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Digital Editing | Course MD 502

Lecturer | Maria Mohr
Teaching Assistant | Abla Mohamed



"She said that ‘A film should offer something to everyone - images, sounds, emotions, maybe a story, but above all the chance to feel something’ and that she wishes ‘to project real things but not to make realistic films’. Even the making of films should be non-linear: ‘Write-shoot- edit-shoot-edit-write: an integral process’. To begin a film neither script nor even idea is necessary. You can ’start with an image’ which itself can be surreal for instance ‘If my aunt had wheels she would be a beautiful bus’." Fine Cuts - The Art Of European Film Editing

"The reason a shot is made is not always the reason you use it and that’s such an important thing to keep telling yourself." Fine Cuts - The Art Of European Film Editing





Self Assembling

Assemble Shots, Assemble Yourself

Prelinger Archive Access on campus

"Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 60,000 "ephemeral" (advertising, educational, industrial, and amateur) films."



"For years I worked exclusively on sound editing and even now - when I’m editing a scene - I look for the best acted parts of the dialogue, the footsteps, the pauses, which in the context of a completely edited scene, can change and enrich the pace and the emotion of the scene itself." Fine Cuts - The Art Of European Film Editing

Sound Archives:

https://soundcloud.com/london-sound-survey
https://www.freesound.org/search/?q=cat
https://www.audioblocks.com
http://www.freesfx.co.uk



Course Outline:

The Digital Editing Course is an introduction in the fundamental techniques and concepts of Digital Video Editing and Visual Storytelling. Students will get introduced into the basic editing principles as well as into the history of editing, montage and visual storytelling.

The concept of visual storytelling will be explored and analyzed within various time­based media applications with the emphazis on the inter­relation of image, sound and time. The course will guide students through the whole process of video editing starting with media management, the developement of narrative strategies to image sequencing and story continuity, the use and effect of sound and end with an introduction to different post-production techniques like color correction, filters, subitles etc. Students will learn to apply these concepts and methods to their own digital video projects to create unique visual stories with the use of digital technology.



Class Rules

01. No use of phones in class.

02. Drinks are allowed in class.

03. Food is NOT allowed in class.

04. Attendance of both slots is mandatory, excluding emergencies.

05. No attendance is counted for late comers.

06. Late submissions are allowed with a 10% deduction per day.



Assignments and Grading

01. Use footage from the Prelinger archive to create a short silent film. Provide the links of the footage and provide a timeline screenshot. 25%

02. Use footage and sounds from the Prelinger archive and the sound archives to complete your silent film. Provide the links of the footage and sounds and provide a timeline screenshot. 25%

03. Cinema Pecha Kucha (in groups of 3) - analyse the editing techniques of one film from the list below in 10 slides per person and 20 seconds per slide. 20%

04. Write a 500 words report about a film from the panorama of the european film festival. 10%

05. Classwork - participation in classwork activities and discussions. 20%



Film List

	•	Tokyo Story / Tokio Monogatari (1953) - E: Yuharu Atsuta; D: Yasujiro Ozu
	•	Hiroshima Mon Amour (1959) - E:Jasmine Chasney, Henri Colpi, Anne Sarraute; D: Alain Resnais
	•	US Go Home (1994) - E:Dominique Auvray; D: Claire Denis
	•	Divine Intervention (2002) - E: Véronique Lange; D: Elia Suleiman 
	•	Dogville (2003) - E: Molly Malene Stensgaard; D: Lars von Trier  
	•	Longing (Sehnsucht) (2006) - E:Natali Barrey, Bettina Böhler, Valeska Grisebach; D:Valeska Grisebach

References to use for research:

	•	Montage. Sam Rohdie, Manchester University Press, Manchester: 2006
	•	Fine Cuts - The Art of European Film Editing. Roger Crittenden, Focal Press, 2006
	•	In the Blink of an Eye: A Perspective on Film Editing. Walter Murch, Foreword by Francis Ford Coppola, Silman-James Press 2001
	•	Senses of CinemaFilmsiteTaste of CinemaNo Film SchoolEvery Frame a PaintingFilmmaker IQLearn About FilmThe Cutting Edge


Date Topic Assignments
SEP 19/20 • Introduction to the team.
• Introduction to the course and timeline.
• Pecha Kucha group formation.
• Ordering Project Folders for Editing.
Films&Discussion:The Memo book by Matthias Muller, People Like us - Story without end by Vicki Bennet.
• Bring a self portrait.
• Find footage from the archive and work on a first assembly of shots that you want to work with for the silent film.
SEP 26/27 Films&Discussion:A Movie by Bruce Conner.
• Creating correct sequence settings for the footage at hand. HD PAL
• Editing Techniques and Montage theories.
• Cuts and transitions 101 by Rocketjump film school
• The History of Cutting - The Soviet Theory of Montage
• A space odyssey: 2001 by Stanley Kubrick (Opening Sequence)
• Work on a first rough cut for your silent film. Use the editing techniques as a reference.
OCT 03/04 Films&Discussion: Tribute to Ruttman: Berlin: Symphony of a Great City., Opus 1
• Consultations.
• Work on your rough cut.
OCT 10/11 Films&Discussion: The Passenger: Reporter (1975) by Michelangelo Antonioni (first half)
• Exporting Settings.
• Consultations.
• Finalize your silent film for submission, include a title for your film and credits. Submit a folder with your exported film and a screenshot of your timeline.
OCT 17/18 • Silent Film Submission & Screening
OCT 24/25 Midterm Week // No Class -
OCT 31/ 01 NOV • Tokyo Story
NOV 07/08 • Hiroshima Mon Amour
NOV 13 Excursion to Panorama Film Festival. -
NOV 14/15 • US Go Home
NOV 21/22 • Divine Intervention
NOV 28/39 • Dogville
DEC 05/06 • Longing (Sehnsucht)
• Sound Film Submission
• Last Class.
DEC 10 Screening!