intent, the dramatic beats and the point-of-view and work collaboratively with the director. A description of your approach to the material and of how you solve problems with your director should be written in your Editor's Notebook.
The Script Analysis Paper requires you to choose a feature-length script from the Columbia College Library Script Collection, read it in its entirety and select a sequence to analyze. You will need to then view the selected sequence on videotape and discuss how the script is realized through production and editing. Your paper should utilize topics we have discussed and assigned readings.
There is a dedicated DVision system for this class. Each editor will be assigned specific editing slots based on desired choices. In addition, editors are allowed to use removable media to edit in the general DV labs on an availability basis.
OTHER RECOMMENDED EDITING BOOKS
David Bell, GETTING THE BEST SCORE FOR YOUR FILM: A FILMMAKERS GUIDE TO MUSIC SCORING, Silman-James Press, 1994.
Steven E. Browne, VIDEO EDITING: A POSTPRODUCTION PRIMER,
Focal Press, Boston, 1997.
Noel Burch, THEORY OF FILM PRACTICE, Princeton, Princeton University Press, 1981. paperback
Ken Dancyger, THE TECHNIQUE OF FILM AND VIDEO EDITING: THEORY AND PRACTICE, Focal Press, Boston, 1997.
Norman Hollyn, THE FILM EDITING ROOM HANDBOOK: HOW TO MANAGE THE NEAR CHAOS OF THE CUTTING ROOM, Lone Eagle Publishing, Los Angeles, 1999.
Vincent LoBrutto, SELECTED TAKES: FILM EDITORS ON EDITING, Praeger, NY, 1991.
Thomas A. Ohanian, DIGITAL NONLINEAR EDITING: EDITING FILM AND VIDEO ON THE DESKTOP, Focal Press, 1998.
Thomas A. Ohanian & Michael E. Phillips, DIGITAL FILMMAKING: THE CHANGING ART AND CRAFT OF MAKING MOTION PICTURES, Focal Press, 1996.
Gabriella Oldham, FIRST CUT: CONVERSATIONS WITH FILM EDITORS, University of California Press, Los Angeles, 1992.
Karel Reisz and Gavin Millar, THE TECHNIQUE OF FILM EDITING, New York, Hastings House, 1968. (out of print: find in used bookstores).
Ralph Rosenblum and Robert Karen, WHEN THE SHOOTING STOPS...THE CUTTING BEGINS, Pengiun Books, 1980.
Michael Rubin, NONLINEAR: A GUIDE TO DIGITAL FILM AND VIDEO EDITING, Triad Publishing, Gainesville, 1995.
Roy Thompson, GRAMMAR OF THE EDIT, Focal Press, 1997.