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A D V Post Syllabus F A2010


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A D V Post Syllabus F A2010

  1. 1. Advanced  Post  Production  Workshop   40-­‐3421  (01)   Tuesdays  6pm-­‐9:50pm   4  Credits     Instructor  Name:  Ashley  Kennedy     Contact  Phone  Number:  312-­‐369-­‐8549   E-­‐Mail  Address:     Course  Description:  This  class  is  designed  for  advanced  level  post-­‐production  students  and   addresses  new  and  complex  technologies  and  procedures  used  in  professional  post   environments.    It  also  delves  into  the  reasons  for  cutting  –  and  not  cutting  –  primarily  using   Walter  Murch’s  In  the  Blink  of  an  Eye  as  a  model  from  which  to  study  (as  well  as  to  critique  peer   edits).         The  first  half  of  this  course  covers  advanced  editing  techniques;  the  last  half  of  this  course  covers   advanced  effects  techniques  –  all  of  which  are  beyond  the  scope  of  your  introductory  and   intermediate  production  and  editing  courses.    Students  will  use  Avid  Media  Composer  to  learn   how  to  appropriately  execute  project  and  media  management  strategies,  and  will  use  advanced   editing  and  effects  techniques  to  organize  and  efficiently  edit  complex  visual  materials.  The   course  will  also  include  advanced  concepts  of  digital  production  and  broadcast  and  High   Definition  TV  standards.    All  footage  will  be  provided  by  the  instructor  to  achieve  class  goals,  and   most  weeks  will  combine  concepts  from  consecutive  class  periods  to  achieve  deeper  and  more   complex  understanding.     Course  Prerequisites:  Production  and  Editing  I  and  Production  and  Editing  II  (or  equivalent  to   introductory  and  intermediate  production  and  editing  classes)     Course  Objectives:   By  the  end  of  the  course,  students  will:   • Be  able  to  delicately  fine-­‐tune  a  sequence  to  achieve  perfect  pacing  using  advanced   trimming  and  editing  techniques,  and  be  able  to  defend  complex  edit  decisions  by   answering  the  simply  question:  Why  does  this  cut  work?   • Be  able  to  properly  manage  and  manipulate  metadata  and  media  in  the  nonlinear  editing   environment      Use  efficient  shortcuts,  advanced  editing  techniques  and  MultiCameara  editing  for  faster,   more  efficient  editing  and  complex  multi-­‐track  sequence  building    Use  script  integration  and  ScriptSync  to  efficiently  organize  and  edit  narrative  and   documentary  projects    Properly  color-­‐correct  a  show  using  video  scopes    Be  able  to  delve  deeply  ino  the  world  of  effects  and  compositing  to  build  and  design   complex  “virtual  worlds“  using  various  matting  and  keying  tools  (Paint,  Animatte,  Matt   Keys,  Chroma  Keys,  Luma  Keys)        
  2. 2.   TextBooks  and  Articles:       • (Required)    Effects  Tools  and  Techniques  for  Avid  Media  Composer,  by  Avid  Training   Services,  Avid  Technology,  Inc.    Copyright  2009.  (I  will  provide  you  this  text  for  rental   during  the  duration  of  this  course.    If  you  wish  to  purchase  the  book,  you  may  do  so  at  any   time  –  just  come  see  me.)     • (Recommended)    In  the  Blink  of  an  Eye:  A  Perspective  on  Film  Editing,  by  Walter  Murch.   Copyright  1995.       • Handouts  provided  by  the  instructor,  written  and  arranged  by  Ashley  Kennedy  (handed   out  in  class,  also  on  Moodle)   Getting  Ready:  Customizing  and  Setting  up  Your  Workspace   Delving  Deep  into  Timing  and  Pacing:  Advanced  Trim  Techniques   The  Digital  Script:  Using  Script  Integration  for  Efficient  Editing   Using  Multi-­‐camera  Sync  for  Efficient  Editing   Color  Correction  is  more  than  Color:  Using  Your  Eyes  and  Your  Scopes  to  Correct   Isolating  and  Adjusting  Audio:  Audio  EQ  and  AudioSuite       Grading  Policy:       Class  Projects  (six  total)           50%   Quizzes               15%   Midterm  Exam             15%   Final  Project               15%   Class  Participation                5%     **No  sequences  named  “Untitled  Sequence“  will  be  graded!!**   Name  your  sequence  in  the  following  style:  Project  Name_Initials_Date   (ColumbianExposition_AK_2-­‐23)     Grading  Scale:   Intermediate  grades  will  be  assigned  in  this  course.  The  scale  is  as  follows:     A     94-­‐100%   A-­‐     90-­‐93%   B+   87-­‐89%   B   84-­‐86%   B-­‐     80-­‐83%   C+   77-­‐79   C   74-­‐76   C-­‐     70-­‐73   D   60-­‐69   F   Below  60  
  3. 3. Attendance  Policy       Two  tardies  equal  one  absence;  three  absences  may  result  in  failing  the  course.  Tardy  equals   coming  to  class  later  than  the  beginning  of  the  instructor's  opening  discussion  or  10  minutes   after  class  start  time.    The  same  penalty  holds  for  leaving  early  as  well.  There  are  no  excused   absences  because  of  the  requirements  of  class  participation  and  group  discussions.    ANY  absence   requires  notification  and  contact  with  the  instructor  prior  to  the  next  session.    All  absences  affect   your  grade,  since  participation  is  weighted  heavily  in  this  course.    Except  under  very  unusual   circumstances,  absence  from  three  classes  will  result  in  point  deductions  that  would  prohibit   passing.     Class  Website  Upload   All  assignments  must  be  uploaded  to  the  course  website  (Moodle)  by  6pm  of  the  day  it  is  due.    In   most  cases,  the  .avb  (bin  file)  that  contains  your  finished  sequence  should  be  the  file  you  upload.     Because  I  have  the  media  that  you  use,  I  will  be  able  to  load  the  sequence  and  view  and  critique   all  of  your  edits.    In  certain  cases,  I  will  require  that  the  entire  project  folder  (that  contains  all   bins,  settings  and  project  file)  be  uploaded.     Fine  Cut  Policy   All  projects  which  you  wish  to  improve  may  be  refined  by  turning  in  a  fine  cut  version  within  two   weeks  of  the  rough  cut  grade  distribution.    If  you  choose  to  turn  in  a  fine  cut,  re-­‐upload  your   sequence  bin  to  the  website,  and  email  me  that  you  have  done  so.    I  will  grade  the  fine  cut  and   re-­‐post  the  grade  as  a  weighted  average  of  the  two.    Setting  up  a  time  to  discuss  your  approach   of  how  to  improve  the  project  is  highly  recommended.
  4. 4. Course  Outline  &  Schedule:       WEEK  1:  SETTING  IT  ALL  UP:  CUSTOMIZATION  AND  NAVIGATION       This  week,  we’ll  concentrate  on  the  editor’s  workspace,  and  how  it  can  be  best   optimized  and  customized  for  the  most  efficient  workflow  in  every  stage  of  the  post-­‐ production  process.       Lecture/Discussion     Customization  and  Navigation  Techniques   • Review  and  discuss  navigation  and  editing  techniques   o Keyboard  customization   o Manipulating  the  Timeline   o Navigation  and  Match  Frame  techniques   o Using  common  keyboard  shortcuts,  and  Opt+shortcuts   o Customizing  User  Settings   o Setting  up  Workspaces   o Advanced  Bin  Organization    Custom  Columns    Sorting    Custom  Sift    Cloning/Duplicating  Clips  and  Sequences     Reading   Handout:  Getting  Ready:  Customizing  and  Setting  up  Your  Workspace     Assignment  due  next  week   • Study  for  Quiz   • Customize  your  own  keyboard  and  workspaces  (with  cheat-­‐sheet  explaining   rational):  UPLOAD  TO  CLASS  WEBSITE  [UPLOAD  USER  SETTINGS  (LOCATED  AT  Mac   HD/Users/Shared/Avid  Media  Composer/Avid  Users/Mac  OS  User/Avid  Users       WEEK  2:    ADVANCED  TRIMMING  AND  EDITING  TECHNIQUES       Most  deem  that  trimming  is  the  heart  and  soul  of  editing,  as  it  gives  the  editor  the   means  to  control  the  pacing  of  the  show  –  tightening  up  lingering  scenes  and  adding   breath  to  scenes  that  need  space.    This  week,  we  will  explore  all  of  the  methods  of   advanced  trimming,  as  well  as  how  to  determine  where  to  cut  (timing),  and  when   (pacing).  
  5. 5.   You’ll  use  these  skills  to  fix  a  badly  “broken”  dialog  scene  from  the  ABC  show  LOST,   restoring  proper  sync,  timing,  and  pacing  to  a  ruined  sequence.         Quiz  on  Navigation  and  Customization  Techniques     Lecture/Discussion     Advanced  Editing  Concepts   o Trimming    Basic  trimming  review    JKL  trimming    Trimming  on  the  Fly    Slip/Slide    Bi-­‐directional  trimming   o Extend  Edit   o Top  and  Tail   o Replace  Edit   o Sync  Point  Editing     Reading   Handout:  Delving  Deep  into  Timing  and  Pacing:  Advanced  Trim  Techniques     Assignment  due  next  week   • Study  for  Quiz   • Edit  LOST  “broken  sequence”:  UPLOAD  TO  CLASS  WEBSITE       WEEK  3:  SCRIPT  INTEGRATION  AND  SCRIPTSYNC       This  week,  we  will  explore  Script  Integration  and  ScriptSync,  which  allows  you  to  link   your  master  source  clips  to  an  imported  script  or  transcription.    (This  technique  can  be   thought  of  as  a  souped-­‐up  digital  extension  of  the  traditional  lined  script  that  editors   typically  use  in  determining  coverage  of  a  scene.)  This  practice  is  a  terrific  time-­‐saver  for   both  narrative  and  documentary  editing.         This  week,  you  will  use  ScriptySync  to  edit  the  same  LOST  scene  that  you  fixed  last  week   –  but  you  will  have  68  camera  angles  (from  the  actual  dailies)  from  which  to  choose  to   edit  your  sequence.     Quiz  on  Advanced  Trimming/Editing  Techniques        
  6. 6. Lecture/Discussion   o Script  requirements  and  import   o Script  features   o Using  Script  Integration   o Using  Script  Sync   o Using  ScriptSync  to  scripted  projects   o Using  ScriptSync  with  documentary  projects     Reading   Handout:  The  Digital  Script:  Using  Script  Integration  for  Efficient  Editing       Assignment  due  next  week   • Study  for  Quiz   • Edit  LOST  ScriptSync  exercise  (Script  and  scene  construction):  UPLOAD  SEQUENCE   BIN  TO  CLASS  WEBSITE       WEEK  4:  MULTICAM  EDITING       This  week,  we  will  explore  Multi-­‐camera  editing  with  Avid  Media  Composer.    Multi-­‐ camera  editing  allows  you  to  sync  multiple  clips  together  and  edit  them  as  a  group  in   the  timeline.    This  way,  you  can  quickly  cut  between  different  shots/angles,  while   maintaining  sync  between  all  of  the  shots.    (This  of  course  saves  much  more  time  than   having  to  load  and  match  each  shot  individually.)    Both  narrative  and  documentary   footage  can  be  shot  with  multiple  cameras,  and  each  can  exhibit  tremendous  benefits   using  this  method.     You  will  use  Multi-­‐camera  editing  to  edit  a  musical  performance  by  the  band  Columbian   Exposition,  which  was  shot  using  four  takes,  each  with  three  cameras.    Your  finished  edit   will  be  comprised  of  all  12  takes.       Quiz  on  Script  Integration  and  ScriptSync     Discuss/Critique  Lost  edits     Lecture/Discussion   o History  of  MultiCam   o Shooting  MultiCam   o Creating  Group/Multigroup  Clips   o Setting  up  Multicam  editing   o Activating    and  Executing  Multicam  editing   o Multicam  techniques   o Editing  Audio  with  Multicam  
  7. 7. Reading   Handout:  Using  Multi-­‐camera  Sync  for  Efficient  Editing     Assignment  for  next  week   • Study  for  Quiz   • Edit  “Columbian  Exposition”  Multicamera  project  UPLOAD  PROJECT  FOLDER  TO   CLASS  WEBSITE       WEEK  5:  COLOR  CORRECTION  USING  VIDEO  SCOPES       This  week,  we  will  explore  the  deep  artistic  science  of  color  correction,  where  we  not   only  use  our  eyes,  but  also  signal-­‐exact  video  scopes  to  adjust  luma  and  chroma  levels  of   video.    We  will  explore  four  main  video  scopes:  Y  Waveform,  YC  Waveform,  RGB  Parade   and  Vectorscope.    We’ll  also  learn  how  to  use  –  and  not  use  –  automatic  color   correction.     You  will  use  proper  color  correction  techniques  to  correct  and  stylize  the  Columbian   Exposition  music  performance  that  you  edited  last  week.     Quiz  on  MultiCam  Editing     Discuss/Critique  Multi-­‐Camera  edits     Lecture/Discussion   o Looking  at  Chroma  and  Luma  Problems   o Using  Video  Scopes    Y  Waveform  and  YC  Waveform    RGB  Parade    Vectorscope    Automatic  Color  Correction     Assignment  for  next  week   • Study  for  Quiz   • Color  Correct  “Columbian  Exposition”  sequence:  UPLOAD  TO  CLASS  WEBSITE  (BOTH   SEQUENCE  BIN  AND  EXPORTED  QUICKTIME)       WEEK  6:  MANIPULATING  SOUND  WIH  AUDIO  EQ  AND  AUDIOSUITE       Just  as  with  color  correction  and  finishing,  audio  editing  is  a  deep  science  that  comprises   entire  curricula.    This  week,  however,  we’ll  scratch  the  surface  of  this  expansive  art  to   intelligently  isolate  and  improve  audio  issues  in  our  video  program.  
  8. 8.   This  week,  you  will  correct  and  enhance  the  audio  in  your  Columbian  Exposition   sequence.       Quiz  on  Color  Correction     Lecture/Discussion   o Analyzing  audio  problems    Understanding  the  EQ  spectrum    Understanding  audio  frequency  charts   o Repairing  bad  audio    Manipulating  EQ    Using  AudioSuite  plugins   o Using  Audio  as  Effect    Manipulating  EQ    Using  AudioSuite  plugins   o Manipulating  time    Time  Compression/Expansion  of  Audio     Assignment  for  next  week   • Study  for  Quiz         WEEK  7:  MIDTERM  REVIEW       Discuss/Critique  final  Columbian  Exposition  edits  (Color  Correction)     Midterm  Review  Jeopardy  Game     Assignment  for  next  week   • Study  for  Midterm       WEEK  8:    MIDTERM       Take  Midterm  exam     Assignment  for  next  week   • None!          
  9. 9.   WEEK  9:  ADVANCED  EFFECT  TECHNIQUES       The  final  seven  weeks  of  this  course  will  involve  the  art  of  “compositing”  in  Avid  Media   Composer,  which  simply  means  that  you  will  be  building  complex  vertical  designs,   thereby  creating  virtual  realities  out  of  disparate  parts.    It  is  commonly  thought  that   editors  must  build  composites  in  3rd  party  programs  like  After  Effects,  but  this  course   will  teach  you  how  to  create  the  same  professional  results  within  the  editor.     This  week,  you’ll  get  your  feet  wet  with  some  very  useful  effect  building  techniques,   especially  nesting  –  which  will  allow  you  to  build  as  many  effects  as  you  want  onto  a   single  video  segment.       Lecture/Discussion   o Advanced  Effect  Display  Techniques   o Advanced  Effect  Edting  Techniques   o Saving  Effect  Templates   o Custom  Transitions   o Track  Hierarchy     o Nesting  Techniques    Simple  Nesting    Expanded  Nesting    Autonesting   o Changing  Source  Video  in  Effect  Composites   o Collapsing  Tracks     Reading   Chapter  1:  Advanced  Effect  Techniques,  Effects  Tools  and  Techniques  for  Avid  Media  Composer.     Assignment  for  next  week   • Study  for  Quiz         WEEK  10:  THE  PAINT  EFFECT       The  Paint  Effect  allows  you  to  manipulate  video  by  creating  shapes  and  altering  the   pixels  within.    In  this  way,  you  can  change  the  way  certain  pixels  look  –  for  example,  by   changing  luma/chroma,  blurring  objects,  cloning  objects,  removing  scratches,  etc.    By   using  many  shapes  together  in  layers,  you  can  begin  to  alter  the  video  to  create  a  virtual   reality.    
  10. 10. This  week,  you  will  use  the  Paint  Effect  to  complete  the  first  phase  in  a  3-­‐part  effect   composite.    The  visual  is  of  a  ship  sailing  off  the  side  of  the  world  –  using  only  five  pieces   of  totally  separate  and  unrelated  video.       Quiz  on  Advanced  Effect  Techniques     Lecture/Discussion   o Shape  Creation  Tools   o Using  Object  Manipulation  Tools   o Understanding  Object  Parameters   o Commonly  Used  Paint  Techniques    Using  Clone  Mode      Using  Scratch  Removal  Mode    Using  Color  Match  Mode   o Using  Motion  Tracking  with  Paint  Objects   o Keyframing  Multiple  Objects     Reading   Chapter  2:  The  Paint  Effect,  Effects  Tools  and  Techniques  for  Avid  Media  Composer.       Assignment  for  next  week   • Study  for  Quiz   • Complete  Stage  1  of  Edge  of  the  World         WEEK  11:  WORING  WITH  THE  ANIMATTE  EFFECT       AniMatte  is  the  first  of  four  types  of  mattes  that  you  will  use  to  create  intricate  effect   composites.    AniMatte  allows  you  to  use  shapes  to  key  through  vertical  video  tracks,   which  will  let  you  show  and  hide  certain  elements  of  certain  pieces  of  video.    By   creatively  layering,  you  can  design  realities  out  of  very  separate  elements.     This  week,  you  will  use  AniMatte  to  create  the  second  phase  in  the  3-­‐part  effect   composite  –  the  environment  of  the  ocean,  waterfall,  sky  and  stars.       Quiz  on  the  Paint  Effect     Lecture/Discussion   o Using  and  Modifying  the  Animatte  Effect     o Animatte  Parameters  (Foreground,  Mode  Selections,  Feathering)   o Keyframing  Animatte  Shapes  
  11. 11. o Exporting  Animatte  Shapes   o Creating  a  Matte  Element     Reading   Chapter  3:  The  Animatte  Effect,  Effects  Tools  and  Techniques  for  Avid  Media  Composer     Assignment  for  next  week   • Study  for  Quiz   • Finish  editing  Stage  2  of  Edge  of  the  World       WEEK  12:  WORKING  WITH  CHROMA  AND  LUMA  KEYS       Everyone’s  heard  of  “green  screen,“  and  many  video  editors  have  slapped  a  chroma  key   effect  on  a  shot  or  two,  but  few  people  really  understand  how  to  properly  pull  a  key,   and  the  workflow  that  will  result  in  the  cleanest  chroma  key.    Using  SpectraMatte  and   the  3-­‐D  Luma  Keyer,  we  will  explore  this  science  by  closely  examining  the  various   parameters  that  have  so  much  control  over  how  we  view  the  key  and  fill  of  a  chroma   key  composite.     This  week,  you  will  complete  Stage  3  of  the  Edge  of  the  World  composite  by  keying  the   ship  over  the  waterfall.    You  will  also  complete  a  chroma  key  sequence  of  a  Goya  (juice)   commercial  spot.     Quiz  on  the  Animatte  Effect     Lecture/Discussion   o Working  with  Chroma  Keys  (Spectramatte)    Using  the  SpectraMatte  Keyer  (mechanics  and  features)    Step-­‐by-­‐Step  Workflow  of  Pulling  a  Key     o Working  with  Luma  Keys    Configuring  the  3D  Warp  Luma  Key     Reading   Chapter  6:  Chroma  Keys  and  Luma  Keys,  Effects  Tools  and  Techniques  for  Avid  Media  Composer.       Assignment  for  next  week   • Study  for  Quiz   Two  Assignments  DUE:   • Finish  Stage  3  of  Edge  of  the  World:  UPLOAD  SEQUENCE  BIN  TO  CLASS  WEBSITE   (Should  comprise  Edge  of  the  World  1,  2  and  3  from  the  past  three  weeks.)   • Finish  Goya  sequence  (UPLOAD  SEQUENCE  BIN  TO  CLASS  WEBSITE)      
  12. 12.   WEEK  13:  WORKING  WITH  MATTE  KEYS       The  fourth  and  final  type  of  Matte  you’ll  be  working  with  are  Matte  Keys  –  images   imported  into  the  editing  program  which  have  an  alpha  channel,  or  transparent  layer.     We’ll  talk  about  how  to  create  and  manipulate  alpha  channels  in  Photoshop,  and  how  to   properly  import  them  into  Avid  to  use  in  your  effect  composites.           Quiz  on  Chroma  and  Luma  Keys     Discuss/Critique  Edge  of  the  World  edits  (Phase  1,  2  and  3)     Lecture/Discussion   o Working  with  Tape-­‐Based  Matte  Keys     o Working  with  Imported  Matte  Keys    Criteria  for  Imported  Graphics  and  Animations    Square/Non-­‐Square  Pixels    Importing  Graphics  and  Animations   o Using/Modifying  Imported  Matte  Keys    Modifying  the  Content  of  a  Matte  Key    Unlocking  the  Matte  Element    Animating  the  Matte  Element   Reading   Chapter  5:  Working  with  Matte  Keys,  Effects  Tools  and  Techniques  for  Avid  Media  Composer.     Assignment  for  next  week   • Study  for  Quiz   • Start  Ball  State  (FINAL)       WEEK  14:  IN-­‐CLASS  TIME  FOR  FINAL  PROJECT       The  final  project  in  this  course  –  a  very  complex  commercial  spot  –  contains  every  single   effect  element  we’ve  studied.    You  will  spend  the  final  two  class  periods,  as  well  as   outside-­‐class-­‐time,  to  build  this  composite  using  all  of  the  tools  in  your  arsenal.           Quiz  on  Matte  Keys     In-­‐Class  Activity   • Students  will  work  on  the  Ball  State  (FINAL)  sequence  in  class    
  13. 13.   WEEK  15:  COMPLETE  FINAL  PROJECT       In-­‐class  Activity   • Students  may  finish  Ball  State  (FINAL)  in  class       BALL  STATE  (OR  OTHER  FINAL  PROJECT)  DUE  BY  9:50  PM  ON  THE  LAST  DAY  OF  CLASS!         (UPLOAD  SEQUENCE  BIN  TO  CLASS  WEBSITE)     MAKE  SURE  YOU  ARE  IN  A  POSITION  COMING  INTO  CLASS  ON  TUESDAY  TO  EITHER  TURN  IN   FINAL  OR  COMPLETE  IT  WITHIN  CLASS  TIME!