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Joni Varner

Lecture Outline & Test Terms for 2013 Book (Cinema 1 / Exam #3)

Page numbers are from: The Filmmaker's Handbook 2013 Edition. You will need to bring a Scantron (#882) form to class (for sale in the LACC Bookstore an ASG) and a #2 pencil. This is NOT an open book test, but use of an English/foreign language dictionary is allowed.

Chapter 13: Picture & Dialog Editing pp. 521–543

  • editing / cut (p. 521)
  • Montage Theory (pp. 332-3, 521-524)
    • Russian, Hollywood
    • mise-en-scene (French)
  • invisible / match cutting (pp. 526-30)
  • intercut / parallel editing (pp. 529-30)
  • three shot sequence (p. 523)
  • story structure (pp. 524-5)
  • cut on the action (pp. 526-7)
  • jump cut (p. 528)
  • screen direction & 180-degree rule (p. 529)
  • screen direction like a map (p. 529)
  • joining sequences (pp. 525-6)
    • straight cut, dissolve, fade
  • dialogue editing (pp. 531-3)
  • editor & assistants jobs (pp. 533-40)
    • Supervising Film Editor, etc.
    • capturing/logging footage, media mgmt.
  • Editor's to Director's to Distribution Cuts (p. 534)
  • assembly, rough, fine cut, picture lock (p. 537-8)

Chapter 14: Editing Digital Video  only pp. 544–562; 601; 625-631

  • NLE (non-linear editor) (p. 544)
  • DAW (digital audio workstation) (p. 556)
  • Turnkey systems (p. 546)
  • Software Systems (pp. 546-7)
    • **Resolution Independent (Agnostic)
  • Nonlinear Editing Equipment (pp. 547-52)
    • Computer & RAM
    • CPU & GPU (pp. 547-8)
    • monitors (picture & sound)
    • video, graphics, capture cards
    • Input & Output
    • Ingest device (camera, card reader, etc)
    • Conversion boxes (I/O Devices)
    • Storage (hard drives, etc.) (pp. 238-42)
    • RAIDs (p. 240)
    • FireWire & Thunderbolt™, USB, SDI, HDMI (pp. 237-8)
  • On Line vs. Off Line (pp. 554-62)< >Off Line (rough, SD, non-native codec)On Line (final, HD, native codec, color correct)
  • SMPTE Time Code (p. 223)
  • EDL (edit decision list) (p. 554)
  • Pulldown (film or video) (p. 601 only)
    • 3:2 or 2:3 normal pulldown
  • Colorist or Grader (pp. 626-31)
    • overall look, consistency, exposure errors, broadcast legal, waveform and vectorscope
  • **DaVinci Resolve™
    • LUTs (Look Up Tables) (p. 631)
    • DCP (Digital Cinema Package) (p. 625)
  • Composites (pp. 590-593)
    • Chromakey (pp. 211-2)
      • blue/green screen
      • mattes shot (hold out) (p. 212)
      • background plates
  • CGI (Computer Generated Imagery) (p. 590)
  • **(MoCap) Motion Capture
  • Pre-Viz  (Pre-Visualization) (p. 355)
    • Director tool for live action & CGI integration
    • **Post-Viz: adding existing animation to live action footage after photography

Chapter 5: Video Image  only pp. 207–216; 227-252

  • Types of digital projection (p. 218)
    • LCos™ (SXRD™) and DLP™
  • analog / digital (pp. 227-33) tape or disc
  • A to D conversion
  • Pixel Resolution (p. 230)
    • Aliasing (too little resolution)
  • Pixel Bit Depth or Precision (pp. 230-2)
    • Posterization (too low of a bit depth)
      • 8 to 10 bit color
  • Pixel Aspect Ratio (p. 232)
    • Square vs. Non-Square
  • Color Sampling (pp. 207-11)
    • Y=luminance or brightness
    • C=chrominance (color)
    • 4:4:4 (Full color resolution)
    • 4:2:2 SD & HD high quality systems
    • 4:1:1 MiniDV
    • 4:2:0 AVCHD, HDV, DVD, MPEG2
  • Deinterlacing (p. 213)
  • Rolling Shutter (p. 215-6)
  • Data Rate (bandwidth) (p. 236)
    • Mbps (MegaBITS per second)
    • MBps (MegaBYTES per second)
  • Media Files vs. Metadata (p. 242)
  • Wrappers (containers) (pp. 242-52)
    • QuickTime™ (.mov)
    • Windows Media™ (.avi)
    • MPEG4 (mp4)
    • MPEG transport stream (.mts)
    • MXF™, AAF, OMF™
  • Digital Compression (p. 245)
    • Codecs (compressor/decompressor)
      • Hardware or software based
    • Intraframe (within the frame)  (p. 246)
      • JPEG  (JPEG 2000)
      • Apple Pro Res™ & Avid DHxHD™
    • Compression Ratios (p. 246)
      • DigiBeta™(2:1), DV(5:1), DVD(40:1)
    • Interframe (between frames) (pp. 246-7)
      • MPEG
        • MPEG-1 (MP3)
        • MPEG-2 (ATSC, DVD, cable, satellite)
        • MPEG-4 (AVCHD, DSLRs, Blu-ray™)
        • H.265 (HFVC)
      • GOP (group of pictures) (pp. 246-8)
    • Constant & Variable Bit Rate (pp. 249-50)

Chapter 15: Sound Editing & Mixing pp. 635–674

  • sound editor / designer (p. 635)
  • splitting & track building (p. 637)
  • sweetening (p. 637)
  • production audio (raw location sound) (p. 637)
  • rerecording mixer (p. 650)
    • mix or dub stage
  •  music supervisor, music editor (p. 636)
    • composer scores the music
    • temp tracks (p. 646)
    • spotting (cue sheets) (p. 647)
  • mixing projects (p. 637-42)
    • mixing all on NLE edit (offline) (p. 636)
    • mixing on-line
      • NLE edit, DAW track work, mix in studio
  • On-Line tools (pp. 639-42)
    • near field speakers, mixing console
    • DAW: ProTools™ or Nuendo™
  • SFX (p. 644)
  • sound / Foley stage (p. 644)
  • smooth sound with 2 frame crossfades (p. 642)
  • ambient sound & room tone (p. 645)
    • bed or walla noise (continuous)
  • Using copyrighted music (pp. 741-6)     
    • Fair Use (p. 742)
    • synchronization rights/ master use license
      • all media / all territories
      • film festival rights, Non theatrical (p. 745)
      • Options: Web/Internet/DVD/VOD
      • MFN: Most Favored Nation (p. 745)
      • ASCAP™, BMI™, SESAC™ (p. 744)
  • music library /web (pp. 745-6)
  • music creation software (p. 648)
  • the sound mix - rerecording (pp. 658-68)
    • mix takes 2-10 times project length (p. 658)
  • individual track building & splitting: 100+
    • Tracks for mix:
      • 1) dialogue/sync sound
      • 2) narration
      • 3) music
      • 4) effects
    • all tracks played back in sync with picture
    • levels are adjusted & equalization applied
    • compressor: reduces loudest sounds (p. 660)
    • mixed sound rerecorded for final output
  • M and E tracks & dialogue  (p. 673)< >Output to Stereo: (pp. 669-72)5.1 Surround (Dolby Digital™ AC3Dolby Surround Pro Logic II™7.1  Surround with Dolby Digital Plus™ & Sony SDDS™ (p. 671) & *DTS™**THX™ is a certification system (p. 716)
  • Deliverables (p. 673)

Chapter 16: Working with Film in Post only pp. 675–685  

  • **film editing flatbeds Steenbeck™, KEM™
  • Telecine (real time) (p. 683)
    • Linear Array CCD Scanner (DFT Spirit™)
    • Film Chain (inexpensive)
    • Flying Spot Scanner (Cintel™)
  • Film scanner (digitizes in high res.) (p. 676, 683-5)
  • Film recorder (out onto film) (pp. 677, 703)
  • Shoot Film: Transfer Once: Finish Digital (pp. 677-9)
  • Shoot Film: Transfer Twice: Finish D.I. (pp. 681-3)
    • All footage transferred (digital dailies: cheap)
    • Synched and Offline edited
    • Negative Cutters pull final footage
    • Online edit: VFX, Dust Bust, Color, LUT, then DI
  • Digital Intermediate (2k/4k): Can produce multiple outputs: Film/DCP/Digital (p. 685)
  • **film printers: optical printer

Chapter 17: Producing & Distributing pp. 718–766

  • Development (pp. 718-22)
    • One Sheet/ Logline/Summary
  • Funding / ROI (return on investment) (pp. 722-6)
    • LLC (Limited liability Company) LP
    • Equity financing (points)
    • MG (minimum guarantee) foreign sales
    • Tax Incentives
  • Crowd funding (Indiegogo™; Kickstarter™) (p. 725)
  • In-Kind Contributions (cashless) (p. 725)
  • Corporate & Sponsored Films (pp. 726-7)
  • Nonprofit (501C) (p. 723)
  • Grants: Outright/Matching/Postproduction (p. 724)
  • Budget estimate & formats (p. 727-9)
    • pre, production & post budgets (p. 728)
    • above- & below-the-line (p. 728-9)
  • Distribution costs (printing/ marketing) (p. 747)
  • Negative Costs (prior to distribution) (p. 728)
  • contingency (5%-15%) (p. 728)
  • overhead/indirect - costs of business (p. 728)
  • unions (p. 732)
  • Day Rate/OT/ Deal Memo /Turnaround (pp. 731-2)
    • **IATSE/SAG-AFTRA
  • points: gross (good) vs. net (bad) (p. 751)
  • deferred salaries (p. 728)
  • insurances (pp. 735-6)
    • General Liability
    • Equipment/ Negative Tape
    • Extra Expense/Completion Bond
    • E&O Insurance (p. 738)
  • Protecting your work
    • copyrighting © (pp. 737-8)
    • using copyrighted material: (pp. 741-7)
  • talent releases (form on p. 739)
  • distribution (pp. 747-765)
    • theatre, TV, home, websites, foreign, VOD
    • Festivals & Markets (p. 761)

**Found in lecture notes ONLY


There will be a total of 50 questions in the format of Multiple Choice and True/False.
There will also be extra credit questions on the videos that have been shown in class.

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