INTRO to FILM EDITING
History, Technique, and Practice
FTV 122D – Summer Institute
INSTRUCTOR:
Karen Smalley
OFFICE HOURS:
OFFICE
TBD or email for appointment
East Melnitz 114A (enter through E. Melnitz 102)
CLASS MEETINGS:
LECTURE – Design Room – Melnitz 2534
Tuesday / Thursday 10 am – 12:50 am
LAB – Lab for New Media – Melnitz 2536
Tuesday 2:00 – 3:50 pm Section A
Tuesday 4:00 – 5:50 pm Section B
Additional labs as noted
COURSE DESCRIPTION: FTV 122D offers an overview of “the invisible art”: Film and Video Editing.
An editor’s job is to decide, 24 times a second, where the audience needs to be. Do we stay in a shot or transition to
another, and if so, what shot and how do we get there?
Working side-by-side with the director to craft the movie that ultimately hits the screen – or your phone – editing is
really about manipulating the audience, in the best possible way, all in the service of storytelling.
In this class, we will study terminology and concepts, learning both the rules and how to break them, as we look at
the aesthetics choices and the technological workflow for both picture and sound editing. We will examine the
historical role of editing, from the earliest silent film through the digital revolution that has transformed
moviemaking today.
As part of the Summer Institute, FTV-122D will include “hands-on” editing projects and labs.
ASSIGNMENTS AND EXAMS
ATTENDANCE AND PARTICIPATION: 25%
QUIZZES – 1 x 15% EACH 15%
SCENE ANALYSIS 20%
FINAL NYPD BLUE EDITING PROJECT 25%
FINAL NYPD BLUE Project Files/Organization 15%
Please note that you must have a current email address linked to your UCLA summer registration in order to receive
class updates and readings. Changes to the syllabus in the course of the Summer Session will be emailed to students
and posted on website
REQUIRED TEXTS:
The Technique of Film and Video Editing: History, Theory, and Practice
Ken Dancyger – Focal Press, 2010 ISBN: 978-0240800486
Grammar of the Edit
Roy Thompson, Christopher J. Bowen - Focal Press, 2013. ISBN: 978-0240526003
(Third edition – Second edition in e-book or paperback is also okay for class use.)
SUGGESTED TEXTS: Film Art: An Introduction
David Bordwell and Kristin Thompson
The Invisible Cut: How Editors Make Movie Magic
Bobbie O’Steen
Cut By Cut: Editing Your Film or Video
Gael Chandler
In the Blink of an Eye: A Perspective on Film Editing
Walter Murch
The History of Film Editing
Karel Reisz, Gavin Miller
On Film Editing
Edward Dmytrk
Film Editing: Great Cuts Every Filmmaker Should Know
Gael Chandler
First Cut: Conversations with Film Editors
Gabriella Oldham
Required texts are available for purchase at UCLA’s LuValle Bookstore just south of the Sculpture Garden
below Jimmy’s Coffee Shop. A copy of each of the required and suggested texts will be on reserve at the Arts
Library – Public Policy building. There will be handouts in addition to the assigned texts, which will be
posted on the class website.
All readings are to be completed prior to the class for which they are assigned.
____________________________________________________________________________
FTV 122D – SUMMER INSTITUTE - CLASS OUTLINE – SUMMER 2015
WEEK 1
Lecture
Labs – Week 1
WEEK 2
Special Lab
Lecture
Class Introduction – Syllabus
Overview – The Invisible Art & the role of the Editor
“The Cutting Edge – The Magic of Movie Editing” – DVD
Intro to Compressor / Transcoding / Final Cut Pro and Premier Editing
Editing Grammar / Concepts
Discussion / Clips: Coverage and Basic Shots
Required reading before class: Grammar of the Edit – Bowen/Thompson, Chapters 1 & 2
Transcoding Camera Exercises - bring footage from Production Exercise
Editing Grammar - Continuity Editing
Discussion / Clips: When to Cut and Why? – 6 Elements of the Edit
Required reading before class: Grammar of the Edit – Bowen/Thompson, Chapter 3
WEEK 2 – continued
Labs – Week 2 Project Management / Basic cuts / Importing music / DVD burning
Bring Footage from Production Camera / Editing Exercise
Lecture
Editing Grammar - Concepts
Discussion / Clips: Five Types of Edits
3D “reality” in a 2D format – Film Geography
Required reading before class: Grammar of the Edit – Bowen/Thompson, Chapter 4
WEEK 3
Lecture
Labs – Week 3
Lecture
Sound – Half the Story
Discussion / Clips: Dialogue, Sound Effects & Music
Required reading before class: Handouts on Sound
Audio Lab / Track management
Quiz #1: Editing Grammar / Concepts / Sound
Style - Cutting for Genre: Drama, Action & Suspense
Required reading before class: Dancyger, Chapter 21
WEEK 4
Lecture
Style – Cutting for Genre: Comedy & Romance
Required reading before class: Dancyger, Chapter 23
Labs – Week 4
Footage for Final Editing Exercise – Project Management
Lecture
Clip Analysis due - short paper or in-class presentations
Style – Cutting for Genre: Reality & Documentary
Required reading before class: Dancyger, Chapters 3, 24-27 (select pages only)
WEEK 5
Lecture
Continuing - Style – Cutting for Genre: Reality & Documentary
Short meeting with editors and ACs directly following class
PRODUCTION SHOOTS – NO CLASS
WEEK 6
Lecture
Editing History into Modern Times - a very brief overview
Required reading before class: Dancyger, select pages to follow
Lecture
NYPD Blue QT files and projects due – instructions to follow
FINAL DVDS FOR CLASS PROJECTS DUE
Screen NYPD Blude Editing Projects
Conclusion
COURSE SYLLABUS
Course #: FTV 122E
Course Title: Introduction to Digital Cinematography
Dates: See Full Calendar Below
Mondays & Wednesdays 10AM-1PM
*Workshops:
Friday – Section 1: 10AM-1PM, Section 2: 1PM-4PM
Friday – Section 1: 10AM-1PM, Section 2: 1PM-4PM
Instructor/Contact: Phil Klucsarits
Teaching Assistant/Contact:
Course Description:
The goal of this course is to introduce each student to the basic fundamentals of motion picture
cinematography, to include both technical knowledge and artistic application. Special focus will be
placed on the specific camera and lighting equipment to be used throughout the duration of the
Summer Filmmaking Institute. Topics will include, but are not limited to: camera operation, composition
and framing, lens choice, camera movement, setting proper exposure, lighting, collaboration, blocking,
continuity and all aspects of visual storytelling.
Recommended Readings:
• Digital Cinematography: Fundamentals, Tools, Techniques & Workflows; David Stump, ASC
• Cinematography - Theory and Practice; Blain Brown
• The ASC Manual - Tenth Edition; Edited by Michael Goi, ASC
• The 5 C’s of Cinematography; Joseph V. Mascelli
• The Visual Story - Creating the Visual Structure of Film, TV & Digital Media; Bruce Block
• Painting with Light; John Alton, ASC
• Reflections; Benjamin Bergery
• Set Lighting Technician’s Handbook; Harry Box
• American Cinematographer Magazine; Monthly Publication
• ICG Magazine; Monthly Publication
Attendance:
Attendance is mandatory. This class functions based on your attendance and participation, so please be
respectful of your classmates and arrive on time. Attendance and Participation at each class meeting is
imperative since there will not be an opportunity to make-up missed days.
Assignments and Grading:
Attendance and Participation in all class discussions is a primary factor in each student’s final grade, as is
the completion of each of the In-Class Exercises (5-7 throughout the quarter). There will be an In-Class
Camera and Lighting Concepts Quiz during the first class meeting of Week
#4 that will also be a large component of the final grade. The Advanced Camera and Lighting
Exercise Journal will consist of a brief description of these practice exercises, which will take place during
Workshop #2, held on the Friday of Week #4. These journals should include discussions of all creative
decisions made, challenges faced and problems solved during each exercise. The journals will be due
during the final class meeting, during Week #6 of the quarter.
Below is the weight given to each component of the course grade:
Attendance and Participation
In-Class Exercise Completion (5-7 Exercises)
In-Class Camera and Lighting Concepts Quiz (1st class of week #4)
Advanced Camera and Lighting Exercise Journal (due last class meeting)
20%
20%
30%
30%
Final Course Grade:
100%
A
B
C
D
F
(90-100%)
(80-89%)
(70-79%)
(60-69%)
(<59%)
Please note that ALL COURSE GRADES ARE FINAL.
COURSE OUTLINE
Class Meeting
Week #1
Topics Discussed
Introduction to class & institute structure
Safety briefing
Role of the cinematographer
Screen clips & short film
Composition & Framing
Frame size terminology
*Instructor demo of camera equipment
Week #1
Lens Choice
Exposure/F-Stop/Shutter/ISO
Depth of field
Camera operating
*Hands-on introduction to camera
equipment
Workshop #1
*Composition/Framing exercise
*Exposure setting exercise
*Camera operating exercise
*Focus pulling exercise
Week #2
Camera movement
Camera movement example clips
Static camera
Panning/Tilting
Dolly
Handheld
*Camera movement exercise with stations
Week #2
Lighting for emotional impact
Lighting example clips
Discuss lighting terminology & concepts
Color temperature
Types of lighting units
*Hands-on introduction to lighting
equipment
Week #3
Controlling light
Grip equipment
Gels
Diffusion
*Soundstage lighting exercises
Week #3
Day exterior lighting techniques
Bounced/diffused sunlight concepts
Screen day exterior lighting example clips
Assignments
Prepare for Camera &
Lighting Concepts
Quiz; during next
Week #4
*Day exterior lighting exercises
Shooting & Continuity rules
Coverage/covering a scene
180 Degree Line
Blocking a scene for camera
*Hands-on demo: blocking a scene
*In-Class Camera & Lighting Concepts Quiz
Week #4
*Additional soundstage lighting exercises
*Possible hands-on “Mock Shoot”
Workshop #2
*Advanced lighting exercises with stations
*Advanced camera exercises with stations
Week #5
No Class – Instructor will attend production
meetings to be held during FTV 178 class
Week #5
No Class – Final Shoots Taking Place
Week #6
No Class – Instructor will attend screenings
and critique session held during FTV 178 class
Week #6
Final color-correction process
Color-correction notes session on final
projects
Class & Final Project wrap-up
class meeting
Finalize Journal
submissions; due next class
meeting
Camera & Lighting
Exercise Journals due
FTV 178 – INTRO FILM AND TELVISION PRODUCTION LABORATORY
UCLA School of Theater, Film & Television Summer Institute
Class: Monday 2:00–6:00pm; Wednesday 2:00–6:00pm
COURSE OVERVIEW
FTV 178 offers a hands-on overview of the production process, from conceptualization to
postproduction. Through lectures, discussions, workshops and group projects; students will form a
basic understanding of the aesthetic and logistical decisions involved in making a film.
ASSIGNMENTS
Safety Training:
An online safety-training course is mandatory for all students to utilize UCLA equipment and sound
stages. Students must complete the online safety-training course BEFORE Monday June
30. Failure to do so will prevent you from shooting your Camera/Editing Exercise and participating in
any in class workshops or final projects.
Camera/Editing Exercise:
Working in groups of 3, each student will make their own 1-3 min. non-narrative exercise. Using the
cinematic tools introduced in Week 1, shoot and edit a multi-shot sketch of a location OR of a single
member of your group. Emphasis should be placed on composition, camera movement, shot size,
and focus. Once again, this a non-narrative exercise.
Here are some rules:
• You are not permitted to use sync sound, but may add music or sound in post
• Exposure and focus must be controlled manually.
• Projects will be shot during class on Monday, June 29 and screened in class on Monday, July 6.
Each student is responsible for editing his or her own sketch.
Final Group Project:
The final project will take the form of two short, sync sound narrative films. During Week 1 interested
students will pitch their ideas to the class and two projects will be selected for production by popular
vote. If your project is selected you will be expected to write the screenplay and adhere to Summer
Institute production guidelines. During Week 2 interested students will present a director’s pitch. Two
directors will be selected, one for each project, by popular vote. The class will then be divided into
two groups and every student will be expected to fill a major production role (producer,
cinematographer, editor, 2nd assistant director, assistant camera, 2nd assistant camera, gaffer, key
grip, production designer/wardrobe, sound mixer, DIT, script supervisor etc). During Week 3 faculty
will assign crew roles based on each student’s interest and aptitude. The class TA will be the on-set
Assistant Director for each production.
We will discuss the project in more detail as it approaches, but in the meantime, be aware of the
following restrictions as you formulate your pitches:
•
•
•
•
•
Scripts should be no longer than 5 – 6 pages, no more than 4 – 6 scenes.
Shoots are limited to two days, 12 hour each day total.
No more than 3 characters.
All shooting must be on campus. No exceptions.
No more than two locations.
•
•
Each group will be allowed up to one full day on a sound stage.
No moving cars, no guns, no stunts or practical effects. No night shoots.
EVALUATION AND GRADING
Attendance & In-class Participation*
Online Safety Training Course
Camera/Editing Exercise
Final Project*
35%
10%
20%
35%
* Attendance is mandatory. Class will begin at 2pm sharp. Late or unexcused absences will have an
effect on your grade.
** Your grade on the final project will be based on your specific work as a crew member as well as
your participation in the development, production and postproduction process of the short as a
whole. The TA will be on set at all times to help guide but also evaluate the performance of each
crew member.
COURSE SCHEDULE
Week #1
Class Introductions / Syllabus Overview
Lecture: Blocking, Composition/Framing, Camera Angle, Camera Movement,
Source & Score Music
Assignments:
- Location scout for Camera/Editing Exercise (Send Photos to TA);
- Online Safety Training Course – DUE Sunday, June 29 by 11:45pm
- Read script for Fran’s Daughter
Short Film Screenings & Discussion on Narrative Possibilities
• Fran’s Daughter (Eric Martin, 2011, 13 min.)
• Keys.Phone.Wallet (Juliet Lashinsky-Revene, 2011, 11 min.)
• The Strange Ones (Christopher Radcliff & Lauren Wolkstein, 2011, 14 min.)
Review & Discuss Location Photos. Assignments for Camera/Editing Exercise
Discussion of final group Narrative Project. Notes on how to pitch
Assignment:
- Interested students prepare pitch for final project
- Online Safety Training Course – DUE Sunday, June 29 by 11:45pm
Week #2
Shoot Camera/Editing Exercise; Equipment checkout @ 1pm (TA & Students)
Lecture: Crew Positions
Joint Pitch Session with both Production Labs
Discussion & vote on final group projects with preliminary crew assignments
Assignment:
- Edit Camera/Editing Exercise
- Write scripts for selected final projects
Week #3
Screening and Critique of Camera/Editing Projects
Assignment:
- Continue writing scripts for final projects
Casting & Directing Workshop
Visit from Christina Carrea to discuss Permits/Casting/Props etc.
Joint Read and Discussion of Scripts with both Production Labs
Week #4
Production Sound & Recording – Workshop by TA
Practice Shoot
Lecture: Production Procedure and Set Protocol
Lecture: Director’s Shotlist & Floorplans
Second Drafts of Narrative Projects Due for Class Discussion
Week #5
Production Meetings for Narrative Projects – Review Shot Lists, Shooting
Schedules, Call Times, etc.
Group Narrative Project Production Days (2 Days Total)
Week #6
Joint Screening Rough Cuts with Discussion
Final Screening