Video Editing

Ricordi, (Recuerdos) es en primer lugar, una investigación que se desarrolla alrededor del deseo personal de hablar de mis inquietudes, basadas en un fuerte sentimiento melancólico y de incertidumbre.
Estas inquietudes se fomentan a partir de unas cuestiones y perplejidades interiores que quiero resolver.
¿Cómo es afectado el trabajo de un creativo que vive de sus recuerdos y teme el futuro?
En la primera parte de este trabajo se explica el desarrollo de los términos relativos a la melancolía, desde la antigüedad hasta la actualidad, a partir de una análisis de las ideas y opiniones de varios
referentes de distintos siglos y la forma de la cual cada uno de ellos
habla sobre este añoro.
Mas tarde analizo dos proyectos personales y como han influenciado
la evolución de este ultimo trabajo, a partir de la definición de
conceptos como la memoria y el tiempo.
Consecuentemente atribuyo a la melancolía la capacidad de influir
en la creatividad del artista analizando también la teoría, proveniente
de la astrología, de la influencia de Saturno.
Para concluir la parte teórica, hablo de la condición melancólica del
artista y presento una serie de producciones que emplean una serie
de códigos que evocan un carácter melancólico.
Finalmente en la parte practica, describo todo el proceso de creación
del proyecto desde la planificación hasta la formalización del vídeo,
haciendo también una reflexión de como mis referentes estéticos
han influido en el aspecto final de la pieza.

Artikel ini ditulis untuk memberikan bekal teori dan praktik kepada mahasiswa, yang selama ini kesulitan menerapkan bahasa rupa sebagai konsep/dasar penciptaan karya seni rupa atau desain, dan juga ditulis bagi mahasiswa yang kesulitan dalam menerapkan teori bahasa rupa untuk menganalisis karya seni rupa dan desain (DKV, Interior, Tektstil, dll.). Kesulitan itu terjadi karena teori bahasa rupa yang telah ditulis sampai saat ini, masih sulit dipahami oleh mahasiswa, karena mungkin masih belum dikemas menjadi tulisan yang memadai untuk teori dan praktik berkarya seni rupa dan berkarya desain.

Fotoğrafın icadı, ilk filmleri olanaklı kılan bir dizi keşfi başlatmıştır. Nitekim sinemacılar ilk filmleri oluştururken çoğunlukla basit bir yol izlemiştir: Çekim için ilginç bir konu bulunmuş ve olayların yalın halleri kayıt altına alınmıştır. Bununla birlikte, çekimlerin öykü ile uyumlu bir biçimde sıralanması, “kurgu” kavramını ortaya çıkarmıştır. Böylelikle yönetmenler yeni anlatım yöntemlerini denemeye başlamıştır. Çünkü kurgu, film diline özgü bir anlatım yöntemidir. Kurgu için kullanılan bir diğer yaygın tanım da, “montaj”dır. Sinemada ve televizyonda görüntüleri ve sesleri düzenleyen kişiler için “kurgucu” ya da “montajcı” ifadeleri kullanılmaktadır. Yapımsonrası aşamada kurgucu, sanatsal ve teknik becerilerini birbirinden bağımsız çekimleri birleştirmek için uygular. Bir sinema filminde, kurgucu ve kurgu asistanlarından oluşan bir ekip çalışabilir. Ancak televizyona yönelik yapımlarda çoğunlukla, kurgu sürecinde bir ya da iki kurgucu bulunur. Televizyonda çalışma koşulları değişkendir. Bu nedenle, bazı yapımlarda kurgucu aynı zamanda tüm kurgu sürecini yöneten kişi veya kişiler de olabilir. Çalışmanın amacı, kurgucuların mesleklerinde yaşadıkları değişimleri ve sorunları ortaya koymaktır. Araştırmada, meslek sorunlarına yönelik akademik kaynakların yetersizliğinden ötürü, bir anket uygulaması yapılmıştır. Bu bağlamda, anket soruları meslek sorunlarına ve çalışma koşullarına yönelik hazırlanmıştır. Soruların analizinde, “SPSS for Windows” yazılımından yararlanılmıştır. Anket çalışması, betimsel türde bir çalışmadır ve analizin farklı alanlarda çalışan kurgucular ile yapılması araştırmanın temel kısıtıdır. Elde edilen bulguların bazıları, tablolar yardımıyla yorumlanmıştır. Sonuç bölümünde, Türkiye’de kurgu sektöründe çalışan kişilerin meslek sorunları özetlenmektedir.

În acest ghid, vom învăța elementele de bază ale editării video folosind un anumit instrument software open-source, Shotcut, care este disponibil pentru descărcare gratuită la Shotcut.org. Scris inițial (ca multe alte programe open-source) pentru Linux, Shotcut rulează acum la fel de bine pe Windows și Mac OS.

From its outer cover to its final paragraph, renowned picture editor Paul Hirsch's book, "A long time ago in a cutting room far, far away…."is a treasure. On a dust jacket featuring endorsements from the likes of J.J. Abrams, Taylor Hackford, and Mark Hamill, fellow editor Walter Murch entices readers inside the book with the praise, "Paul's invaluable tips and insights, hard won through experience, will brilliantly illuminate the creative process for aspiring filmmakers and enthusiasts alike." The 360+ pages within fully bear out Murch's acclaim. Hirsch takes readers on a journey through his extraordinary career with a writing style that is clear, entertaining, and rollicking. Seemingly no story is left untold, no craft secret is left unshared, and in his closing paragraph Hirsch creates a musical metaphor that is a dead-on description of editors' work. "Being an editor on a movie is like being in a band. We are certainly not the lead vocalist, nor perhaps even the brooding, mysterious solo guitarist. We are more like the bass player or the drummer. Our contribution is taken for granted, but we can make a huge difference. I've played in some terrific bands in my life, and it has been a blast." The tone of this statement captures not only Hirsch's writing style, but also the cultural underpinnings of a man in his twenties who cut his first theatrical feature in 1970, (Brian De

Readers The Art and Craft of Motion Picture Editing by Michael Hoggan (ACE) might be tempted to begin at the end, rather than the beginning of this slim volume. That would be a good choice since the Appendix, "Film Production's Historical Timeline" is a valuable addendum to a useful book. This list was compiled by Hoggan, Conrad Denke, Donald Petrie, Richard Leeman, Fred Ginsberg, and Joel Kranz in March, 2020. They created a document that is much more than a simple chronology. It covers not only film, but also radio and television, noting inventions, technologies, the people involved, and including all-important patents and legal decisions. There is informed and good-humored commentary such like that in the

This textbook is about basic television production techniques. The book is written in simple language for graduate and postgraduate students covering topics related to photography, video camera handling, sound, lighting, television news writing, documentary, news production, television reporting, video editing, graphics, make-up, set designing and television presentation. This book was part of the national Textbook Writing Project commissioned by the university.
This book can be purchased from the sales counter of the university. Email: https://www.mcu.ac.in/
Page: 167
Price: Rs. 175/- (Paperback)
Publisher: Makhanlal Chaturvedi National University of Journalism and Communication, Bhopal, India

Teori dan pendebatan tentang teknik penyuntingan Montage dalam sesebuah filem telah bermula sejak tahun 1920an. Nama Montage diambil daripada perkataan Perancis iaitu "Monter" yang bermaksud pertemuan iaitu suatu proses yang melibatkan dua imej filem yang berlainan digabungkan dan gabungan itu menekankan kepada sesuatu pengertian atau makna yang lain. Ia suatu kaedah dimana dua shot yang tidak barkaitan digabungkan dan menjadi maksud yang berbeza. Sergei Eisenstein merupakan seorang tokoh yang penting dalam perkembangan bidang penyuntingan kerana beliau telah mengemukakan naskhah berjudul The Film Sense. Montage sebagai pecahan yang menjadi kepingan dan tokoh yang terlibat dengan teknik Montage ialah Lev Kuleshov, Vsevolod Pudovkin, Dziga Vertov dan Sergei Eisenstein.

Many directors used controversial characters in a film to show how the moral values in the society are not always black and white. The editing should be done in a way that makes the main protagonist stand out in the film. Despite Liko’s character’s crime and morally grey actions throughout the movie, the audience finds themselves wanting to support the main character in his fight against the portrayed antagonists – the police.

I will use this piece to research and experiment with different editing approaches that relate to the use of the content of shots, rhythm, transitions and different type of edits. Edits can be used to make the narrative structure of shots and the characters in the story influence the audience in a positive way, so that they can “be transported somewhere else, to relate to or even care about other “people”” (Bowen and Thomson 2013, p. 220).

Analysis of how the editing choices in the animation feature film "Perfect Blue" are accurately studied and performed to reflect the psychological crisis the protagonist faces.

Published on "First Frame" (Spring 2021), BFE (British Film Editors) official magazine.
Edited by: Alan Miller (https://www.imdb.com/name/nm0000083/)

Adendo do tutorial do software Adobe Premiere CS4 no quesito exportação e codecs. Esse passo-a-passo também funciona para os programas CS5 e CS6. Versão atualizada da parte do tutorial que fala da exportação do vídeo agora com o acréscimo do programa Adobe Media Encoder.

Kantor Pelayanan Pajak adalah unit kerja dari Direktorat Jenderal Pajak
yang melaksanakan pelayanan di bidang perpajakan kepada masyarakat. Salah satu masalah yang terjadi di KPP Pratama Wonosari adalah menginformasikan cara membayar pajak menggunakan sistem E-Billing. Kesadaran membayar pajak dan tata cara membayar pajak menggunakan E-Billing masih perlu disosialisasikan.
Dalam penelitian ini, penulis akan membahas mengenai pembuatan
animasi Motion Graphic tata cara pembayaran pajak dengan E-billing pada KPP Pratama Wonosari yang dibuat dengan bantuan Software After effect, CorelDraw, Adobe Audition dan Adobe Premier. Tujuan pembuatan animasi Motion Graphicini adalah untuk mempermudah menginformasikan tata cara pembayaran pajak dengan E-billing kepada masyarakat, dengan adanya animasi Motion Graphic ini tidak hanya terbatas pada teks dan gambar saja namun dapat menawarkan nilai
lebih seperti animasi, audio dan video.
Dari pembuatan animasi Motion Graphic ini, penulis berharap masyarakat lebih mudah mengerti tentang cara pendaftaran serta penggunaan E-billing. Video ini bisa diputar dimedia layar KPP Pratama Wonosari, instagram maupun youtubesehingga masyarakat bisa mengetahui tentang cara pendaftaran serta penggunaan E-billing
Kata Kunci: Motion Graphic, E-Billing, tata cara menggunakan E-billing

Bu rehberlerde; video ile ulaşmayı amaçladığınız hedef için en uygun formatı belirlemek, en uygun içeriği oluşturmak, bu içerik için en efektif programı yapmak ve uygun araçları belirlemek ve videonuzu en etkili kanallar üzerinden dağıtıma sokmak konularında size yol gösterecek önerilerimiz var.

Kualitas suatu konten video biasanya akan sangat dipengaruhi oleh keahlian editor. Nah, bagi seorang editor untuk dapat menghasilkan video berkualitas tentunya selain karena kemampuan mengedit yang baik juga didukung oleh software editing video terbaik dan mumpuni. Jika kita mencari aplikasi edit video, saat ini ada banyak sekali pilihan yang kita dapatkan, baik yang free atau berbayar. Namun, karena banyaknya pilihan tersebut justru membuat kita malah makin kebingungan untuk memilih. Tetapi tenang saja, kali ini kita akan membahasnya supaya kamu tidak galau lagi. Dalam artikel ini saya telah mengumpulkan pilihan software video editing yang umumnya dipakai oleh editor profesional maupun pemula. Tapi perlu diingat, kamu juga harus menyesuaikan dengan kebutuhan supaya tidak mubazir. Software edit video PC yang akan kami rekomendasikan ini memiliki banyak sekali fitur unggulan yang dapat mendukung proses mengedit video semakin mudah dan hasilnya bagus. Oh iya, tentang cara penggunaannya juga tidak begitu sulit karena saya sudah menanyakan ke beberapa forum mengenai macam-macam software editing video yang akan dibahas ini. Oke, langsung saja ke pokok pembahasan. Macam-Macam Software Editing Video PC Terbaik Saat Ini Materi yang ada dalam ulasan ini merupakan pendapat admin pribadi dan dari rekomendasi teman-teman yang ada di froum tempat saya bertanya. Jadi, kalau dirasa kurang tepat bisa memberikan saran melalui kolom komentar dan akan saya tambahkan saran dari kamu dalam artikel ini.

This essay is a call for a more thoughtfully descriptive pedagogy to enliven the experience of learning digital editing in video and film production classes.  Film sound editor Walter Murch struggles to name this engagement with technology that melds art and craft, called editing.  His language is descriptive and rich with metaphors and analogies as he knits his notions of editing with similar experiences others might have had while working the editing craft.  He names surgery, playing an instrument, and writing as he gathers his thoughts to find analogous notions to juxtapose with the experience of editing visual material.  Insights by Murch and other professional editors and textual references by existential philosophers offer five metaphors to consider when teaching and “naming” the editing experience for students: Orientation metaphor, Container metaphor, Tool metaphor, Movement metaphor, Building metaphor and Analogy.

Digital video is becoming increasingly ubiquitous. However, editing video remains difficult for several reasons. It is a time-based medium, it has dual tracks of audio and video, and current tools force users to work at the smallest level of detail. In this paper, we describe several visualization and interaction techniques that use video metadata, including a transcript, to mitigate the problems of editing in this domain. We implemented these techniques in Silver, an authoring tool designed to make it easier for novice users to edit video. To help users visualize video, Silver provides multiple views with different semantic content and at different levels of abstraction, including storyboard, editable transcript and timeline views. Silver offers intelligent editing operations that help users resolve the inconsistencies that arise because of the different boundaries in audio and video. We conducted a preliminary user study to investigate the effectiveness of the system. Participants...

Since the release of several consumer grade virtual reality (VR) headsets starting in 2016, content production of narrative 360° film and VR experiences has exploded. The new medium has presented filmmakers with the task of adapting film form to the immersive experience. At the same time, such challenges have offered a rare opportunity to develop a new film language that only comes with fundamental developments in film technology, as was the case in the past with the advent of sound, color, or film itself. Editing in VR is particularly challenging because of the embodied viewing experience in VR, for which most conventional editing practices are not suitable. After a brief summary of basic problems and solutions, this talk introduces some of the most innovative narrative 360° and VR films to explore the creative ways that filmmakers have developed for editing VR narratives.

Bu rehberlerde; video ile ulaşmayı amaçladığınız hedef için en uygun formatı belirlemek, en uygun içeriği oluşturmak, bu içerik için en efektif programı yapmak ve uygun araçları belirlemek ve videonuzu en etkili kanallar üzerinden dağıtıma sokmak konularında size yol gösterecek önerilerimiz var.

An increasing share of our daily interactions with others is mediated through mobile communication technologies. People communicate via text, emoticons, emojis and rich media such as video. We explore the design of Heartefacts, short video clips composed of highlights determined by heart rate changes while watching videos. Our survey investigated video sharing behaviour, and our feasibility study examined the possibility of detecting highlights in videos by monitoring people's heart rates measured with off-the-shelf wrist-worn sensors. Our results show that people do indeed have measurable responses with respect to their heartbeat patterns to six different emotions elicited by video clips. We compare video highlights verbally identified by our participants to physiological highlights as indicated by their heart rate data and also discuss and compare the automatically generated Heartefacts with video highlights created by an expert in video art. We close with design consideration...

As a supplement to its popular video editing program Premiere Pro, Adobe now automatically directs new users to its series Learn More tutorials. This move to have the tool teach itself not only has the potential to sideline in-person instructors, but, under the guise of ‘neutral’ technology, naturalizes the professionalization discourse in video production pedagogy. This discourse emphasizes technical, ‘job-ready’ skill building to the exclusion of critically-minded production activities aimed at analyzing texts or challenging hegemonic representations through alternate production. Via a walkthrough analysis, I track how the Learn More tutorials reproduce the professionalism discourse by navigating users toward specific production practices and outputs. Lessons on Premiere functions including color correction, sequencing, audio mixing tools consistently foreground a technical, ‘how-to’ approach to video production, ignoring valuable ‘why’ questions of meaning and representation. I conclude by calling for media production educators to interrogate seemingly neutral technologies like the Learn More tutorials. By locating these sites of reproduction and understanding the means through which they reproduce the professionalism discourse, instructors can work to negotiate or challenge production tools to better allow critically-oriented media production approaches to take root.

Bu rehberlerde; video ile ulaşmayı amaçladığınız hedef için en uygun formatı belirlemek, en uygun içeriği oluşturmak, bu içerik için en efektif programı yapmak ve uygun araçları belirlemek ve videonuzu en etkili kanallar üzerinden dağıtıma sokmak konularında size yol gösterecek önerilerimiz var.

EN:
This is my final paper for my BA in audiovisual studies (Audiovisual Higher Education Course) at University of São Paulo / School of Communications and Arts / Department of Film, Radio and Television (CTR-ECA-USP).

Abstract
Videolatry: the user between reality and audiovisual realism in the Internet age

Given the exponential growth of possibilities in video communication and the blurring border between viewer and producer, this paper presents some issues that arise from these changes. Focusing centrally on the concepts of idolatry and dialogue, it courses through examples of contemporary audiovisual productions to introduce established theories about video in the present and in the future. The study is centered on YouTube, given the moment of its emergence and its current relevance in the streaming scenario. Some phenomena are observed, such as a difficulty in discerning reality and fiction, a transformation of idol worship, and a renewed viewer paradigm with the introduction of artificial intelligence to video. Observing the ontologically narrative characteristic of video, the Brechtian epic is called into question. Finally, facing the concept of remix, some paths for creativity are presented.

Keywords: video, digital television, YouTube, artificial intelligences, idolatry, dialogue, remix, epic, Brecht, hyper-inclusion.

PT-BR:
Essa é minha monografia, entregue como requisito para obtenção do título de Bacharel em Audiovisual pelo Departamento de Cinema, Rádio e Televisão da Escola de Comunicações e Artes da Universidade de São Paulo.

Resumo
Videolatria: o usuário entre a realidade e o realismo audiovisual na era da Internet

Diante do crescimento exponencial nas possibilidades de comunicação em vídeo e da borra da fronteira entre espectador e produtor, o trabalho apresenta algumas problemáticas que surgem dessas mudanças. Baseado centralmente nos conceitos de idolatria e diálogo, percorre exemplos de produções audiovisuais contemporâneas para introduzir teorizações sobre o vídeo no presente e no futuro. O YouTube é escolhido como principal veículo nesse estudo, diante do momento de seu surgimento e de sua relevância atual no cenário do streaming. Observam-se alguns fenômenos como a dificuldade em discernir realidade e ficção, a transformação do culto aos ídolos e um renovado estatuto do espectador diante da introdução das inteligências artificiais no vídeo. Observando-se o caráter ontologicamente narrativo do vídeo, o épico brechtiano é colocado em questão. Por fim, são apresentados alguns caminhos criativos diante da ideia do remix.

Palavras chave: video, televisão digital, YouTube, inteligências artificiais, idolatria, diálogo, remix, épico, Brecht, hiperinclusão.

Il volume di Desirée Sabatini, Teatro e video. Teoria e tecnica della memoria teatrale, esamina il rapporto che si è aperto oggi fra teatro e video, nella ricerca di un’estetica della memoria dell’evento teatro nell’era digitale.
Scrivere di teatro e di videoregistrazione, vale a dire di ciò che accade hic et nunc e di ciò che cristallizza in una memoria, più o meno labile, l’attimo fuggente del fare teatrale, è indubbiamente confrontarsi con un oxymoron, la figura retorica dell’antica Grecia che indica l’inconciliabilità degli opposti. Non solo: le modalità stesse di registrazione di uno spettacolo vivente pongono dei problemi che hanno suscitato e suscitano tuttora un ampio dibattito fra i ricercatori. In effetti, la registrazione audiovisiva è una sorta di contraddizione in termini, non solo perché lo spettacolo teatrale vive hic et nunc, ma anche perché viene visto e percepito emotivamente attraverso una visione bioculare e un audio stereofonico, e viene consegnato alla memoria degli spettatori in questa forma, mentre al contrario la registrazione audiovisiva, essendo comunque monoculare, presenta un punto di vista sempre soggettivo e parziale.
Superare questa contraddizione, progettando metodologicamente, anche mediante una specifica metadatazione, dei video di soggetto teatrale, destinati cioè a far comprendere, per uso scientifico e didattico, i molteplici aspetti del lavoro teatrale, è la sfida che questo volume propone ai lettori.

Untuk info lebih lanjut, Hubungi segera ke

Ahmad Raihan

Komp. Bukit Kencana 3, Blok D No:6
Jatimamur, Pondok Gede, Bekasi
Jawa Barat 17413

Whats App : +62 813-2000-8163 (TELKOMSEL)

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... is sympto-matic of these centuries-old notions of author-ship, craft, copyright, and ... for conceptualiz-ing and situating new construction paradigms for computational media production.15 While ... two major forms of organization that can be understood as orthogonal axes: the par ...

Il concetto di discontinuità, solitamente di ostacolo per la corretta interpretazione di un flusso di informazioni, trova nel montaggio video motivo di nobilitazione. Nel 1995 Walter Murch pubblica "In the blink of an eye: a perspective on film editing", un saggio frutto di una personale riflessione sulla natura del montaggio audiovisivo, individuando nel taglio lo strumento basilare della grammatica cinematografica. L'analisi parte da una domanda, frutto di una evidenza empirica nell'attività di montatore di Murch: "Why do cuts work?". Il taglio nel linguaggio cinematografico è l'operazione con la quale si interrompe la continuità di una inquadratura, introducendo una discontinuità, solitamente spaziale o temporale, spesso determinata da un semplice cambio del punto di vista della camera. La domanda posta da Murch non è banale, in quanto queste discontinuità, se accuratamente gestite, creano una crasi tra le varie unità separate, generando l'impressione di un flusso continuo audiovisivo, e creando quella che nel linguaggio cinematografico viene definita scena; dalla somma di elementi discreti, cioè separati da soluzione di continuità, otteniamo dunque un elemento che viene percepito come continuo, con una propria coerenza strutturale.