Contents

Foreword by Simon Ashcroft

Acknowledgements

Chapter 1. What Is This All About?

1.1  A Brief Introduction

1.2  Do You Really Want to Be an Editor?

1.3  Why You Might Just Listen to Me

1.4  My Background

1.5  How to Use This Book and Its Data

1.6  Let’s Get Limbered Up—Material for the Exercises

1.7  How to Join This Happy Band

Chapter 2. Shots, Our Building Blocks

2.1  Shot Sizes

2.2  How the Shot Moves

2.3  What the Shot Does

2.4  Special Shots

Chapter 3. Joining Shots Together

3.1  The Mechanics

3.2  Joining Shots Together, the Don’ts

3.3  Key Points—Joining Shots Together, the Don’ts

3.4  Joining Shots Together, the Dos

3.5  Key Points—Joining Shots Together, the Dos

Chapter 4. Dealing with Dialogue

4.1  Fundamentals of Editing Speech

4.2  Rhythm of the Spoken Word

4.3  Editing Dialogue

4.4  Key Points—Dealing with Dialogue

Chapter 5. Creating Sequences

5.1  Pace and Timing

5.2  Eliminating Unnecessary Pauses

5.3  Continuity

5.4  Cutaways

5.5  Flow

5.6  Time Jumps

5.7  Editing without Dialogue

5.8  Key Points—Creating Sequences

Chapter 6. Scene Construction

6.1  Where to Start?

6.2  Scene Assembly Fundamentals

6.3  Key Points—Scene Construction

Chapter 7. Joining Scenes Together

7.1  Scene Transitions—A Look at the Range of Possibilities

7.2  Repeated Transitions—Cross-Cutting (or Parallel Action)

7.3  Key Points—Joining Scenes Together

Chapter 8. Different Programme Styles

8.1  Comedy Shows

8.2  Panel and Game Shows

8.3  Interviews and Chat Shows

8.4  Documentaries

8.5  Trailers and Promotions

8.6  Key Points—Different Programme Styles

Chapter 9. Sound Matters

9.1  Get the Room Right

9.2  Sound Levels

9.3  Sound Monitoring

9.4  Split Tracks

9.5  Wild Tracks

9.6  Sound Effects

9.7  Sound Mixing

9.8  Sub-Frame Editing

9.9  Sound Processing

9.10 More Specialised Sound Processing

9.11 Additional Dialogue Recording

9.12 Foley Sound Effects

9.13 Key Points—Sound Matters

Chapter 10. Music, Music, Music

10.1 An Introduction to Music in the Movies

10.2 A Brief History of Music in the Movies

10.3 Back to Practicalities

10.4 A Spoonful of Music Theory

10.5 Key Points—Music, Music, Music

Chapter 11. Scenes of Style

11.1 Flashbacks

11.2 Flashbacks—Examples

11.3 Dreams and Nightmares

11.4 Dream and Nightmare—Examples

11.5 Action Sequences

11.6 Action Sequence—Examples

11.7 Montage with and without Music

11.8 Montage—Examples

11.9 Reconstructions

11.10 Some Exercises for You to Try

Chapter 12. Video Manipulation

12.1 Motion Effects

12.2 Keying

12.3 Types of Key—Luminance, Chroma, and Matte

12.4 Graphics

12.5 Multiple Images

12.6 Multilayer Video Sticking Plaster

12.7 Colour Correction

12.8 Effects—Those You Should Carry with You

12.9 Key Points—Video Manipulation

Chapter 13. Editorial Responsibility

13.1  Editorial Responsibility—An Introduction

13.2 Taste and Decency

13.3 The Range of Compliance Categories

13.4 Other Compliance Issues

13.5 A Look at Copyright

13.6 Key Points—Editorial Responsibility

Chapter 14. Timescales

14.1 Past and Present

14.2 An Editing Schedule for Still Open All Hours (2014)

14.3 An Editing Schedule for Rock n’ Chips (2010)

Chapter 15. Projects—Crossing Ts and Dotting Is

15.1 Bin Management

15.2 Media Management

15.3 Timeline Management

15.4 Your Assistant and You

15.5 Capturing Multicamera Material

15.6 Labelling Clips Sensibly

15.7 Keeping a Copy

15.8 Clock Information

15.9 Top and Tails: Leaders, Titles, and Clean Elements

15.10 Scripts

15.11 Panning and Scanning

15.12 Offline and Online

15.13 Tapeless

15.14 Key Points—Projects—Crossing Ts and Dotting Is

Chapter 16. The Final Days

16.1 Handover

16.2 Elements That Are Worth Keeping

Chapter 17. My Last Bits of Advice

17.1 The Day-to-Day Use of the Edit Suite

17.2 Is That All Right?

17.3 You’re the Host

17.4 Attitude

17.5 CVs

Chapter 18. In Conclusion

Appendix 1. Loading the Exercise Media

Appendix 2. A List of the Exercises

Appendix 3. My CV

Appendix 4. Abbreviations

Index

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