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Topic- 1 Lecture-

Video Formats:
Analogue and Digital
Unit-II
Process of Video Editing

Subject: Video Editing


1 of 20
OBJECTIVE OF LECTURE

Students would be able to :

-Understand basic idea of analogue formats


and their character.
- Understand media formats (tapes, cards
etc)

2 of 20
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 20
Analogue and Digital Signal

- An analog signal is a continuous signal that


contains time-varying quantities. Unlike a digital
signal, which has a discrete value at each sampling
point, an analog signal has constant fluctuations.

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Analogue and Digital Signal

- Analog is the way of the natural world: infinite


detail, infinite resolution. Tape is one medium that
represents analog audio information; vinyl (a
gramophone is known as a vinyl record) records
are another example. When something is converted
from analog to digital, that infinite detail is distilled
into a finite number of values

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Pros and Cons of Analogue and Digital

Analog Signals Digital Signals

- Continuous - Discrete

- Infinite range of values - Finite range of values


(2)
- More exact values, but -Not as exact as analogue
difficult to work but easier to work

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Digital sampling of analogue signals

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Recording the video
- There are continuous development in the design
and format of video and audio recording
systems.
- Some are mainly used for acquisition (shooting
original material), others are used for
postproduction editing and archiving (storage)
work.
- Recordings can be done on videotape (the most
common professional medium), hard drive, or a
flash memory card.
Analog recording (analogue): Analog systems directly record
the variations of the video and audio signals. They have a
tendency to deteriorate when dubbing copies and can only
be recorded on tape. 8 of 20
Recording the video

Digital recording: The digital system regularly


samples the waveforms and converts them into
numerical (binary) data. This allows many
generations of copies to be made without affecting
the quality of the image.

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Videotape

Videotape is the most popular professional format.


It is popular for the following reasons:

- It is readily available.
- A large number of tape-based cameras are still
manufactured.
- The sheer number of tape-based systems
already owned by companies is significant.

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Videotape
- Many companies have built a tape-based
infrastructure, and it will take time to make the
transition.
- Tapes have the capacity to record the project and
then store the raw or finished video.
- Most professionals have a high comfort level with
videotape.

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Tape Format
VHS
-This format uses {1/2}-inch videotape.
-The VHS deck has been the most popular
consumer deck ever produced.
-Until DVDs began to build in popularity, most
video rental stores rented out VHS tapes.
-Cameras are no longer manufactured that utilize
VHS tapes.
-This format is slowly being phased out.

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Tape Format
VHS-C
-This format uses {1/2}-inch videotape.
-The tape used is smaller than that used for the
VHS format.
-This small tape plays back on a VHS deck and
usually requires an adapter. As VHS was the most
popular consumer deck, VHS-C gained popularity
as a compact camera because its tape could be
played on a VHS deck.
-This format is slowly being phased out.

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Tape Format

DIGITAL8/HI8
-This format uses 8-mm videotape.
-It was highly popular as a subcompact camera but
is now slowly disappearing from the video market.

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Tape Format
D-9
-Originally known as D-VHS, this system utilizes
{1/2}-inch metal particle videotape cassettes.
-This system has not been highly popular.
-A VHS tape can play in the D-9 deck, but the D-9
tape cannot play in the VHS deck.

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Tape Format
MINIDV
-This format uses {1/4}-inch tape.
It is the most popular digital format on the market
today.
-The mini-DV camcorders are compact.
-The tapes are inexpensive and readily available.
MiniDV tape will play on DVCPro25/50/HD decks.
However, an adapter cassette may be required for
them to fit into the larger decks.

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Tape Format
HDV/MINIDV
-A digital high-definition format that is recorded
onto MiniDV tapes.
-JVC and Panasonic utilize 720p, whereas Sony
uses 1080i when recording in HDV.
-Many professionals insist that HDV is barely HD
because of color and gray scale issues.
-A MiniDV (non-HDV) will play on an HDV deck,
but an HDV tape cannot play on a DV deck. To
play in larger decks, an adapter is usually
required.

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Tape Format
DIGIBETA
-This format uses {1/2}-inch videotape.
-It was created especially for companies that had
large Betacam archives. Betacam could be played
in the DigiBeta deck, although the DigiBeta tape
could not be played in the Beta deck. The format
gave companies, especially news stations, a way to
upgrade without having to change their whole
archives.
-This format has a sampling rate of 4:2:2.

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Tape Format
DVCPRO25/50
-This format uses {1/2}-inch videotape.
-DVCPro25 has a sampling rate of 4:1:1, and
DVCPro50 has rate of 4:2:2.
-The DVCPro 50 has lower compression than the
DVCPro25, giving a high-quality image.
-A DV tape can be played on a DVCPro25/50 deck,
but the DVCPro25/50 tape cannot be played on the
DV deck.

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Tape Format
DVCPROHD
-This format uses {1/2}-inch videotape.
-DV, DVCPro25/50 tapes can be played on a
DVCProHD deck.
However, the DVCProHD tape cannot be played on
a DV or DVCPro25/50 decks.

20 of 20
Topic- 1 Lecture-
9

Video Formats:
Analogue and Digital
Unit-II
Process of Video Editing
Subject: Video Editing

1 of 30
OBJECTIVE OF LECTURE

Students would be able to :

-Understand basic idea of analogue formats


and their character.
- Understand media formats (tapes, cards
etc)

2 of 30
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 30
Media Format
• Flashmemory
Flash memory is slowly becoming popular as a
medium to record both standard definition and high-
definition video. A significant advantage to the flash
memory card is that it is easy to transfer files from
the card to a nonlinear editor.

4 of 30
Media Format

- A number of companies are creating professional


cameras that utilize large flash memory cards. One
of their advantages is that the larger card cameras
generally have multiple slots, which are “hot
swappa- ble.” This means that while one is being
recorded onto, an already full card can be removed
and replaced with a blank card. This allows
uninterrupted recording.

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Media Format
• Hard disk drive (HDD) (internal hard drive)
Hard disk drive (HDD) cameras record directly to a
hard drive built into the camera. Roughly 4 GB of
disk space is required for each hour of video. Some
of these compact HDD cameras have as much as
60 GB of hard disk storage. Many of the HDD
cameras include an SD slot for video recording to a
transportable medium, although it is not required to
transfer footage. It is extremely easy to transfer the
data to a nonlinear system

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Media Format
• External camera hard drives
External camera drives can now be attached to
most digital cameras including HD systems. These
drives provide extremely long recording times with
drives as large as 160 GB. The drives connect
directly to nonlinear editing systems, allowing the
editor to begin editing the program immediately.

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Media Format
- Most of these drives attach to the camera via the
FireWire port. Audio, time code, video, and control
information is passed directly through the FireWire
connector. A 160-GB drive will provide roughly 10
hours of DV recording and 5 to 6 hours of HD
recording.

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Media Format
• Recordable DVD
To this point in time, DVD cameras have been
primarily aimed at the consumer market. DVD
cameras automatically find a blank section on the
disk for recording, so there’s no need to rewind or
fast-forward. Most of them also use an index
screen, which makes it easy to search for a
particular scene.

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Media Format
-When the shooting has been completed, the disk
can be taken out of the camcorder and slipped into
a DVD player or recorder for immediate playback
there’s no need to connect any cables. One of the
disadvantages is that disks can be susceptible to
scratches.

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Media Format
• XD cam disk
The XD line of optical disk-based camera systems
utilizes blue-violet laser technology to achieve
extremely high data transfer rates. This
professional camera system can record up to 4
hours of HD on a dual-layer disk, which has a large
storage capacity of 50 GB. The disks are rewritable.
Sony says that the disk can handle a thousand
write and rewrite cycles.

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Which is the best video format?

-There is no single “best” video format. The best


video format for you depends on how you would
like to balance the quality and size of the video file.

-Some formats are extremely small and are great


for web streaming, but are low quality. Other
formats are high quality and the right choice for
commercial videography but are very large in size.

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Difference between a video codec, video container,
and a video file format
- Video files are made of 2 parts:
• a codec and
• a container.
- A video codec is a protocol for encoding and
decoding video (the word codec comes from
“enCOde / DECode”). Common codecs include
H.264, MPEG-4, and DivX. A well-engineered
codec has high efficiency, or ability to preserve
quality while reducing file size.

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Difference between a video codec, video container,
and a video file format

- The container format is a definition of how the file


metadata and data are structured, excluding how
the video is actually encoded (which the codec
determines). The container file holds the metadata
and compressed video data which is encoded using
the codec.

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Difference between a video codec, video container,
and a video file format

The container format is also more generally called


“the format”, and is reflected in the file’s extension.
Common container formats include .AVI, .MP4, and
.MOV. Container formats can be paired with different
codecs that influence what devices and programs
the file will be compatible with.

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Which video format is the smallest?

- The HEVC or H.265 codec is one of the most


efficient available on the market and is commonly
used to compress 8K UHD video.

- WEBM and its corresponding VP8/VP9 codec are


a widely compatible and popular way of making
video files smaller.

- However, it’s important to consider factors besides


size: where the files will be played and the required
quality of the video.

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Video File Formats

.WEBM
Like the .WEBP image file, .WEBM was created by
Google as an efficient means of disseminating
media to a large audience. .WEBM video files are
relatively small in size, and as such are not as high
in terms of quality as some of the other file types on
this list. The .WEBM video file format is used for
HTML5 video streaming sites, such as YouTube.

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Video File Formats

.MPG, .MP2, .MPEG, .MPE, .MPV


.MPG, .MP2, .MPEG, .MPE, .MPV files can play
audio/video media, or simply audio. They are low in
file size but also relatively low in quality. They also
have lossy compression, meaning their quality will
degrade after being edited numerous times. .MPG,
.MP2, .MPEG, .MPE, .MPV files are best used
when video will be recorded once and never edited.

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Video File Formats

.OGG
.OGG files are an open-source alternative to .MPG
files, and are used for high-quality videos to be
streamed via the internet. Though .OGG files are
used for streaming, they are higher in quality than
.WEBM files – meaning they will take longer to be
delivered to the end-user.

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Video File Formats

.MP4, .M4P, .M4V


- .MP4, .M4P, .M4V are similar to .MPG files in that
they can contain audio and video, or can simply be
solely audio files.
- Their file formats are lossless, which makes them
ideal for editing as they won’t lose quality through
subsequent edits and file saves.

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Video File Formats

- .MP4, .M4P, and .M4V are used for streaming


video via the internet. They are generally higher in
quality than .WEBM files, but tend to be larger in
file size.

- .M4V files are proprietary iTunes files that share


the same qualities of .MP4 and .M4P files. M4V
files are DRM (Digital Right Management), or TPM
(Technological Protection Measure)
copy-protected.

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Video File Formats

.AVI
.AVI files are one of the oldest and most compatible
video file formats. Many different codecs can be
used with an .AVI file, which means that this format
has more flexibility in choosing a balance between
quality and size. However, these files tend to be
larger than the previously mentioned formats, which
makes it less ideal for the web and more ideal for
storing movies on a computer.

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Video File Formats

.WMV
.WMV is a video file format created by Microsoft
and stands for Windows Media Video. The codec
used by these files results in small file sizes but
poor quality. This format is useful if you are sending
video to someone with an older Windows computer.

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Video File Formats

.MOV, .QT
.MOV and .QT files were developed by Apple to use
with its Quicktime player. These files are of high
quality but large in size. And they have poor
compatibility with non-Quicktime players. This
format is useful if you intend to archive a high-
quality video on an Apple computer.

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Video File Formats

.FLV, .SWF
.FLV and .SWF files were designed by Adobe as the
video file format for Flash. The use of these file
formats has declined rapidly as Flash has become
less popular, especially after Flash support ended
for iOS devices. The use of these formats is only
recommended if you need to support a legacy
system that can only accept this type of file.

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Video File Formats

AVCHD
AVCHD or Advanced Video Coding High Definition
files are the format generated by many digital
camcorders. These files use the H.264/MPEG-4
video codec and are similar to an .MPG file.

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How to choose the best video file format

• If the video will be viewed on the web, choose a


format that is supported by most browsers. This
way, your video will be able to be played without
downloading the file and using a separate
player. Browser compatible video formats
include MP4 and WEBM.

• If you are archiving a home video, choose a


format that is high quality and has a good chance
of being playable in the future. Formats that fits
this category are MP4 or AVI

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How to choose the best video file format

• If you work at a company that uses older


Windows computers, you should choose a
format that is highly compressed and compatible
with Windows. In this case, you’d want to use a
WMV file.

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Recording Media Care
It is important to care for recording media. Here are
some suggestions for prolonging the life of the
various types of recording and storage media:

-Remember that the optimum storage temperature


is around 65 degrees.
-Temperatures above 100 degrees and below 14
degrees can cause problems with some media.
-Avoid rapid temperature/humidity changes (such
as moving from a cold exterior to a warm interior),
and allow both media and equipment to become
acclimatized before use.

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Recording Media Care
- Before loading a medium, check that it has not
been protected against recording (if necessary,
reposition the safety switch). Make sure it does
not contain wanted program material.

- Store media in their protective boxes to avoid


damage and dust.

- Make sure that each recorded medium is clearly


identified on the label (name, contact
information, shot/scene numbers, etc.).

30 of 30
Topic- 2 Lecture- 10
Linear and Non-Linear Video
Equipment and
Editing:
its Function
Unit-II
Process of Video Editing

Subject: Video Editing

1 of 17
OBJECTIVE OF LECTURE

Students would be able to :


-Understand various equipment used in linear and
non-linear video editing process
฀-Understand the non-linear and linear video
editing

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
Post Production

- Postproduction editing is the third and final stage


of the production process, in which the various video
and audio segments are given structure and
meaning. Editing offers you the final chance to
clarify and intensify the intended message.

4 of 17
Editing goals
Basically, postproduction editing is the process of
combining individual shots in a specific order. It has
several purposes:
- To assemble material in a sequential fashion.
The shooting order may differ from the running
order.

- To correct mistakes by editing them out or by


covering them with other footage.

- To create, enhance, and bring to life images and


events that were once captured live.

5 of 17
Editing Equipment
- Editing equipment has drastically changed since
the 1990s. Where once a minimal edit system
required two editing decks, two monitors and an
edit controller, today the equipment can be as
simple as a camcorder (with FireWire) and a
computer with one of the editing software packages
installed.

- Higher level edit suites may contain multiple types


of input devices using a variety of different
connectors such as serial digital interface (SDI) to
transport the data at a much faster speed. They
may also include multiple edit screens, speakers,
an audio mixer, and other tools. 6 of 17
Process of Linear Editing and Non-Linear editing

- Contrary to linear editing, where you copy a


selected clip from one tape to another, the basic
principle of nonlinear editing is digital file
management.

- You can access any one of the files (frames or


clips) instantly in any order regardless of where the
information is located on the hard drive. The
computer then flags the selected clips so that they
play back in the sequence you specify.

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Equipment used for Non-Linear Editing

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Non-Linear Editing System
- Opt for a high-end desktop computer with a high-
capacity hard drive and a high-speed processor.
The typical nonlinear editing (NLE) system must
also include two fairly large external monitors, one
for the computer output and the other to show your
edited sequences and two small loudspeakers. It
somehow seems easier to work with two separate
screens than with a divided one.

Dual Screen Single Screen


9 of 17
Non-Linear Editing System

-A computer used for editing must have the


necessary software to accomplish the three phases
of nonlinear editing:
-Capture
-Actual editing
-Export

-Additional special-effects software for creating


transitions, graphics, and titles.

-Most editing software allows you to import the video


and audio data directly from the video recorder
inside the camcorder to the NLE computer. This
represents the capture phase. 10 of 17
Non-Linear Editing System

- Once the information is on the hard drive, you can


select clips and specify their order of play. You can
also add new information, such as clips or audio
segments from another shoot or source.

- Special effects software enables transitions and


title possibilities. This is the actual editing phase.

- Unless you play your masterpiece only on the


NLE system, you need to dub the final edited
version onto an edit master tape or disc. This is the
export phase.

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Non-linear Editing

-Capture/Digitize
Before you can do any nonlinear editing, you need
to transfer the content of the source media to the
hard drive of the NLE computer. The source media
can be videotape, hard drives, memory cards, or
optical discs.

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Non-linear Editing

-Digital source tapes: You can transfer digital


videotapes directly from the camcorder to the NLE
hard drive. If, however, you intend to select shots
from the source tapes to save space on the NLE
hard drive, you should use a stand-alone videotape
recorder (VTR) for the capture. This is where your
field log comes in handy.

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Non-linear Editing
-Selecting shots always requires extensive tape
shuttle, including repeated fast forwarding and
rewinding, which can be very hard on the small
camcorder VTR. In this case you should extract the
tape cassette from the camcorder and use it in a
sturdier stand-alone VTR for this selection/capture
procedure.

-The stand-alone digital VTR is well suited for the


job. Extensive shuttles are part of its intended use.
You will also find your desired shots much more
quickly than with the camcorder VTR.

14 of 17
Non-linear Editing
- Once you have inserted the source tape in the
sturdier VTR, you can connect it to the NLE system
with RCA phono or S-video cables or a FireWire
(IEEE 1394) cable.

RCA/ Phono
S-Video

Fire wire 4 pin to 4 pin


Fire wire 6 pin to 6 pin Fire wire 4 pin15toof 6 pin
17
Non-linear Editing
Analogue source tapes: If you want to edit some
of your old analog tapes, you first need to digitize
them before capture by the NLE. To do this you can
use RCA phono or S-video cables to connect the
analog camcorder to a converter box, which
changes the analogue content into digital data. A
FireWire cable lets you connect the box with the
hard drive of the NLE.

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Non-linear Editing

Other digital source media If the digital camcorder


uses recording media other than videotape, you can
transfer the source data directly to the hard drive of
the NLE. Connect the tapeless camcorder via RCA
phono, S-video, or FireWire to the NLE system or, if
you use a compatible memory card, insert the cards
directly into the slot of the NLE system.

17 of 17
Topic- 2 Lecture- 11
Linear and Non-Linear Video
Equipment and
Editing:
its Function
Unit-II
Process of Video Editing

Subject: Video Editing

1 of 24
OBJECTIVE OF LECTURE

Students would be able to :


-Understand various equipment used in linear and
non-linear video editing process
฀-Understand the non-linear and linear video
editing

2 of 24
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 24
LINEAR EDITING

- Linear editing is the process of linear “dubbing” or


copying the master tape to another tape in a
sequential order.

-Linear systems are generally made up of a “player”


and a “record” VCR along with a control console.
The original footage is placed into the player and
then is edited to the recorder.

-Although some segments of the television industry


are still using linear editing, the majority of
programming today is edited on a nonlinear editor.
4 of 24
Linear Editing

- Till 1990s in the absence of non linear computer


based editing system, linear video editing was
simply called video editing.

-While computer based video editing software has


been adopted throughout most of the commercial,
film, industrial and consumer video industries, linear
video tape editing is still commonplace in television
station newsrooms for the production of television
news, and medium-sized production.

5 of 24
Linear Editing

- News departments often still use linear editing


because they can start editing tape and feeds from
the field as soon as received since no additional
time is spent capturing material as is necessary in
non-linear editing systems.

6 of 24
Linear Editing

- In the past, film editing was done in linear


fashion, where film reels were literally cut into
long strips divided by takes and scenes, and then
glued or taped back together to create a logical
sequence of film.
- Linear video editing is more time consuming and
highly specialized and tedious work.

7 of 24
Linear Editing

Linear editing is still relevant because of these


reasons:

-The method is simple and inexpensive.


-Mandatory for some jobs: for example if only two
sections of video clips are to be joined together in
sequence it is often the quickest and easiest way.
-If video editors learn linear editing skills it will
increases their knowledge as well as versatility.

8 of 24
Start of Linear Editing Recording System

- When helical scan video recorders became the


standard, it was no longer possible to physically
cut and splice the tape. At this point video editing
became a process of using two video tape
machines, playing back the source tape (or "raw
footage") from one machine and copying just the
portions desired on to a second tape (the "edit
master").

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Start of Linear Editing Recording System
- Helical scan: This is a method of recording high-
frequency signals on magnetic tape. It is used in
open-reel video tape recorders, video cassette
recorders, digital audio tape recorders etc.

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Start of Linear Editing Recording System
- Helical scan is a method of recording high-
frequency signals on magnetic tape. It is used in
open-reel video tape recorders, video cassette
recorders, digital audio tape recorders etc.

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Start of Linear Editing Recording System

- Fixed Tape head: In a fixed tape head recording


system, magnetic tape is drawn past the head at a
constant speed. The head creates a fluctuating
magnetic field in response to the signal to be
recorded, and the magnetic particles on the tape
are forced to line up with the field at the head. As
the tape moves away, the magnetic particles carry
an imprint of the signal in their magnetic orientation.

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Equipment used in the process of linear editing

-Two VCRs (video tape machines), preferably with


AV (audio and video) outputs. If you don't have AV
outputs.
-At least one video monitor, but preferably two.
Professional monitors are best but you can use
televisions if necessary. Connecting cables.
-Edit Controller.

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Equipment used in the process of linear editing
-Character Generator(CG)- Graphics generator-
adding titles and other effects in linear editing
normally require specialized equipment.

-Video tape recorder: A video tape recorder (VTR),


is a tape recorder that can record video material.
The video cassette recorder (VCR), where the
videotape is enclosed in a user-friendly
videocassette shell, is the most familiar type of
VTR known to consumers.

14 of 24
Edit Controller/ Switcher
-This is a device which connects to and controls
the source and record machines.
-The controls on the left (above and including the
jog/shuttle ring) control the source machine.
-The corresponding controls on the right are for the
record machine (notice the addition of a red record
button).

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Edit Controller/ Switcher
-The controls in the middle are for various edit
options such as marking in/out points, etc.

16 of 24
Edit Controller/ Switcher

- The edit controller is an interface between the


source and record VTRs. It displays elapsed tape
time and frames, controls source and record VTR
rolls, stores edit-in and edit-out points and tells the
VTRs to locate them on the tape, and offers
previewing before the edit a and reviewing after the
edit. 17 of 24
Types of Linear Editing
- Assemble edit
With assemble edits, two tape machines are
connected together with an edit controller in the
middle, with one recorder acting as the player and
the other the recorder. The tape in the player is
simply wound backwards and forwards to reach
the first segment to record, which is then recorded
on the tape in the recorder. Then the next segment
is located and, in turn, recorded. This continues
until the story is complete

18 of 24
Types of Linear Editing

- If subsequent changes need to be made, it is


necessary to rewind back to the point of change
on the recording tape, then start the process from
that point, including recording again all the
segments that come after.

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Types of Linear Editing
- Insert edit
With insert edits, the process is the same, but once
the programme is complete and ready to be
broadcast, it might be necessary to make a change.
Instead of having to rewind to the point of change
and start the assemble edit from there, it is possible
to crop a new segment to the exact length of the
segment you want to change and literally insert (or
replace) the old segment without changing what
follows or precedes it. This method is much faster
than a full assemble edit and does not require any
rendering as you would with a non-linear edit from a
computer to media (tape or otherwise).
20 of 24
Types of Linear Editing

- Low-end video editors perform ASSEMBLE edits.


High end editors edit two ways, ASSEMBLE and
INSERT. If you have a choice, you should always be
INSERT editing. But, there are times when you can
not INSERT edit, even if your machine has the
capability. ASSEMBLE editors and other VCRs
when they are in their RECORD mode, create a
control track of electronic pulses along the edge of
the tape at the same time the spinning video heads
record the picture on the tape.

21 of 24
Types of Linear Editing

- INSERT editors, on the other hand, record new


video (with or without audio) on the tape but leave
the control track alone. Of course there has to be a
control track there to start with, so inserts can only
be done over prerecorded video.

22 of 24
Types of Linear Editing

Control Track: A control track is a track that runs


along an outside edge of a standard analog
videotape (including VHS). The control track
encodes a series of pulses, each pulse
corresponding to the beginning of each frame. This
allows the video tape player to synchronize its scan
speed and tape speed to the speed of the
recording.

23 of 23
Types of Linear Editing

24 of 24
Topic- 3 Lecture- 12

Steps for Linear and


Non-linear Video
Editing
Unit-II
Process of Video Editing
Subject: Video Editing

1 of 23
OBJECTIVE OF LECTURE

Students would be able to :


- Understand the aspects of editing
- Understand the steps of video editing

2 of 23
Suggested further readings:

1.Herbert Zettl, TV production Handbook, Thomas


Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication
3. For more on Linear Editing ( Insert and Assemble
Edit) watch in the below link:
https://www.youtube.com/watch?v=2w9Divn2RJM

3 of 23
Introduction to Steps of Video editing

- Editing provides ways of correcting and


improving the final production:

1. Sequences can be removed or shortened that


are uninteresting, irrelevant, or repetitious.

2. Errors can be corrected by omitting fault


sections and inserting retakes.

3. The overall duration can be adjusted.

4 of 23
Introduction to Steps of Video editing
Editing begins with sorting through the available
material and doing the following:

1. Selecting the required shots.


2. Deciding on the order and duration of each shot.
3. Deciding on the cutting point (when one shot is
to end and the next to begin).
4. Deciding on the type of transition between shots.
5. Creating good continuity.

5 of 23
Linear Editing system and Steps

- When you want to locate a shot that is in the


middle of the tape, for example, you need to roll
through shots 1 and 2 before reaching shot 3. We
cannot simply jump from shot 1 to 3. Because tape-
based systems do not allow random access of
shots of frames, all tape-based editing systems are
linear.

6 of 23
Linear Editing system and Steps

- Linear editing is basically selecting shots from


one tape and copying them in a specific order onto
another tape. The operational principle of linear
editing is copying.

- One or several VTR’s playback portions of tape


with the original footage and another VTR records
on its own tape, the selected material.

7 of 23
Tape based
system

The different tape-based systems fall into three


categories:

- Single-source
- Expanded single-source
- Multiple-source systems

8 of 23
Tape based system( Single Source)
- The basic system that has only one VTR
supplying the material to be edited is called a
single-source or cuts-only editing system. The
machine that plays back the tape with the original
footage is called the source VTR or the play VTR
and other one is called record VTR. The tapes are
called source video tape and edit mater tape. For
this two monitors are required.

9 of 23
Tape based system( Single Source)
- You use the source VTR to find the exact in-and-
out points of the footage you want to copy to the
edit master tape. Record VTR also has to be told
when to start recording (copying) the source
material and when to stop. An ‘in’ and ‘out’ cue tell
that which is done by an edit controller machine.

10 of 23
Tape based system( Single Source)
- Edit Controller: This machine automates editing to
a certain extent. It memorizes some of commands
and executes them with precision and reliability.
Control VTR search modes. (variable forward and
reverse speeds) separately for the source and
record VTRs to locate scenes. You use the source
VTR to find the exact in-and-out points of the
footage you want to copy to the edit master tape.

11 of 23
Tape based system( Single Source)

- Record VTR also has to be told when to start


recording (copying) the source material and when
to stop. An ‘in’ and ‘out’ cue tell that which is done
by an edit controller machine. It reads and displays
elapsed time and frame numbers or time code for
accurate cuing.

12 of 23
Tape based system( Expanded Single Source)

- In a documentary on rush hour traffic, you may


want to add more traffic sounds to intensify the
shots or put some music on a wedding scene.
Such effect can be achieved with the help of audio
mixer.

13 of 23
Tape based system( Expanded Single Source)

- Switcher and audio mixer can offer variety of


effects. It can facilitate a great variety of
transitions, such as cuts, dissolves and wipes.

14 of 23
Tape based system( Expanded Single Source)

- If titles need to be added, a character generator


is required and a Switcher that can mix the titles
with the scene from the source tape, without the
edit master tape undergoing another generation.

15 of 23
Tape based system( Multiple Source)
- The tape based multiple-source editing system
consists of two or more source VTRs, a single
record VTR, and a computer assisted edit
controller.

16 of 23
Tape based system( Multiple Source)

- The computerized edit controller directs the


functions of the source A and B VTR’s, the C.G. or
effects generator, the audio mixer, and finally the
edit and record functions of the record VTR.

17 of 23
Setting up a simple tape- to- tape system

- To connect the two VCRs together, plug the


video and audio outputs of the source machine
into the video and audio inputs of the record
machine.

18 of 23
Setting up a simple tape- to- tape system

There are a number of common analogue


connection types, the most common being RCA,
RF (AKA aerial or Belling-Lee), S-Video and
SCART. S-Video is probably the best choice for
video and RCA for audio. RF is the lowest quality
and has other complications — avoid it if you can.

RF

RCA
S-VIDEO

19 of 23
SCART
Setting up a simple tape- to- tape system

Digital video machines may also have connectors


such as Firewire or USB, which are the best quality
of all.

USB

IEEE 1394
FIREWIRE
20 of 23
Setting up a simple tape- to- tape system

- Once the tape machines are connected, connect


each machine to its own monitor.

- The record machine should have AV outputs


available. So plug these into the record monitor.
- If the only output is RF (aerial), connect this to
the monitor instead (just like a TV).
- If the source machine has spare AV outputs,
connect these to the source monitor. Again, if
necessary, use the RF output instead.

21 of 23
Setting up a simple tape- to- tape system

- Finally, select the correct inputs on the record


machine and both monitors. For example, if you
have connected the source machine's AV outputs
to the record machine's AV inputs, you will need
to select "AV" from the record machine's input
selector.

22 of 23
Setting up a simple tape- to- tape system

- Once everything is connected, test the system.


- Play a tape in the record machine and make sure
it appears on the record monitor. Also check the
audio.
- Stop the record tape and play a tape in the
source machine. It should appear on both the
source and record monitors (because it is being
fed through the record machine). Check the audio.
- If something isn't working, chances are you have
either made the wrong connections or selected the
wrong input(s).

23 of 23
Topic- 3 Lecture- 13

Steps for Linear and


Non-linear Video
Editing
Unit-II
Process of Video Editing
Subject: Video Editing

1 of 20
OBJECTIVE OF LECTURE

Students would be able to :


-Understand the aspects of editing
-Understand the steps of editing

2 of 20
Suggested further readings:

1.Herbert Zettl, TV production Handbook, Thomas


Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication

3 of 20
Introduction to Steps of Video editing

- Editing provides ways of correcting and


improving the final production:

1. Sequences can be removed or shortened that


are uninteresting, irrelevant, or repetitious.

2. Errors can be corrected by omitting fault


sections and inserting retakes.

3. The overall duration can be adjusted.

4 of 20
Introduction to Steps of Video editing
Editing begins with sorting through the available
material and doing the following:

1. Selecting the required shots.


2. Deciding on the order and duration of each shot.
3. Deciding on the cutting point (when one shot is
to end and the next to begin).
4. Deciding on the type of transition between shots.
5. Creating good continuity.

5 of 20
Non-linear editing systems and steps

- NLE is slightly elaborate process but most flexible


editing system.

- It is like putting together a jig-saw puzzle where


we arrange and rearrange pieces of scattered
footage into a meaningful film.

- Editing video on a computer is basically NLE, that


is film or video can be assembles in any order from
beginning to end.

6 of 20
Non-linear editing systems and steps

- Digitising
- Compressing & storing
- Juxtaposing, rearranging and applying effects to
audio and video files.
- Copying edited programmme back on to tape,
DVD or hard drive.

7 of 20
Non-linear editing systems and steps

• Digitising or capturing
Transferring analogue videotaped information to a
a digital and storing the information on computer
hard drive. It happens in real time but also with an
option of batch capturing.

8 of 20
Non-linear editing systems and steps

• Compression
In video, the less compression there is, the higher
quality the video and sound will be. Generally
MPEG-2 compression standard makes it difficult to
do precise frame- accurate editing.

Four parameters of compression:


-Codec
-Frame size
-Frame rate
-Scanning – Progressive or Interlaced

9 of 20
Non-linear editing systems and steps

• Juxtaposing and rearranging video and audio


files
NLE is comparable to rearrange letters, words,
sentences, and paragraphs through word
processing. For editing, we juxtapose images and
rearrange video and audio files. We can juxtapose
two frames or a series of frames to see how well
they cut together.

10 of 20
Non-linear editing systems and steps
- A NLE setup requires a fairly high-end computer
that can handle audio, video, graphics, and a host
of audio and video effects. A recorder that also
serves as a player is connected to the CPU of the
computer using FireWire cable.

Firewire 800 Firewire 400-600 Firewire 600

11 of 20
Non-linear editing systems and steps

-The editing software also works as an interface


between the recorder/player and the editor can be
controlled by the keyboard and mouse.

-The raw footage on tape is digitized, that is


captured in digitizes form onto the computer’s hard
disk.

- Each shot needs to be named and arranged in


different bins for easy editing.

-We can import music into another bin and store


all graphics/titles in another bin.
12 of 20
Non-linear editing systems and steps

Capture window

CAPTURE WINDOW IN THE CENTER


13 of 20
Non-linear editing systems and steps

BINS IN THE BROWSER INTERFACE

14 of 20
Non-linear editing systems and steps

EDITING TIMELINE LAYOUT


15 of 20
Non-linear editing systems and steps

- On the timeline, we can arrange shots side by


side at random and rearrange them to our needs.
Our shots and audio are arranged in what are
known as audio and video layers. To apply effects,
we go to the effects palette, select an effect and
apply it by dragging to respective video or audio.

16 of 20
Non-linear editing systems and steps

• Rendering
- This is a process of allowing the computer to
implement all of the audio, video, and digital
effects, on a frame by frame basis.
- In video editing it is the computer process of
combining your still pictures, video clips, audio clips
and other visual elements into a single digital video
frame.

17 of 20
Non-linear editing systems and steps

Rendering is generally required for:


- The use of filters, transitions, generators, or any
combination of effects that exceeds your
computer’s real-time playback capabilities.
- High quality final output- Real-time effects that
play back at preview quality must ultimately be
rendered for high-quality video output.
- Video clips using codecs that Premier Pro can’t
play in real time.

18 of 20
Non-linear editing systems and steps

Rendering is generally required for:


- Multiple audio tracks that exceed your real-time
playback limit.
- Clips with audio effects that require too much
processing power.
- Some nested sequences, which can include
layered Photoshop files.

The NLE software has the ability to adjust the


volume of an audio clip. Fade-in, Fade- out, cross-
fade or cross dissolve with audio on separate
tracks.
19 of 20
Non-linear editing systems and steps

Export window

EXPORT WINDOW IN THE CENTER

20 of 20
Topic- 4 Lecture- 14

Editing Techniques:
Types of Cuts and
Transitions
Unit-II
Process of Video Editing
Subject: Video Editing

1 of 20
OBJECTIVE OF LECTURE

Students would be able to :


- Understand the basic video transitions & Cuts
- Understand their situational use

2 of 20
Suggested further readings:

1.Herbert Zettl, TV production Handbook, Thomas


Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication

3 of 20
What is technique in editing?

- On its most fundamental level, film editing is the


art, technique and practice of assembling shots
into a coherent sequence. The job of an editor is
not simply to mechanically put pieces of a film
together, cut off film slates or edit dialogue scenes.
Editors usually play a dynamic role in the making of
a film.
- Film editing is often referred to as the "invisible
art” because when it is well-practiced, the viewer
can become so engaged that he or she is not
aware of the editor's work.
4 of 20
Functions of Editing

The four basic editing functions are:

(1) to combine—to hook various videotaped pieces


together pretty much in the sequence
(2) to shorten—to make the program fit a given time
slot and to eliminate extraneous material
(3) to correct—to cut out bad portions of a scene
and replace them with good ones and
(4) to build—to select and sequence shots that will
advance a specific story.

5 of 20
Basic Transition Devices

Whenever we put two shots together, we need a


transition between them, a device that implies that
the two shots are related.
There are four basic transition devices:
- the cut
- the dissolve
- the wipe and
- the fade.
Although all the four have same basic purpose to
provide an acceptable link from shot to shot they
differ somewhat in function, that is, how we are to
perceive the transition in a shot sequence.
6 of 20
What is a cut?

- In the post-production process of film editing and


video editing, a cut is an abrupt, but usually a film
transition from one sequence to another or one shot
to another.

7 of 20
What is a cut?
- The cut is an instantaneous change from one
image (shot) to another. It is the most common and
least noticeable transition device, assuming that the
preceding and following shots show some
continuity.

8 of 20
What is a cut?
- The cut itself is not visible, all you see are the
preceding and following shots. It resembles most
closely the changing field of the human eye.

9 of 20
What is a cut?
- The cut, like all other transition devices, is
basically used for the clarification and
intensification of an event.
• Clarification means that you show the viewer
the event as clearly as possible. For example, in
an interview show the guest holds up the book
she has written. To help the viewer identify the
book, you cut to a close-up of it.

10 of 20
What is a cut?
• Intensification means that you sharpen the
impact of the screen event. In an extreme long
shot, for example, a football tackle might look
quite tame; when seen as a tight close-up,
however, the action reveals its brute force. By
cutting to the close-up, the action has been
intensified.

Cut to

11 of 20
Different Types of Cut
Standard Cut

This is the cut that all of us know and love. It’s


probably the most used cut out there, and you can
think of it as “Shot-Reverse Shot.” It’s the
continuation of the previous clip from a different
angle — or a way to bring two different shots
together. If you have ever just placed a clip next to
another clip, you’ve used a standard cut. This cut is
great when you’re trying to keep things simple.

12 of 20
Different Types of Cut
Jump Cut

There are two types of jump cuts: one that looks


good and one that doesn’t. The ones that don’t look
good cut during an actor’s dialogue or are
otherwise somehow jarring. But in recent years, the
jump cut has been transformed from a bad cut to a
easy way to slim down a long take. The only way
this kind of cut works, though, is when you tie it
together with something else, like a soundtrack that
plays behind the cuts.

13 of 20
Different Types of Cut
J-Cut

The J-cut is a great way to connect two clips that


otherwise wouldn’t go together. You simply take the
audio of the tail clip and let it bleed into the first clip.
By extending the audio to the left, you’ll see a loose
resemblance to the letter J in your timeline. This
helps immerse the viewer into the next clip before it
even appears.

15 of 20
Different Types of Cut

16 of 20
Different Types of Cut
L-Cut

This is the opposite of the J-cut. The L-cut extends


the audio from the first clip into the tail clip. This cut
is essential in dialogue-heavy scenes because it
breaks up the monotony of a shot-reverse shot
conversation. This cut also lets you show
immediate reactions, rather than cutting away from
the speaking actor.

17 of 20
Different Types of Cut
Cutting on Action

When editing an action sequence, it’s always a


good idea to blend the cuts together as seamlessly
as possible. To cut on action, you merge two clips
by cutting between them during a moment of
action. This ties the two clips together and tricks the
audience into ignoring the cut. It’s a perfect choice
for a fight scene or a chase sequence.

19 of 20
Different Types of Cut
A cross-cut smashes two perspectives into one
sequence. This cut takes two different perspectives
from your narrative world (such as one character
chasing another) and melds them by cutting
between each. The audience will automatically
connect the two perspectives as one whole since
they are watching them play out in “real time.”

20 of 20
Different Types of Cut

21 of 20
Different Types of Cut
Cutaways

Cutaways, otherwise known as “establishing shots,”


showcase the narrative’s environment. These shots
establish the characters’ location and anchor your
audience in your narrative world. Just make sure
not to linger too long on these shots, or you risk
losing your audience’s attention.

22 of 20
Different Types of Cut

23 of 20
Different Types of Cut
Match Cut

The match cut is one of the ways that an editor can


really flex their creative chops in post-production.
Take a clip of some action, then immediately cut to
a different scene that matches that action

24 of 20
Different Types of Cut
Montage

Want to span days, months, or years in a 45-


second sequence? Then the montage is what you
need. They’re a great way to show the passage of
time or a period of growth. Take a series of clips
that show your character’s progress and layer in
some inspirational music.

25 of 20
Different Types of Cut

26 of 20
Topic- 4 Lecture- 15

Editing Techniques:
Types of Cuts and
Transitions
Unit-II
Process of Video Editing

Subject: Video Editing

1 of 30
OBJECTIVE OF LECTURE

Students would be able to :


- Understand the basic video transitions
- Understand their situational use
- Use different video transitions

2 of 30
Suggested further readings:

1.Herbert Zettl, TV production Handbook, Thomas


Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication

3 of 30
What is video transition?

- A video transition is a technique used during the


post-production process of film or video wherein
separate shots or scenes are combined in order to
present a cohesive whole. Commonly, especially
with film, this is usually just in the form of a "cut,"
which leads directly to the next scene without any
particular visual cue except that the scene has
changed.

4 of 30
What is video transition?

- For digital video, the transition can be more visual


and obvious such as fade-outs, wipes, dissolves
and fades or other visual effects.
- A video transition is used to convey to the viewer
that the scene has changed and that another point
of view in the narrative is being told or that simply
the angle from which the scene is being viewed
has changed in order to convey scale or
atmosphere. But at the simplest core, a video
transition is simply a join in two separate shots.

5 of 30
Goal of video transition?

- The goal of a video transition is to seamlessly


integrate different shots so that the core narrative
moves forward believably and that it does not
distract the viewer.

- This is especially true for movies and cinema, but


for amateur videos that tend to be more
lighthearted, video editing software provides
different kinds of video transitions, which are usually
very animated and colorful.

6 of 30
Working with Transitions

- Transitions are mainly placed at the end of one


clip and the start of another clip. The simplest type
of transition is the cut, in which the last frame of
one clip is simply followed by the first frame of the
next.

- Normally this term is used for film editing, where a


cut means splicing two shots together. A cut is the
frequent and the most effective way to move from
one scene to the next.

7 of 30
USE OF CUT AS SMALLEST TRANSITION 8 of 30
Basic Transition Types

The Dissolve:
The dissolve, or lap dissolve, is a gradual
transition from shot to shot, the two images
temporarily overlapping. Whereas the cut itself
cannot be seen on-screen, the dissolve is a
clearly visible transition. Dissolves are often used
to provide a smooth bridge for action or to indicate
the passage of time. Depending on the overall
rhythm of an event, you can use slow or fast
dissolves. A very fast one functions almost like a
cut and is therefore called a softcut.

9 of 30
USE OF DISSOLVE TRANSITION
10 of 30
USE OF DISSOLVE TRANSITION
11 of 30
- For an interesting and smooth transition from a
wide shot of a dancer to a close-up, for instance,
simply dissolve from one camera to the other. When
you hold the dissolve in the middle, you will create a
superimposition.
- A slow dissolve will indicate a relatively long
passage of time; a fast dissolve, a short one.
Because dissolves are so readily available in NLE
software, you may be tempted to use them more
often than necessary or even desirable.

12 of 30
- A dissolve will inevitably slow down the transition
and, with it, the scene. If dissolves are overused,
the presentation will lack precision and accent and
will bore the viewer.

13 of 30
The Wipe:
There is a great variety of wipes available, the
simplest of which is when the base picture is
replaced by another one that moves conspicuously
from one screen edge to the other.

Other wipe effects look as though the top picture is


peeled off a stack of others, or a diamond
expanding from the centre of the top picture
gradually shows the one underneath.

14 of 30
The wipe is such an unabashed transition device
that it is normally classified as a special effect.
The wipe tells the viewers that they are definitely
going to see something else, or it injects some
interest or fun into the shot sequence.

15 of 30
USE OF TRANSITION WIPE

16 of 30
USE OF TRANSITION WIPE

17 of 30
The Fade:
In a fade the picture either goes gradually to black
(fadeout) or appears gradually on the screen from
black (fade-in). You use the fade to signal a definite
beginning(fade-in) or end (fade-out) of a scene. Like
the curtain in a theatre, it defines the beginning or
the end of a portion of a screen event.

18 of 30
USE OF TRANSITION FADE
19 of 30
USE OF TRANSITION FADE
20 of 30
- As such, the fade is technically not a true
transition. Some directors and editors use the term
cross-fade for a quick fade to black followed
immediately by a fade-in to the next image. Here
the fade acts as a transition device, decisively
separating the preceding and following images from
each other. The cross-fade is also called a dip to
black.

21 of 30
- Do not go to black too often—the program
continuity will be interrupted too many times by
fades that all suggest final endings.

- The other extreme is the never go- to-black craze:


some directors do not dare go to black for fear of
giving the viewer a chance to switch to another
channel.

22 of 30
Whip Pan:
A whip pan transition is when the camera quickly
pans creating a blur effect between scenes. It’s a bit
similar to a wipe but tends to be much faster.

-Director Paul Thomas Anderson frequently uses


whip pans in his films, but they’re not always a
transition from one shot to another, it’s just
changing to a different angle in one shot. This type
of transition is often used for comedic effect or to
convey fast-paced action. E.g.- Boogie Nights

23 of 30
USE OF TRANSITION WHIP PAN
24 of 30
Zoom:
Like a whip pan, zoom transitions can be used to
convey a frenetic pace, switching quickly from one
scene to the next.

In this super cut, Edgar Wright’s hectic zoom cuts


create a comedic effect as Shaun goes through
his mundane morning routine.

25 of 30
USE OF TRANSITION ZOOM
26 of 30
Tips for video transition

While it can be tempting to go crazy with


transitions, especially if you’re new to video
making, it’s best to avoid this. Here are a few quick
tips for using video transitions well.

- Keep them consistent: There’s nothing more


amateur than using different transitions for every
scene.

27 of 30
Tips for video transition

-Keep them subtle: Unless you’re going for a


specific effect, it’s best to use transitions sparingly.
Remember, most of the time, directors use basic
cuts between scenes. Transitions are usually only
used when they serve a storytelling purpose (and
good design should go unnoticed.)

28 of 30
Tips for video transition

- Keep the meaning of each transition type in mind:


While you can have some fun with transitions, as
Edgar Wright did with his tooth brushing zoom cuts,
it’s best to bear in mind what different transitions
symbolize and use them only where appropriate.
For example, as fade to black is a dramatic
transition that signifies completion, it would be odd
to use it between two scenes that take place in the
same time and space.

29 of 30
Tips for video transition

Transitions are a valuable tool for video creators,


helping to move the story along, convey a mood or
tone to viewers, and set the stage for the next
scene. Different transitions have different meanings
and symbolism, so they should be used thoughtfully
and should always serve the story.

30 of 30
Topic- 4 Lecture- 16

Editing Techniques:
Types of Cuts and
Transitions
Unit-II
Process of Video Editing

Subject: Video Editing

1 of 30
OBJECTIVE OF LECTURE

Students would be able to :


- Understand the basic video effects
- Understand their situational use
- Use different video transitions and video effects

2 of 30
Suggested further readings:

1.Herbert Zettl, TV production Handbook, Thomas


Wardsworth Publishing
2. Video Production, Vasuki Belavadi, Oxford
Publication

3 of 30
Basics of video effects and filters?

Video effects created in the computer that provide


interesting transitions from one scene to another
rather than just switching frame with a cut. They
include not only fading or dissolving the frame or
wiping from one frame over another. It also
includes flipping the frame, mosaicking, rippling,
keying, blurring, distorting, color transition etc.

4 of 30
Types of effects and filter
There is a great variety of effects available for
manipulating size, shape, light and colour of an
image. Many of these change realistic video into a
basically graphical image. Some of the most
prominent are:
-Shrinking and expanding
-Stretching
-Positioning
-Perspective
-Mosaic
-Posterization & Solarization

5 of 30
Types of effects and filter

Shrinking and expanding:


It refers to making a picture smaller while keeping
the entire picture and its aspect ratio (width to
height) intact. It is not like Cropping. Because the
visual effect is similar to a zoom-out or zoom-in, this
effect is also called squeeze-zoom.

6 of 30
Types of effects and filter

Stretching:
When we stretch the image vertically or horizontally.
It is done by distorting the total image so that its
borders attain a new aspect ratio.

7 of 30
Types of effects and filter
Positioning:
The shrunk image can be positioned anywhere in
the frame.

8 of 30
Types of effects and filter

Perspective:
You can distort an image in such a way that it looks
three-dimensional, or like it’s occupying three-
dimensional space.

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Types of effects and filter

Mosaic:
The video image is broken down into many
discrete, equal sized squares of limited brightness
and colour. The resulting screen image looks like
an actual tile mosaic. Such an image actually
consists of greatly enlarged pixels. This technique
is sometimes used in interviews to obscure the
guest’s identity. The mosaic like distortion shows
the person’s face but renders the features
unrecognizable.

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Types of effects and filter

MOSAIC 11 of 30
Types of effects and filter

Posterization and solarisation:


In posterization, the brightness values (luminance)
and the shades of the individual colours are
collapsed so that the image is reduced to a few
single colours and brightness steps.

In solarization, brightness values of the image are


gradually changed to their opposite values. In
partial solarisation, the lighter areas get darker and
the darker areas lighter.

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Types of effects and filter

POSTERIZATION AND SOLARIZATION 13 of 30


Types of effects and filter

Chroma Key:
It is a special effect that uses a specific colour
(chroma), blue or green, as background for the
person or object that is to appear in front of the
background scene. During the key, green
background will be replaced by the background
video source without affecting the foreground
object. A typical example is the weathercaster
standing in front of a weather map or a satellite
picture. During the chroma key, the computer-
generated weather map or satellite image replaces
all green areas – but not the weathercasters.
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Types of effects and filter

CHROMA KEYING
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Types of effects and filter

Gaussian Blur :
The Gaussian Blur effect blurs and softens the
image and eliminates noise. You can specify that
the blur is horizontal, vertical, or both.
Blur effect simulates an image blurring the clip.
For example, by setting key frames for the blur,
you can simulate a subject going blurry and
transit to another clip eventually from blur to focus

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Types of effects and filter

GAUSSIAN FILTER TRANSITION


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Types of effects and filter
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.

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Types of effects and filter

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.

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Types of effects and filter

TWIRL FILTER TRANSITION


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