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Monte Zucker Photographic Education Presents the Out of Order tour! In Irvine 10/19 And LA 10/20. Out of Order is a film editing tour that is sponsored by Adobe and Canon and tackles editing from the a non-linear storytelling perspective. It’s taught by Ross Hockrow, an award winning filmmaker, educator and author. The full-day class is split in two parts, a daytime Storytelling Through Editing Workshop, and an evening Editing Techniques seminar. In the workshop Ross will demonstrate the principles of “show don’t tell,” will teach you to properly time cuts, to “play” with time, and will focus on the very important concept of pacing. Ross will then break down the techniques necessary to effectively edit a conversation; in film editing, conversations represent what editing is in its rawest form. Finally, Ross will teach you the importance of creating a constant feeling of anticipation within the viewer via cut selection, timing, and analyzing which shots have the greatest storytelling impact. All of these techniques are used to make your viewer experience your film instead of just passively watching it. The seminar begins with an intensive, step-by-step overview of the complete editing process. Ross shows students how to organize and log footage and introduces the concept of the dump timeline, a workflow technique used to create the Narrative Base. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Check out this awesome opportunity to hone your skills or gain a new take on the editing process.

Monte Zucker Photographic Education Presents the Out of Order tour! In San Jose 10/12 And San Francisco 10/13. Out of Order is a film editing tour that is sponsored by Adobe and Canon and tackles editing from the a non-linear storytelling perspective. It’s taught by Ross Hockrow, an award winning filmmaker, educator and author. The full-day class is split in two parts, a daytime Storytelling Through Editing Workshop, and an evening Editing Techniques seminar. In the workshop Ross will demonstrate the principles of “show don’t tell,” will teach you to properly time cuts, to “play” with time, and will focus on the very important concept of pacing. Ross will then break down the techniques necessary to effectively edit a conversation; in film editing, conversations represent what editing is in its rawest form. Finally, Ross will teach you the importance of creating a constant feeling of anticipation within the viewer via cut selection, timing, and analyzing which shots have the greatest storytelling impact. All of these techniques are used to make your viewer experience your film instead of just passively watching it. The seminar begins with an intensive, step-by-step overview of the complete editing process. Ross shows students how to organize and log footage and introduces the concept of the dump timeline, a workflow technique used to create the Narrative Base. The art of the professional cut is explored in detail, focusing on the techniques of L-cutting, cutting on the action, popcorn cutting, and the use of natural and scene-to-scene transitions. Check out this awesome opportunity to hone your skills or gain a new take on the editing process.

Having trouble getting videos of of my memory card into any editing software. It says the files are CPI files... Any ideas?

Currently making my first short film and I'm not very experienced in editing. Any suggestions on what to use for editing?

Hi everyone, in few days I'm gonna show my short film to a commission for my graduation... now, until now I just worked on my laptop, never tried to see the result on TV, but as soon as I did it... I really freaked out! watching the film on my laptop, everything is good: high quality definition, bluish and desaturated look which is exactly what I wanted to achieve, no digital noise... when I saw it on TV, it was yellowish and very saturated, really bad definition with a LOT of digital noise... I don't really know what to do, my school career will be probably influenced by this project... can someone help with that? do you think I'm doing something wrong linking the PC to the TV, or is it normal all that noise?? I used a RGB cable to link the PC to the TV, and I'm using premiere pro cs6 to edit... is there something I can do in the export settings to have a really good HD product once it is shown on TV, or on a big screen? Please help, I will be really grateful for any kind of answer :(

Hello there, I am a freshmen undergrad in film school and recently got the position to work as a DIT and editor on an upcoming short. The short is a collaborative effort of one of our school clubs where we managed to get together to funds to shoot with an epic. During the shoot, which is coming up this spring, I am to apprentice a professional DIT and learn the ropes. Eventually taking over once I am comfortable with the procedures and so forth. I am also going to be grading and editing the RAW footage. So prior to when my apprenticeship begins I would like to have a firm knowledge of what I am getting myself into. So I was curious if anyone had any articles regarding the DIT workflow and responsibilities of the job. Also I am looking for any articles and info on grading RAW footage which I have experience with in terms of stills, and the RAW editing workflow. Despite going into this without any experience in being a DIT, I am a very adequate editor in Final Cut and Premier. Just to let you know I’m not entirely unqualified for the position. Summary: I am looking for all information, advice, and articles regarding being a DIT to a RED Epic, and grading and editing RAW footage. Thanks!

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Hello, I'm relatively new to DV and recently installed version 9 after coming from 8.2. I've looked around on the net for problems regarding this issue and have basically hit a wall - the problems that most people have had were with the same anomaly I've been trying to deal with. Problems: Finalized file has a bar at the top of the video that flickers on and off. The entire frame will do this as well randomly throughout a clip. Along with the above, say I apply a LUT and grade it, then render. In the final file the video flickers back and forth between the graded footage and the stock footage. -- I haven't had any noise issues or anything of that sort, just random flickers -- Possible Solutions I've found and (or) attempted: Upgrade to the latest Cuda Drivers - 5.0.35 Disable SLI (tried rendering with 1 GPU and still had problem) Check frame rate to make sure the master matches the file Tried rendering as multiple filetypes Disable all audio * there might be some others but they don't come to mind right away, what I did find is that a lot of the macos users that had similar problems needed an OS update. ------------------------------------- The footage was shot on a 60D, 1080p @ 24fps as a .mov The media rendered, was rendered to a .mov along with a .#res file as well. I've included my project settings below - feel free to point out anything that seem obviously out of place ^_^ Along with that, here is a clip of the actual problem. NOTE: The flickering at the end of the video is not the candle. You can also observe the bar at the top of the frame that spans horizontally while flickering. http://lanelehman.com/V1-0001_MVI_9526.mp4 System Information: Operating System: Windows 7 Professional 64-bit (6.1, Build 7601) Service Pack 1 (7601.win7sp1_gdr.120503-2030) Processor: Intel® Core i7-3930K CPU @ 3.20GHz (12 CPUs), ~4.2GHz Memory: 16384MB RAM DirectX Version: DirectX 11 Display Devices: Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Card name: NVIDIA GeForce GTX 560 Manufacturer: NVIDIA Chip type: GeForce GTX 560 Display Memory: 4050 MB Dedicated Memory: 978 MB Shared Memory: 3072 MB Current Mode: 1920 x 1080 (32 bit) (59Hz) Driver File Version: 9.18.0013.0694 (English) Driver Version: 9.18.13.694 Thanks for any replies I get here, I really appreciate the time taken to read all of this. My search for a solution to a working version of v9.0 continues!

Hey all, new to the forum. Here's my reel: http://www.benstamperpictures.com Looking forward to the collective wisdom, Cheers, BEN

Hey guys! I just joined this site today and am hoping to learn a lot and connect with a lot of people. Currently I'm 15 and in the 10th grade and have a passion for cinematography and filmmaking. I've been video editing for years but more recently (roughly 1 1/2 years ago) got serious about it. I've started working more with the film aspect of filmmaking this year as I'm now taking an AV Production class at my school and i'm loving it. I've always been working in post but have only more recently starting to do more things with cinematography. So anyways, I was wondering if film school was really worth it? I know quite a lot of things already about cinematography and film production and from this site and others I could learn so much more, without having to go to film school. Many people say that it's a waste of money and unless you're going to film school with very little to no knowledge of filmmaking, then I'd probably agree. But I want to hear from some people on here who have had experience. I'm also starting to make some connections with music video editors/directors and independent cinematographers so I can get help from them as well. I'll also post some of my work from youtube on here when I get the chance and I've recently made a vimeo so I will post it there as well. Thanks and I look forward to connecting with a lot of you!

Translating storyboard images or shot-lists into actual shooting is a creative process, with all the variables that entails. Creating a working flow from juxtapositions in the editing room requires one to work from the footage in hand. In my admittedly limited experience in taking video from start to finish, I have found that what I had hoped would cut well from a medium to close-up, often suffers a compositional awkwardness as a result of secondary elements in one or the other shot. For instance, even if both backgrounds have a soft, similar diagonal pattern, the cut from one shot to the next seems less smooth than pre-visualized, due to the displacement of the visual elements from one to the next. (I leave aside, in this consideration, cuts for which a high-precision match involves lining up a transparent template on the monitor for framing the second shot to work with the first.) Even with Walter Murch’s six-element priority list in mind, I wonder if anyone would care to comment on this issue, approaches to filming adn editing, the role of experience, or other observations or advice.