Topic- 1 Lecture- 17

Sound Design and

Editing: Concept and
Troubleshooting
Unit-III
Mixing and Exporting

Subject: Video Editing

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OBJECTIVE OF LECTURE

Students would be able to :

฀- Understand basic idea of Sound Design

in video production.
฀- Understanding Digetic, Non-Digetic and
Trans- Digetic sound

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Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

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 Introduction

Sound design is a vast and complex area. The

quality of sound dictates the difference between
amateur and professional productions. Things like
the atmosphere of a scene, among others, are
strongly influenced by sound. To put it simply, it’s
the set of processes involved in the creation of the
audio elements of a project.

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 Concept of Sound design

Sound design is the process of obtaining,

manipulating, controlling or creating audio elements.
Or it is the process of specifying, acquiring,
manipulating or generating audio elements.

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 Concept of Sound design

Sound designing is done in:

- Filmmaking
- Television video production
- Theatre
- Sound recording and reproduction
- Live performance
- Sound art
- Post- production, and
- Video game software development

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 Concept of Sound design

- All audio elements which don’t already exist or

weren’t recorded on set must be created. When it
comes to animated movies, for example,
everything has to be created from scratch. And the
most important part: all sounds must seem real and
flow naturally. Be it feature films, corporate video,
theatre or music production it is extremely
important.
- Sound designers are the unsung heroes of video
production. Their work often goes unnoticed and if
it does feel natural, like it was recorded at the
same time as the image then it has been done
correctly. 7 of 25
 Concept of Sound design
Videos are an audiovisual medium. Most of what we
take in, the messages or the emotional connection
we get from characters in a video, are not just based
on what we are looking at, but what we are hearing.

Example: A simple scene with a man waking up in

his apartment with no dialogue. You might think
this scene is pretty pointless But it is telling and
developing a story.Perhaps there is the sound of
car horns and people shouting outside the window,
or his neighbours television coming in through the
wall.

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 Concept of Sound design
These things would imply that he doesn’t have a lot
of money, can’t afford to live in the nicest area of
town. Instead he lives in an apartment by the
motorway, where the walls are too thin and his
neighbours just don’t care. These sounds give you
an insight into the character’s environment and
lifestyle. An environment that the director wants you
to see and hear. Even if we don’t notice it, we are
taking it in. It’s been put there purposefully to give
you a message and put you in a specific
environment sought out by the director.

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 The Role of Sound Designer

- It is easy for us to take for granted each

component of the soundtrack we hear, and simply
not think too deeply about how each element came
to be. Behind the scenes, though, a team of sound
designers, sound recordists, dialogue editors,
mixers, composers and others will all have worked
tirelessly to collect, edit, create, record, compose
and manipulate the sound effects, dialogue and
music needed to create that final soundtrack.

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 The Role of Sound Designer
- This group of individuals considers each and
every element of sound they create; nothing that
is heard in the final mix will have been placed or
left there by accident.
- The work they produce is crucial in enhancing
the quality of the experience, and in creating
convincing worlds and characters whose stories
will capture our imagination.
- Music will provide much of the emotive
undertone.
- Sound effects and Foley will provide a sense of
realism and cement characters into their
surroundings.
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 The Role of Sound Designer

- Atmospheric sounds will give us a sense of place

and period in time, and dialogue will give voice and
expression to characters as they engage with one
another or directly with the viewer.

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 Diegetic Sound and Non-Diegetic Sound

Diegetic and non-diegetic sounds are what make

up the sound design for a film—from the sound of
a car honking on screen to the lush orchestral
melody playing over the closing credits.

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 Diegetic Sound

What Is Diegetic Sound?

-Diegetic sound is any sound that emanates from

the storyworld of the film. The term comes from
the word diegesis, which is the evolution of a
Greek term that means narration or narrative.

- The source of diegetic sound doesn't necessarily

need to be seen on screen, as long as the audience
understands that it is coming from something within
the film.

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 Diegetic Sound

How Is Diegetic Sound Made?

- Just because a diegetic sound emanates from the

world of story, doesn’t necessarily mean that it was
recorded that day on set. Many diegetic sounds are
actually recorded in a studio by sound engineers,
making the sounds clearer.

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 Diegetic Sound

For example:

The director forgot to shoot a line of dialogue on

set, so the actor will re-record that line in the studio
in post-production. This is called ADR.
A party scene doesn’t sound exciting enough, so
the sound editor will punch up the sound of
laughter, music, or ambient noise to create a livelier
party atmosphere.

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 Examples of Diegetic Sound

Character dialogue is the clearest example of

diegetic sound.

Object sounds make a film more realistic. For

example, if a character walks in the snow, the
audience should hear the crunching of their
footsteps. If a character is standing on a busy
street, we hear the natural ambiance of the city.

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 Examples of Diegetic Sound

Music emanating from within in the film helps the

audience become absorbed in a scene. For
example, music playing loudly in someone’s
headphones, or the pounding dance music at a bar
are also diegetic sound. This kind of diegetic sound
is also called “diegetic music” or “source music.”

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 Non-Diegetic Sound

What Is Non-Diegetic Sound?

Non-diegetic sound, also called commentary or

nonliteral sound, is any sound that does not
originate from within the film’s world. The film’s
characters are not able to hear non-diegetic sound.
All non-diegetic sound is added by sound editors in
post-production.

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 Examples of Non-Diegetic Sound

The film’s musical score is used to set the film’s

tone, manipulate emotions, add drama, express
ambiguity, or provide an element of surprise.

Sound effects are added for dramatic effect. For

example, a record scratch sound added for comic
relief is not heard by the characters in the film.

Narration or voice over is used to help explain or

reinforce the plot.

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 Trans- Diegetic Sound

What Is Trans-Diegetic Sound?

When diegetic and non-diegetic sound are

combined, it’s called trans-diegetic. Trans-diegetic
sound refers to any sound that moves in between
non-diegetic and diegetic, or vice versa. Trans-
diegetic sound helps bridge or link two things, like
transitions between scenes.

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 Examples of Trans-Diegetic Sound

A character hums a tune (diegetic sound) and that

humming sound turns into an orchestral version of
the same tune (non-diegetic sound), which carries
over into the next scene.

Music plays over the opening credits of a film (non-

diegetic sound), but once the title sequence ends,
that same music becomes a song heard on
someone’s radio in the opening scene (diegetic
sound). This example links the credit sequence
with the opening scene to ease the audience into
the movie-going experience.
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Examples of Diegetic Sound

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Examples of Non-Diegetic Sound

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Examples of Trans-Diegetic Sound

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Topic- 1 Lecture- 18

Sound Design and

Editing: Concept and
Troubleshooting
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 28
OBJECTIVE OF LECTURE

Students would be able to :

฀- Understand basic idea of what all

includes sound in film/video production and
sound Editing in video production.
฀- How troubleshooting can be done in
Sound Design.

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Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

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 FILM SOUND

- Though we might think of film as an essentially

visual experience, we really cannot afford to
underestimate the importance of film sound. A
meaningful sound track is often as complicated as
the image on the screen. The entire sound track is
comprised of three essential ingredients:

- the human voice

- sound effects
- music

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 FILM SOUND

- These three tracks must be mixed and

balanced so as to produce the necessary
emphases which in turn create desired effects.
They include dialogue, synchronous and
asynchronous sound, and music.

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 A good sound involves

Location mixing
During video production, the recording of live
sound is handled by the location mixer. This is
considered mixing, because originally, multiple
mics were mixed “on-the-fly” to a single mono or
stereo recording device. In modern video or films
with digital location recordings, the mixer tends to
record what is really only a mixed reference track
for the editors, while simultaneously recording
separate tracks of each isolated microphone to be
used in the actual post production mix.

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 A good sound involves

Dialogue
The first thing many people associate with Sound
Design is Dialogue. The spoken word is certainly
a large part of video production, especially in the
world of commercial video and testimonials. Clean
recordings of Dialogue (or monologue in many
cases) is a must, without any hums or background
noise obscuring it.

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 A good sound involves

ADR
Automatic Dialogue Replacement or “looping”. ADR
is the recording of replacement dialogue in sync
with the picture. The actors do this while watching
their performance on screen. Sometimes this is
done during production and sometimes during post.
ADR will be used when location audio has technical
flaws. Sometimes ADR is also used to record
additional dialogue – for instance, when an actor
has his or her back turned.

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 A good sound involves
Foley
Named after Jack Foley, an early adopter of the
practice who employed it primarily in Radio. Foley
is the art of recreating physical sounds; the sounds
a character or subject makes when they move or
interact with the world around them. These sounds
include cloth rustling, grabbing, punching, eating,
footsteps and an entire library of other common
sounds. Mostly sound designers recreate these
effects in the editing room and sync them with the
footage manually.

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 A good sound involves

It’s the technique used to recreate audio elements,

during the post-production. All types of sounds are
produced: steps being taken, doors closing, papers
flying, glass breaking, breathing, etc. Deliberately,
on the set of a movie, only dialogue is recorded
and, by recording all other sound elements in a
foley studio, a lot of time is saved.

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 A good sound involves

Room Tone
Room tone is the sound of a silent room. Every
space, whether outside or inside, has a base tone
to it. It’s rare in nature to find total silence. Every
video needs the realism of room tone to bridge the
gaps between Foley or between Dialogues. This
also helps smooth out inconsistencies with the
audio.

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 A good sound involves
Sound FX
Unlike Foley, Sound FX refers to sounds of the
environment that are not specifically caused by
human interaction. Sounds like fire, cars, doors and
elevators all fall under this category. During a
product demonstration, sound editors might
recreate or enhance the sounds of the electronics
whirring to life to sell the effect to the audience.
Sound effects for a film come from a variety of
sources, including live recordings, sound effects
libraries and sound synthesizers.

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 A good sound involves

Music
Music plays an important part in a video’s Sound
Design. For example, when it comes to Disney’s
classics, the music sets the differences in the mood
and the rhythm with which the action of a scene
progresses. Not only does the melody change, but
so do its tones and instruments. This change gives
the scenes the intended atmosphere for that
moment.

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 A good sound involves

There are actually two major types of music you

can have in your Social Video. Diegetic Music is
music that originates from within the video. If actor
or spokesman turns on a record player and music
starts, that would be Diegetic. Non-Diegetic Music
is the type more audiences are familiar with. This is
the intro music which might put over the opening
titles or your company logo animation.

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 A good sound involves
Re-recording mix
Since location recording is called location mixing,
the final, post production mix is called a re-
recording mix. This is the point at which divergent
sound elements – dialogue, ADR, sound effects,
Foley and music – all meet and are mixed in sync
to the final picture.

With the introduction of automated systems and the

ability to completely mix “in the box”, using a DAW
like Pro Tools, smaller films may be mixed by one
or two mixers. Typically the lead mixer handles the
dialogue tracks and the second and third mixers
control sound effects and music 15 of 28
 Audio Post-Production process
There are many stages in the audio post-production
process. Because audio can make or break a video,
a basic understanding of audio post-production is a
must for everyone on a video project.

The standard order of operations is:

-Dialogue editing
-Automated dialogue replacement
-Sound design
-Foley
-Music composition and editing
-Mixing

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 Audio Post-Production process

Dialogue Editing
In this phase, the raw recordings are organized and
synced to the timeline. Unwanted noise is removed
and the recordings are trimmed down to the
necessary length.

There are two important sub-steps in this stage:

- Use of Expander
- Manually Synchronize Audio Tracks on Your
Video Editing Timeline

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 Audio Post-Production process

Use of Expander to Efficiently Reduce

Background Audio Noise:
- It is always desired to have a clean and clear
audio in our video recordings. In reality, however,
dealing with environmental noise is a part of
virtually every production. Most of the time, a small
amount of noise in the background of the video can
slip by unnoticed. As soon as that noise becomes
audible, though, it can really distract the audience.

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 Audio Post-Production process

- The tool that most people reach for is a ‘noise

gate’, but these can quickly become destructive.
Instead, you can use an EXPANDER to reduce the
volume of the noise without completely removing it,
which sounds more natural.

- Use an expander (plug-in or a separate

application) when you have subtle background
noise from recording on location (such as wind or
distant traffic) or background noise from recording
in a studio (such as A/C or exterior sounds).

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 Audio Post-Production process

- Expanders increase the difference in loudness

between quieter and louder sections of audio
making quiet sounds quieter and loud sounds
louder. For example, when you have a noisy
recording and want to reduce the volume of the
quieter parts so you don’t notice the noise as
much. A side effect of expanders is that they
change the way sounds decay and can end up
silencing quieter parts of your audio that you want
to keep.

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 Audio Post-Production process
Manually Synchronize Audio Tracks on Your
Video Editing Timeline:
- If an external microphone is used to get audio for
video, or if there are multiple cameras set up for a
single take, then there is a need to synchronize
those clips before the edit.

-To sync clips, it is really helpful if a slate to create

a comparison point is used (also known as a
clapper board) across all audio and video tracks. A
clap with hands can also be used for the same
effect.

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 Audio Post-Production process
Key Synchronization Steps
- Line up your clips on different tracks and place
them close to where they need to be.
- Zoom in on the audio waveform and look for the
clap, or any recognizable waveform shape.
- Nudge clips until the waveforms line up.
- Play back the track and see if an echo is there.
You may only be off by a frame or two.

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 Audio Post-Production process

ADR (Automated Dialogue Replacement)

In most cases, some of the original audio recorded
on set will be corrupt, noisy, or simply missing.
Other times, the quality is not up to scratch and
the tone of the voices is poor.
ADR is the process of recording new dialogue in a
studio environment to sync with the video. The
actor will lip sync to their original performance as
closely as possible.

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 Audio Post-Production process

Sound Design
Sound design is the process of creating audio
effects for the picture. The sound designer adds
wild tracks and new field recordings to create
background ambience. Any special sound effects
are created at this point, too.
Various techniques are used to create sounds,
included field recording, heavy processing, and
electronic synthesis.

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 Audio Post-Production process
Foley
Foley is similar to sound design in the sense that it
is a process of creating sounds to enhance the
realism of the picture. The difference is that Foley
refers to human-based sound effects. Foley artists
will usually re-perform the scene live, replicating
footsteps, rustling clothes and prop movements.
These sounds are then edited to match the scene.

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 Audio Post-Production process

Music Composition and Editing

Music is a strong cue to your viewer. With music
you can stir an emotion, enhance a mood, heighten
action, or build up the suspense. There is no right
or wrong way to use music, but there is a time and
a place to use it, and not all music is created equal.

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 Audio Post-Production process
Types of Background Music:

Emotion Evoking
If actor is angry, music can be used to emphasize
anger. If actor is happy, perhaps something light
and wonderful.
Scene Setting
The setting of the video is a specific place and
should establish a sense of that place for the
viewer. While the establishing shot can create a
sense of physical space, the music establishes a
particular cultural or social space.
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 Audio Post-Production process

Types of Background Music:

Filler and Bridge

Filler music can be a bit random. It’s not specific
and doesn’t necessarily have to add anything to a
scene or evoke any type of emotion, but it does
help to do some creative editing and fill in gaps.

28 of 28
Topic- 2 Lecture- 20

Effects
and
Transitions
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 25
OBJECTIVE OF LECTURE

Students would be able to :

฀- Understand importance of sound effects

and transitions.
- Understand importance of video effects
and transitions.

2 of 25
Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

3 of 25
 Introduction to Sound Effects

Sound effects (or audio effects) are artificially

created or enhanced sounds, or sound processes
used to emphasize artistic or other content of films,
television shows, live performance, animation,
video games, music, or other media. In motion
picture and television production, a sound effect is a
sound recorded and presented to make a specific
storytelling or creative point without the use of
dialogue or music.

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 Sound effects

- Sound effects are artificially created or enhanced

sounds that are used in artistic works to emphasize
or express an action, mood, or feeling. Sound
effects were initially used in radio dramas, but can
be observed more often today in podcasts, theater,
films, and television shows. They are often
synchronized with certain actions, such as a door's
slamming being accompanied by the appropriate
noise. Sound effects may also be used in the
background of a scene to create anticipation or
other emotions.

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 The Purpose of Sound effects

-Unsurprisingly, the most realistic sound effects

tend to be recordings of actual sounds. To create
these sound effects, the actual sounds that are
recorded may also be edited or enhanced;
sometimes, the pitch, intensity, or another aspect of
the sound may be altered using software.
-Sound effects may also be created entirely digitally
by using software or sound equipment to recreate
the intended effect. Such sound effects tend to be
less realistic. Both of these kinds of stock sound
effects are widely available and may be found in
sound effect libraries.
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 The Purpose of Sound effects

Multiple sound effects may be played at once or

closely together in films and television shows. This
is often done to establish realism, as sounds are
often concurrent in reality. The use of several subtle
sounds such as those of fabric rustling, light
footsteps, and quiet conversation in the background
of a film can make otherwise uncomfortable and
unnaturally quiet scenes convincing and lifelike.
Sounds can also be layered to create a new effect
altogether.

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 The Purpose of Sound effects

This sort of layering of effects is often done when

no existing sound effects fulfill a producer's needs
and none can be easily made. This practice is
especially common in science fiction movies, which
often feature various mythical creatures, imagined
monsters, and futuristic innovations and
infrastructures that call for sounds that do not
currently exist.

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 Audio effects

Audio or sound effects are hardware or software

devices that manipulate how an audio signal
sounds. Effects can be controlled via various
parameters including rate, feedback or drive. They
are useful when playing live or as studio tools
during the recording process.

Panning
-Panning is the distribution of a sound signal in a
stereo (or multi-channel) field. Humans have two
ears. Our brain processes the difference in timing
between our left and right ear.

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 Audio effects

-Stereo sound systems have evolved from a single

speaker to a set of two, left and right (L-AND-R).
This has allowed us to move from mono to stereo
sound playback.
-When something is ‘hard panned’ to one side, you
hear it coming from only from that side. When
something is panned to the middle, you will hear it
coming from between your speakers (you hear it
centered even though there is no speaker in the
center).

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 Audio effects

-Play a sound and grab your panning knob. If you

turn it gradually from one side to the other, you will
hear the sound travel across your stereo field from
one side to the other. This is a trick used a lot for
sound effects of a car passing by for example.

-Panning is a great way to artificially position a

sound in a specific place in your stereo field.

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 Audio effects

-The center of your mix is usually the busiest. It’s

common to keep the low frequency elements
(bassline, drums) and lead elements (vocals)
panned to the center because they ground your
mix. Other instruments are panned somewhere to
the right or left. It’s important to keep a balance: if
you pan instrument slightly to the right, pan
something with a similar frequency range at the
same spot to the left.

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 Audio effects
Echo and Delay
-Delay is an audio effect that records an audio
signal for playback a set period of time after the
original signal. Delay can be played back in
different ways to achieve sounds such as echoes
that decay over time, or a pronounced repeated
doubling effect that adds new layers to a recording.
-Delay is one of the most important effects. In fact,
it’s the foundation for other effects as well including
chorus and reverb.
-Most delays work by playing back the dry signal
while also playing back the wet or ‘delayed’ signal
shortly after the original.
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 Audio effects

Reverb
- Reverb is short for reverberation. Reverb
happens daily, but we don’t always notice it. When
a sound occurs, two things happen: A) the direct
sound hits your ears B) a bunch of other sound
waves bounce off of surfaces before reaching your
ears. Those other sound waves will reach your
ears later and with less energy (therefore quieter).

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 Audio effects
- Reverb is a bunch of echoes all happening at
the same time, so you hear them as one single
effect: reverb. There are different kinds of
reverb in many types of spaces. The most
obvious examples of reverberant spaces are
tunnels, cathedrals, halls and caves.
- Digital reverbs and reverb plugins calculate the
needed delay, level, frequency response and
algorithmically generate multiple echoes.
- Reverb makes things sound further away in the
mix if you push the wetness and bring down a
lot of the original dry signal. It can widen the
mix and make it sound bigger and fuller.
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 Audio effects

Chorus
Chorus is an effect obtained when similar sounds
with slight variations in tuning and timing overlap
and are heard as one. It happens naturally when
multiple sources make a similar sound overlap.
Think of a real life choir singing multiple parts at the
same time. They all overlap to form a distinct
sound. The chorus effect does the same thing.
Chorus adds complexity and movement.

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 Audio effects

Compression
Compression is the reduction of dynamic range- the
difference between the loudest and quietest parts of
an audio signal. When compression is applied, the
quieter parts of the signal are boosted and the
louder ones are attenuated.
Compressors reduce the gain of your signal (‘GR’
stands for Gain Reduction on your DAW
compressor). Compression reduces the dynamic
range of a signal. The dynamic range is the
difference between the loudest and the quietest
parts of a signal.
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 Audio effects

Tremolo
Tremolo is a modulation effect created by varying
the amplitude (volume) of a signal. It gives a
trembling effect—the word ‘tremolo’ itself is italian
for trembling. It’s often confused with vibrato, which
is a modulation of the pitch. Tremolo gives a sense
of movement, tension or drama. It makes a sound
more rhythmic, percussive or stuttering. It’s also
used to create a pulsating effect.

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 Audio effects

Vocal Transformer and Pitch shifter

If you want to alter the personality of a voice, this
plugin can completely remodel vocal
characteristics.

Vocal Transformer can be used to transpose the

pitch of a vocal line, to augment or diminish the
range of the melody.

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 Audio effects

Audio Filter
- An audio filter attenuates (turns down) a set of
frequencies above or below a determined threshold
called the ‘cutoff frequency.’ They’re often found
inside of EQs or as standalone plugins.
- The most common types of filters are High-Pass
Filters (HPF), Low-Pass Filters (LPF) and Band-
Pass Filters (BPF). These are defined by their
shape and ‘slope.’
- LPFs let through all the frequencies below the
cutoff frequency—and attenuate those above.

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 Audio effects

- HPFs let through all the frequencies above the

cutoff frequency and attenuate those below.

- BPSs can be used to isolate or filter out certain

frequencies that lie within a particular band or
range of frequencies.

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 Sound transitions
- In production, audio transition is often referred to
as crossfade. It is the sound that you hear when a
clip or sequence is transitioning to the next clip or
sequence. Adding audio transitions post-editing is a
technique used to create a smooth transition
between two audio files.
- Basically, during an audio transition, one audio
source file fades out while the other audio source
file fades in, creating a smooth transition of the
sounds or audio since the listener can hear both
files simultaneously even for a short period of time.

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 Sound transitions

Some commonly used audio transitions:

While editing in Premiere Pro, go to the Effects tab
and click Audio Transitions > Crossfade. You’ll
have the option to apply:
-Constant Gain (a quick fade out and in)
-Constant Power (an even dissolve between
both tracks)
-Exponential Fade (a slow fade out and in)

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 Difference between Transitions and Effects

It is also important to understand the different

between transitions and effects.
- Effects, whether sound or image, refer to the
movement and sound that accompanies slides or
text as they are introduced into the video frame.
Effects can be used within a clip or sequence to
add interests, description and design to the clip or
sequence.

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 Difference between Transitions and Effects

- Transitions, on the other hand, are visual or

audio effects from one slide, clip or sequence to
the next during a video or audio. It is like an
introduction or option that helps fill in the gap or
timeline between each clip. However, both
transitions and effects can be customized to suit
your preference.

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Topic- 2 Lecture- 21

Effects
and
Transitions
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 22
OBJECTIVE OF LECTURE

Students would be able to :

฀- Understand importance of sound effects

and transitions.
- Understand importance of video effects
and transitions.

2 of 22
Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

3 of 22
 Video effects

Color Correction effects

Brightness & Contrast effect:
The Brightness & Contrast effect adjusts the
brightness and contrast of an entire clip. The
default value of 0.0 indicates that no change is
made. Using the Brightness & Contrast effect is
the easiest way to make simple adjustments to
the tonal range of the image. It adjusts all pixel
values in the image at once—highlights,
shadows, and midtones.

4 of 22
 Video effects
Color Balance (HLS) effect:
The Color Balance (HLS) effect alters an image’s
levels of hue, luminance, and saturation.

Hue - Specifies the color scheme of the image.

Lightness - Specifies the brightness of the image.
Saturation - Adjusts the image’s color saturation.
The default value is 0 which doesn’t affect the
colors. Negative values decrease saturation, with -
100 converting the clip to gray scale. Values
greater than 0 produce more saturated colors.

5 of 22
 Video effects
Color Balance (HLS) effect:

6 of 22
 Video effects
Fast Color Corrector effect:
The Fast Color Corrector effect adjusts a clip’s
color using hue and saturation controls. This effect
also has levels controls for adjusting intensity
levels of image shadows, midtones, and highlights.
This effect is recommended for making simple
color corrections that preview quickly in the
Program monitor.

7 of 22
Video effects

8 of 22
 Video effects
Three-Way Color Corrector effect:
The Three-Way Color Corrector effect lets you
make subtle corrections by adjusting a clip’s hue,
saturation, and brightness for the shadow, mid
tones, and highlights. You can further refine your
adjustments by specifying the color range to be
corrected by using the Secondary Color
Correction controls.

9 of 22
Video effects

10 of 22
 Video effects
Blur and Sharpen effects

Camera Blur effect:

The Camera Blur effect simulates an image
leaving the focal range of the camera, blurring the
clip.
For example, by setting key frames for the blur,
you can simulate a subject coming into or going
out of focus, or the accidental bumping of the
camera. Drag the slider to specify a blur amount
for the selected key frame; higher values increase
the blur.
11 of 22
 Video effects

Compound Blur effect:

The Compound Blur effect blurs pixels based on
the luminance values of a control clip, also known
as a blur layer or blurring map. By default, bright
values in the blur layer correspond to more
blurring of the effect clip. Dark values correspond
to less blurring. Select Invert Blur for light values to
correspond to less blurring.

12 of 22
 Video effects

Directional Blur effect:

The Directional Blur effect gives a clip the illusion
of motion.

Radial Blur effect: The blur effect is more in the

circular manner. The blurriness is in the circular
motion.

13 of 22
 Video effects
Mirror effect
The Mirror effect splits the image along a line and
reflects one side onto the other.
Reflection Center
The position of the line about which the reflection
occurs.
Reflection Angle
The angle of the line about which the reflection
occurs. An angle of 0° reflects the left side onto
the right. An angle of 90° reflects the top onto the
bottom.

14 of 22
 Video effects
Twirl effect
The Twirl effect distorts an image by rotating a clip
around its center. The image is distorted more
sharply in its center than at the edges, causing a
whirlpool result at extreme settings.
Angle
How far to twirl the image. Positive angles twirl the
image clockwise; negative angles twirl it
counterclockwise. For a whirlpool result, animate
the angle.

15 of 22
 Video effects
Twirl Radius:
How far the twirl extends from the twirl center. This
value is a percentage of width or height of the clip,
whichever is greater. A value of 50, for example,
produces a twirl that extends to the edges of the
clip.
Twirl Center
Sets the position of the center of the twirl.

16 of 22
 Video effects
Crop effect:
The Crop effect trims pixels from the edges of a
clip. The Left, Top, Right, and Bottom properties
specify what percentage of the image to remove.

17 of 22
 Video effects
Block Dissolve effect:
The Block Dissolve effect makes a clip disappear
in random blocks. The width and height of the
blocks, in pixels, can be set independently.

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 Video effects

Video Dissolve transitions

Cross Dissolve transition:
Cross Dissolve fades out clip A while fading in
clip B.
Cross dissolve can also work well at the
beginning or end of a clip when you want to
fade in or out from black.

19 of 22
 Video effects
Dip To Black transition:
Dip To Black fades clip A to black, and then fades
from black to clip B.
Note: Using dip to black at the beginning or end of
a clip will also affect a video on a lower track,
something not always expected when a simple
fade in/out of the targeted clip is what is wanted.
The cross dissolve transition may work better for
this.
Dip To White transition:
Dip To White fades clip A to white, and then fades
from white to clip B.

20 of 22
 Video effects
Page Peel and Page Turn Transition

Page Peel transition:

21 of 22
 Video effects
Page Peel and Page Turn Transition

Page Turn transition:

22 of 22
Topic - 3 Lecture- 22

STYLES OF
PACKAGING: NEWS
& NON-NEWS
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 23
OBJECTIVE OF LECTURE

Students would be able to :

฀
- Understand how news stories are packaged in
video.
- Understand how non-news stories are
packaged in video.

2 of 23
Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

3 of 23
 Introduction

Reporters tend to classify themselves as either

news reporters or feature (non- news) writers.
There is of course no rule stating that a reporter
cannot be a feature writer, or vice-versa, but over
time, reporters tend to slot themselves into
particular categories depending on their beats and
the strengths they identify in themselves.

4 of 23
 Packaging in news
-A news package is a creative, visual and long form
of storytelling found on television newscasts. News
is conveyed to an audience by packaging together
a story that includes characters, facts, plot twists
and a climax.
-A package is a self-contained taped news report.
Many networks use news packages to provide
innovative newscasts to broad audiences.
Alternate ways of referring to these newscasts
include package, taped package, news package or
simply as a pack.

5 of 23
 Packaging in news
- These types of newscasts deliver in-depth
coverage of news events by investigating
subjects of all kinds. News correspondents
probe trends, crimes, conflicts and issues of
interest to present long segments, and
sometimes full one or two-hour broadcasts.
- This type of news presentation is best for
complicated stories or ones that have multiple
interviews. In the case of magazine-style news
programming, packages can be 20 minutes or
longer.

6 of 23
 Packaging in news

Structure and Script:

-Reporters will often spend large amounts of their
time researching stories and interviewing
characters to eventually write the scripts for these
packages. A common part of a news package is
the appearance of a reporter talking into the
camera.
-This is called a "standup" because the reporter is
often seen standing in front of the camera on the
scene of the story. Usually, the news anchor will
read an introduction live, then the pre-recorded
story will be shown.
7 of 23
 Packaging in news

When a script is created, it often involves many

different elements in addition to the exact wordage
of the story that the reporter is going to present,
such as:
Storyline
Visuals
Audio
Timing and Cues
Tone
Voice-overs

8 of 23
 Packaging in news

The writer has to consider both what the viewer

sees (visuals) and also what they are going to hear
(audio). There is the visual aspect of video
production, where images and videos of the subject
matter are presented, while the audio specifies
sound bites, voiceovers and music that may
accompany the visuals to help the story along.

9 of 23
 Packaging in news

Capture (import) of video and take notes on what

is to be seen and heard. Taking notes is called
“logging your tape,” and it includes noting where
things are within the run of the tape/file. Also to
make notes about a particularly good shot or other
parts which can be used.

10 of 23
 Packaging in news

Timing and specific cues for the editor and post-

production team are also important aspects of
script creation for news packages. Indicating the
timing and length of a particular visual on the script
can help with weaving sound bites and voiceovers
together with images and storylines. By also
indicating the tone and feelings that are to be
conveyed, the emotional component to a newscast
can start to take shape. Once the full package
script is complete, the reporter is ready to go into a
sound booth and record voice-overs.

11 of 23
 Packaging in news
-The post production team will then use the script to
bring together the whole news package, to create a
newscast that is entertaining, compelling and
informative, while keeping in line with the reporter's
overall vision and storyline.
-Import your narration voice track into the video
editing software along with all video clips. Edit story
and export video. Exported video file should not be
not too big.

12 of 23
 Packaging in news

-Editing video is really about structuring stories.

It’s about establishing a beginning, middle and
end, deciding how scenes will transition into each
other, establishing a rhythm, and building
momentum.
-Knowing how to trim a clip or sequence a series
of shots is important in all forms of video
storytelling. In video journalism, these techniques
can help us advance stories and enhance their
journalistic purpose.

13 of 23
 Packaging in news
Stages of video edit and package a News story:

Log sheet
The first thing to do is view your tape and the time
code. Make a list, or log, of the different shots you
see, the times they start and finish (called in and
out points) and what people say (script). If
someone can log, while you are filming, even
better. It will save you valuable editing time,
particularly if you are on a deadline.

14 of 23
 Packaging in news
Stages of video edit and package a News story:

Assembly edit
Now you are ready to do an assembly edit. That
is where you look at your storyboard and cut out
the film to match the shots you planned. The
paper edit will help you find these sections easily.
Lay them down in order. In most computer editing
packages, this means laying them on a line from
left to right, called a timeline.

15 of 23
 Packaging in news
Stages of video edit and package a News story:

Sound edit
Listen to the script and cut the film so that it all
makes sense when you listen to it. Your edited
report on the timeline should now look almost
finished.

16 of 23
 Packaging in news
Stages of video edit and package a News story:

Final Edit
This is where you put the finishing touches to your
report.
For example: You can add different bits of video, to
make your report visually interesting, and
graphics. The final edit usually involves shortening
the report or making it more concise. Make sure
your overall editor is happy you haven't cut out any
vital bits such as the other side of the argument.

17 of 23
 Packaging in news
Stages of video edit and package a News story:

Adding visual interest

If you want to, you can put different video over the
sound. For example, if the reporter is speaking to
the camera and you want to keep his voice, but
show the location, you can cut and paste pictures
from the original film and overlay them onto the
timeline.

18 of 23
 Packaging in news
Stages of video edit and package a News story:

As a general rule, these pictures should be two

seconds or longer - otherwise, it is too quick for
the audience.
Make sure you reduce any background noise
attached to the location shots, so you can hear the
reporter's words clearly. Don't remove the
background noise though, at a low level, it makes
the report sound natural.

19 of 23
 Packaging in news
Stages of video edit and package a News story:

Editing interviews
You can cut out the reporter's questions, as long as
the interviewee answers in full sentences. This will
make your report more concise. You only need to
include one or two good answers in your report.
Listen to all the answers first and select the best
ones. It will save you valuable editing time,
particularly if you are on a deadline.

20 of 23
 Packaging in news
Stages of video edit and package a News story:

Transitions
There's no need to go overboard with these. If
you've filmed your report well, you won't need to
add any. Some very common transitions are:
Blurring the edges between one shot and the next,
called a cross-dissolve. This is often used to show
that time has passed.
Fading from or to black at the beginning and end of
your report, to mark the beginning and end.

21 of 23
 Packaging in news
Stages of video edit and package a News story:

Transitions
There's no need to go overboard with these. If
you've filmed your report well, you won't need to
add any. Some very common transitions are:
Blurring the edges between one shot and the next,
called a cross-dissolve. This is often used to show
that time has passed.
Fading from or to black at the beginning and end of
your report, to mark the beginning and end.

22 of 23
 Packaging in news
Stages of video edit and package a News story:

Adding graphics
To make your report look really professional, add
name and job titles. Have a look for the "type tool"
or something that does the same job.
Using titles means that the reporter and
interviewees don't need to spend time introducing
themselves. When adding titles, keep the font
plain and make the words big enough to read on
screen. Make sure you spell names correctly.

23 of 23
Topic - 3 Lecture- 23

STYLES OF
PACKAGING: NEWS
& NON-NEWS
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 17
OBJECTIVE OF LECTURE

Students would be able to :

฀
- Understand how news stories are packaged in
video.
- Understand how non-news stories are
packaged in video.

2 of 17
Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

3 of 17
 Video Editing of Non-News programmes

- The major steps of video editing are same as

editing a news-story. But using same tools a bit
different make story much more appealing and of
human interest.
- After pre-production and production stage, the
news feature actually gets made on editing table
that is post-production. It is like now we have data
to process, and by using the video editing
software at its best use, we can make the data
presentable and watchable keeping in mind the
target audience.

4 of 17
 Video Editing of Non-News programmes

First Assembly
-The first assembly is when the action starts to pick
up for the video editor. Using the storyboard as a
foundation, you start making selections. Usable
footage is trimmed and marked, while the bad
takes are cast aside.
-You take all the usable footage, often times
multiple takes of the same shot, and place them in
sequence. The result is an extended video of each
potential shot for the final edit. This portion of the
process is for internal purposes, to be shared with
the director and producer.
5 of 17
 Video Editing of Non-News programmes

- Many directors like to make a paper edit. They

take notes while screening the selects of the first
assembly and then write out what clips they like
and don’t like, sometimes rearranging them into a
new order.
- B-roll (secondary shots) is also separated at this
time. Its content is logged and it is sorted into a
hierarchy according to the editor’s needs. This is
all contingent on the project as the organizational
needs of the footage are dependent on what’s
most needed for the video.

6 of 17
 Video Editing of Non-News programmes

Sound edit
Sound edit is very differently done when a news
story is packaged compared to a non-news one. A
non-news story is mainly thematic and according to
the topic.
For example: If we make a news feature on a
famous photographer who passed away, the music
on voice over, anchor links and titles will be low
volume, subtle and soothing. Here we can’t use
dramatic or high volume music. This is called
aesthetics in use of music. It should support or
compliment the visuals rather to distract or disturb
the viewers. 7 of 17
 Video Editing of Non-News programmes

Editing Interviews
A news feature can have interviews longer in
duration as compared to news stories. Because
news features are made to give details of the topic
and sometimes interviews are enough to do this.
Also, there could be background music also for
interviews which give a nice environment to the
context or topic. It also sets the mood.

8 of 17
 Video Editing of Non-News programmes

Transitions and Graphics

We can use these heavily in the non-news stories
package. As it is clear that video editor working on
non-news stories has more freedom to experiment
with various transitions and graphics. Also he or
she has more time than news video editor to do a
hit and trial method. As there is no concept of
breaking news. There are plenty of options
available in a non-linear editing software to do this.

9 of 17
 Video Editing of Non-News programmes

The Rough Cut

- The structured organization of the first assembly
sets you up to make the rough cut. The rough cut
is the first true edit and is the stage in which you
start to display your craft as more than a technical
exercise. At this stage, it is no longer about solely
discovering and organizing footage, it’s about
storytelling and crafting a message, using the
footage from production as a foundation to achieve
the director’s vision.

10 of 17
 Video Editing of Non-News programmes

-Timing is vital to the rough cut. A video editor

influences the timing of a video more than any
other person who touches the production. It is
during the rough cut that you start to play with the
timing.
-Whether making fast cuts or extending pauses,
here you begin to create what will become an
emotional connection with the audience. The rough
cut is meant to be shared.

11 of 17
 Video Editing of Non-News programmes

- The video editor works with the director, producer

and a client, if it’s their project. Communication is
kept open between all parties and much dialog
takes place, helping to shape the overall edit. The
parties agree on what changes need to take place
before the edit moves on to the final cut.

12 of 17
 Video Editing of Non-News programmes

The Final Cut

-The final cut of an edit is when the cutting and
timing of the footage is finalized. It’s not the final
version of the video, ready for release, but it’s
awfully close. The edit at this stage is the one that
will be used for several finishing steps, all of which
need to synchronize perfectly with each other.
- For this reason, the final cut is often known as
picture lock or frame lock, meaning that the frames
in the edit will not change in time from this point
moving forward.

13 of 17
 Video Editing of Non-News programmes

-The final cut is not just about locking things down

however, it’s also about elimination. A scene might
be finalized, but that doesn’t ensure that it stays in
the production.
-Once all the scenes are cut and precisely timed,
you review them with the director and producer. If
there’s a scene that doesn’t work or doesn’t
contribute to the overall narrative of the video, it’s
eliminated.

14 of 17
 Video Editing of Non-News programmes

- First, visual effects and graphics are added to

the video. Most visual effects are planned out
during pre-production but aren’t generated until
post-production because the visual effects artist
needs know what footage they’re specifically
working with to make the effects seamless.

- Graphics are also planned in advance and are

fine tuned to coincide with the final edit.

15 of 17
 Video Editing of Non-News programmes

- What the audience will see on screen is only

part of their experience. After visual effects and
graphics are added, audio sweetening is
performed.
- The final cut is round tripped to an audio
editing suite, sometimes on the workstation, for
the placement and editing of sound effects and
musical underscores.
- Dialog is mixed down with these elements to
create an audio track that supports and carries
the accompanying video.

16 of 17
 Video Editing of Non-News programmes

Color Grading
-The final step before deliverables are rendered
and shipped is color grading. Color grading is the
stage in which you, or a colorist, manipulates
color and tonal qualities of the video image to craft
a unique look that helps set the mood for the
video and visually tell the story.
- The advent of digital cinema cameras, greater
computing power and more advanced codecs has
increased the implementation of color grading.

17 of 17
Topic - 4 Lecture- 24

Archiving and File

Formats
Unit-III
Mixing and Exporting

Subject: Video Editing

1 of 27
OBJECTIVE OF LECTURE

Students would be able to :

฀
-Understand how archiving is done and its
importance.
-To know about various file formats used for
archiving video data and projects.

2 of 27
Suggested further readings:

1.Herbert Zettl, TV production Handbook,

Thomas Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. Millerson, G., & Millerson, G. (1999). Television
Production. Oxford: Focal Press,13 edition.

3 of 27
 Archiving

- Archiving means collecting, organising, describing,

preserving, and providing access to materials of
evidential, historical, cultural, or other value".

-Archiving is really important as you can be sure

that at some point either a customer will come back
and ask for some footage from an old project or you
will find you need to get a hold of some footage and
you don't know where it is! However, good archiving
of old material will help make this a far less painful
experience.

4 of 27
 Archiving

- The process of storing project data so you can

get access to it later is called archiving.
When you're finished editing your videos, you'll
typically export the final file.

- If you upload it to Facebook, YouTube, or some

other site, that copy can be considered one of your
backups, which is good. You always want a
backup of your files. But if you're posting some
videos to YouTube and saving others to a private
Dropbox account, your video files are going to be
all over the place.
5 of 27
Archiving in Premier Pro using Project Manager

You can do a lot with Adobe Premiere’s Project

Manager. You can easily collect and copy all of
your assets to pass off to a client or a fellow
editor, or consolidate one of your projects to save
space on a full hard drive. Whatever the situation,
the Project Manager is a helpful tool.

6 of 27
Archiving in Premier Pro using Project Manager

Choose Your Sequence(s)

You can find the Project Manager at the bottom of
the File menu. First, at the top of the Project
Manager dialog box you’ll notice the Sequences
area, where you can specify individual sequences
you would like to include in your archive.

7 of 27
Archiving in Premier Pro using Project Manager

Select How to Manage the Resulting Project

You have two options under the resulting project
section — you can Collect Files and Copy to a
New Location, or you can Consolidate and
Transcode. I want to hand off all of the assets in
their original format, so I’ll select the Collect Files
and Copy to a New Location option.

8 of 27
Archiving in Premier Pro using Project Manager

-With Consolidate and Transcode, you can

choose to actually render out your original
content to a new format. You can transcode
Sequences or Individual Clips, and you have a
variety of different format and preset options
available to you when going this route. But again,
we’ll stick with the Collect Files and Copy to a
New Location option.

9 of 27
Archiving in Premier Pro using Project Manager

Customize Your Options

- The Project Manager offers you a number of
options when archiving your projects.
- Exclude Unused Clips: Use this feature when
you only want to include the media
used in your selected sequences.
- Include Handles: When utilizing the Consolidate
and Transcode option, you can choose to include
frame handles on each clip which will provide
room to add transitions or re-time clips.

10 of 27
 Archiving in Premier Pro using Project Manager

- Include Audio Conform Files: You can choose to

include audio conform files or just re-conform them
later on.
- Convert Image Sequences to Clips: A nice
feature, the Project Manager can instantly convert
image sequences to clips.
- Include Preview Files: You can choose to include
preview files, or re-render them from your archived
project.

11 of 27
Archiving in Premier Pro using Project Manager

Destination Path and Disk Space

Our final step includes selecting a location for our
archived project. After you select a destination, the
Project Manager will show you the disk space
available. You can click on Calculate to find out the
estimated size of your archived project, as well as
the size of the original project.

12 of 27
 Archiving File Formats

Due to the large file sizes and the use of

numerous codecs, archiving video is a complex
topic. The dependency on specific codecs creates
a potential for footage becoming inaccessible. And
project files carry an inherent risk of
obsolescence, as NLE software and the formats it
understands are constantly moving targets.

13 of 27
 Archiving File Format

Most users choose to archive their original

camera media as well as digital master files of
their completed programs after editing. It is also a
good idea to store copies of the project file that
contains the instruction set on how the source
files were assembled.

14 of 27
 Archiving File Format

- For client work, archive decisions often come

down to a matter of cost. Some clients are
willing to pay for archives while others are not.
- Additionally, many clients assume that the
production company has archived everything,
so be sure to clarify assumptions. The use of
long term media formats such as LTO tape and
optical media has made this process easier,
but it is still neither easy nor cheap.

15 of 27
 Archiving File Format

Create a digital master of the finished

production
- When a project is done, you’ll often make several
digital files for delivery. Typically these files are
heavily compressed as they are intended for
playback on portable media devices or the
Internet. While you will probably want to archive
these files, you’ll also want to save a digital master
file with the least compression that is practical.

16 of 27
 Archiving File Format

- A QuickTime movie using a low-compression

scheme is a good format choice for your digital
master file. Popular codec choices include the
Apple ProRes 422 (HQ), Avid DNXHD, Cineform,
or Animation codecs.

- These files may be very large, but they ensure a

high-quality digital file that can be used to make
additional digital derivatives.

17 of 27
 Archiving File Format

Archiving a master to tape

- It’s very common for people who make or
commission video to render and archive a master
copy of the production to some form of tape. This is
frequently done even though there may be multiple
copies of the digital files on various hard drives or
other media. A finished master copy written to tape
provides a backup version that may not be subject
to the same codec uncertainties that other digital
copies have.

18 of 27
 Archiving File Format

- If you don’t own a system capable of creating a

digital tape, you could send a master digital copy to
a production house and subcontract the process.
You could also write the file out to Blu-ray disc to
create a high-quality version that is not so
dependent on installed codecs.

19 of 27
 Archiving File Format

Camera original files

In addition to the finished master version, it will
generally be advisable to archive the camera
original files. There are a few key considerations
when creating these archives.
- Maintaining file structure: It is a best practice to
maintain an exact copy of the file structure of the
original source media files when copying to a
backup device. The additional metadata and folder
structures are often needed to assist editing
software in properly importing and interpreting the
camera data, particularly for AVCHD.
20 of 27
 Archiving File Format

- Redundancy: If you have only one copy, it is not

backed up. Be sure that the media exists in at least
two locations and uses at least two formats of
backup. While hard drives are cheap, they are not
a permanent solution. Many turn to optical media
such as Blu-ray discs or tape-based archives like
LTO, DLT, and AIT.

Advanced Intelligent
Linear Tape Open Digital Linear Tape
Tape (AIT) 21 of 27
(LTO) (DLT)
 Archiving File Format

- Use software: Many use software tools to ensure

a complete copy of the disk image. Tools like Final
Cut Pro X have a camera archive feature that
supports certain formats. Another popular choice is
ShotPut Pro which can automate copying of
tapeless media to up to three separate locations. It
also has a great set of tools for verifying copies
and, creating additional backups to optical formats.

22 of 27
 Archiving File Format

Project files
- The project file created by your nonlinear editing
software truly is intellectual property. If you ever
need to make a change to the video after the
creation of the digital master, it will probably be
easiest to do so from the original project file. Of
course, this is only so if the project file can be
opened, and all the clip files can be easily
reattached. You will want to take great care to
ensure that the project file is archived to multiple
locations and multiple media types.

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- At the end of a project, it is also a good idea to

export additional versions of a project file. Over
time, manufacturers often evolve their project file
formats. Some even drop support all together
(such as Apple did in its initial transition from Final
Cut Pro 7 to version X). Most editing tools can
export an EDL (edit decision list) and XML
(extensible Markup Language) file. Storing a copy
of each with the archived project is a good idea.

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Removing unused media from the project file
- When you archive a completed project and the
associated media, you will almost certainly have a
bunch of stuff that was not used in the finished
product. This may include a lot of unused source
footage, and it may also include temporary render
files. In some cases, it will make sense to include all
of this with the archived project, and in some cases
you may want to remove some of the files to save
space.

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- For a high-value project that only takes up a

couple hundred gigabytes, it probably makes
sense to archive everything. If the project has
limited audience and a ton of transcoded footage,
then it might make sense to trim off the unused
transcoded footage when you send the project to
archive.
- In the end, you’ll have to make the decision of
what to cut according to your own valuation of the
project in the context of the archiving costs.

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