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)
- 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)
- Pixel Aspect Ratio (p. 232)
- 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)
- 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)
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)
- 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.