qtes aFr*F$qAffiFEE

Wr:ruqFB
rrH . dfte't*qtrrctatwrt 6frtq ,tt',{l"t
fi(rfi\, ,ttt ' &Ge qeG(
dftFs : qt{tqtfr&l€

so. o1. qo)b

ffi1ryt:8
(t) x-11qzTlTq{, q-fiqqB .sRiT.,ttqcF* erelffi{Etq{rffi1 ;
er{ffi*vt
Meaning of Editing, Why editing is necessary ? Edito/s requisite knowledge for editing

(a,l ffi e&&,q* qh6fr.t r (qBffi / ctTFtvfr ),m e&Bs* qffi q-th{-{t{ffi
qa5{{ qkHRTgt,:{Eftq'ffifrB{qTqrtfirt q?RryltqqlTqHffiffir : Film and video
structures / units / mode of expressions, Film and Video Continuity, Various types of film and video
continui$, Basic grammar of editing. and General rules of editing'

(u) GffiFte&e
' wlto--q{fr frGfiFr&B€ rm{rF, QDe' ffitn&fr€ TFNIF, €Em{r
frffit'r &&,s rrmrrF, qetmfiqTfi ftffiFT &&\s wcrF, ftmFr 6s {EilsFE6u-sfi
frGftq e GEqt qf+-E tqrr ffiAq qE" FnEXq, +FrH 5gefi <gfiFB( ffi<t Frc$tt
: DigitalVideo Formats-SD DigitalVideo Fonnats and HD Digital Video Formats, Very High Resolution Digital
Production.
Video Formats, Digital Video Sound SystemrDolby Digital Video and Audio Formats for TV drama
pixels, Definition and Resolution, Color Television Broadcasting Standard / Systems'

(a) GGfiFr mplfu* e&rs,qGRt. Frdq, Nr+IR{ s qqBS qq6a ffi : DigitalNonlinear Video
in brief. Premiere
Editing System-Offline and Ontine Editing Metrods Using Windows lnterface for video editing
and Final Cut PRO lnterface in brief.

{Yst-- )
q;fifil q-ttq-ffi qcflffilgt q{q{-ttqr€ Elwrrffir'
5.5. q-n iqt{d , Rm&
.Editing'1q&qffqQ?qnd\qt{qeilqlt+ffiaFfd?frt<f, rYl{
q.,S€t I q.'tkqtqc{r+tstfrnwlAfrt, ffirtmt, \{t{qr{t, qvr{l{Elt, sttqelstr{ 6'f{
*t, *+nA (eE{t tsra{RFt .Ftm qtfr-rqF\$r, q6$*{ mR$tffisF5tm{-{trr€fr€
fArcq {uT lrrKtq,'lEt, Sq€lTFt{t, c&FF+
ftr<FFtt, qffu-r'{t-qtlR'{ 'ffqfiftq(ffi{ T{ RF
{.*1eqtTtffir ftry s&Gs l,,tfr(qt qG'€-ftr*tq Fta qF${'tltetertQfraF{nq eke
1

6qE.frr -ffi{Rwt{ ifr {f{na ql$-ffi tffiEq4qq t{t{,s{FIlqt+t s qFfi-s

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cf4inqq'oo {q'*[q{tfut{ a'ryilaq6qt$Gfrrp116 fiE-'tt-Tfu €rf; fue
xt${wt"Fq6{ sd r

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1E{, tlEW {'tl$t, Tb qiR{t -,r(6f{
{Ht{Q1ig1?sA{ w, sEf-XAc cffi Tf,s1fi.Ffifu, {ffi e furlq,q{(<t6{ {Frc{ T{'t,
qlw74r, ct1qr, qffie r Wir anfq{h IE ffiut qR
Eqwmqn Tlq t 6{ft{Etrt cT@
E6(fr;f{t ql{klRTgt sr{tfr sFqslt qE{q{d tffi{Ts 511rffir6p1t{ffis{tcod t
,41( {klffi{Errlrfr{Jt{, ,{ilqfr cfc$q{rqtcr eFfiffi:Etsvt1s 1

1,11srla.F-{wH.Fqlqlr{t
rilst-)
 T{it.t, qt e T$-ffirs{ q{rfiIa ffir EIT-TI r fir$t, qR e
.tq
"lirqlT
q+fs (synchronized)
d qsrs qfrs ET I qtrf+ cfm fttets .lt (incidental sound), Eftb.tt (effect sound) qtqq {$s
packgor:nd music), 1p{f :Itftu (theme music) Bffi{ 16{}1 qf6$ q| | \flt qF tlq{FFfifu{ cqrqFt
€ :l-'tlfitfif6t<{ I qFlt"t € ttrlfil\rirFPFr (ovedapping ),qefrffi @eaction), {Hlvt{, (commentary
) qfftA Tb € T{r-"t{ars{ fi-{AQk fu e Ws vF[, rrs, 'l&, otR'r d* e<r tftr qfi{
{t{@t 1E vre lqm fulffi ftr1 s &esd n'lRfirs qc$ux5tn qqttrFr ftEs Errs qIl
,soHctt fu e &Gs* frSst, Ftm, cr*F, frtftriF, vtF ts q|qfrs T{R q€{s "that editing is the
cteative force of filrnic reality' E?R 'Editing is directing the fi1m for the second time" (ip{f fiffifh
+{r{ +,r*ffi | +nt( ,ffiF ErGm qtffiilvt {lillqlR'r, fir e qtqR'{ mrp l(r-r E&rw ydq
:T',trffi <qwq q{ I qRl {r qftq ,vR fe[{ q<( Efils milT wrr {EtlFtlT elrllqft{vt € cE'\?
q+til{Qwtffftq r

r,. rrorttqqfirq{, {ettqcFil qr$ffifr 5|wrffi :

\.). What video is ? what kind of shots the director can make with a camera ? How to edit those shots
together with a digital video editing program ? Understanding the difference between hnear and
nonlinear video editing.
\.\. fu e &&st rtlq-rfttq <tEPffi {"'trf qrfi*f, EFr : Frame, shot, Scene and sequence.
q.rl. vrarit Erq, TrttS{itt 6{tFt, Trhmt EIIFT, fu[ B &G,e .t6e \5Ft e a6q q'46{sFt : Knowledse
about film and video shots in terms of camera distance, camera angles, qunera movements, language
and psychology ofvarious types ofshots.
\.8. IBFFFI,IEIE, qiR1b€druk {frft{t e:Emt : Framing and focusing, angle of
view, field of view, area of field / covering area of frame or shots.
e,.4. ffi$qT-SFtqEttr6 tlt ' Essentialknowledge ofcinematic space andtime andplasticity of
cinematic space and time.
E E. <{tnfr+ qrrflkrFlRfiGq s qkmR€tlGfuq,cqfiA<t cldtfuq,tr{qfi& i
Understanding the narrative fiction and non-narrative documentary film.
q.q. TlRfr{ T{r, TlRfrr 1fi, fqt4{lT<{AB qrR!ftq- €trrFrHRR, ardTTlRfr s $ry{Qft :
Categories of story plot of the story, plot driven story and character-driven story, major and sub plot . :

du. TlRfr efim !fu{ {"tf{\mtl& :

I Understanding the story telling methods /point of view.
q.b. TtRfr{\H{B s WnRn{a q{qrfi IE : Story progression, and creating pace, tempo and rhythm
in the scene and seQUenOe.
\.)o. ufrm1tfuf e qfEq : External and intemal conflict of the character : :
\.)). qtsstrfits : qfrq qlint, Ewr qrr-rt, q&BqrTqt(Itt, q$q7q;6q1, ytwr<tq1afts
Ettrtt,Iqitm{ffi, Wrrtqffif{frv, : Ligtrting; ----- over exposure, bright light, high key
light, low key lighq under exposure, soft light, brightness and contrast
\.)\. R{T oBp.gr.ffiFr r\rtt't, fqlqls<tqq+ffT,Fr,
: tftbfi, qf{q.k<tqsfts, tqsH:
{(iils, E t{B.fq', c{rlrfrqtffE, qfr-fo e wftg.p, qHlsF{f d {|il<fit : Diatogue, incidentat-
sound, background music, theme music, off-screen sound, synchronous sound and non-synchronous sound,
nanation or voiceover.
\fe. frmnfrG€ +qcrF e sffi c<fte r Digitalvideo formats and their aspect ratios.
t )8. fifr{f{ 6 fifrsF qE {tqqt ffi, ffps11 s ffifu1-s q''ftfit ffi, Etr.rE3 s qffi q.'ttq{t,
Y{rdt{ e qaqfrlqotqqt ; Linear and linear editing system, Nonlinear and nonlinear editing syslem, ffiine
and off-line ediling, Online and online editing.

o ql@r+ qrm qFErB {Frl+H qn wtfu q-tttr+.lF{ {Ef$H ftfi t{6 € qFnqiil qtc{t rts
fr{ETff{ | q<q6€tmilftqnEk{qql {Q?st, {& s5ffiq5611t'qfrrs{t
qI.FfIt{TGt C\'tEfi I
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41} r +. ffi c eeg Qpffia1 ,tt{6ft1q/ E+ttft&<tffi : Film and Video Units I Mode of Expressions :
()) Gf{, ( \) '8, (s) fr{, (a)fficm t
\). m --The Frame ; ftq efr&,e q,rqqqr+n<tllqgqnt ,r+trq|{scral*:pf 1qqffi s &&'c*
rFr6ril 6qF *pffi 1ffi e &Gv*.r&rqtlgnnWa s6R{ B EI{FI Gfcrn{tqnc{Brrrrdlr
frEqH"tTlft *n . o'E\-tom qefiqqH €${ ffi Aq{ qu,Tt Gr{ I qq$ Gfc{it Y5rrHt Eryt{fr'ssB{t
qrcrt : FFF6r{ {B\e ftc[ qe crncrpp e,aF qc fu q{ I PAL video-ls 4& 6{6FF tc$,
-r{tfi
NTSGvideo'rs qb.bqd vo$qqtsEcAM video'IF qd mqRtqls<{lm s &&e
qqT{ ,q8{e q"'tr-{ffi shot,take,videoclips-{it tr{ eQFrcn fif*ctqqm rFt
ffift{t<tl&m,,t&*qdE{q, r+Ft e {qrctfi{?t q<R+fit-
-f6n.6ngqft,fitT
mc.lawr ewle[catw({ I

edit point: pointwqmfr{trnqt<*

in point and out t

-{-'{tFttTFt,
ffi frq {"'ttfitr crF@ ftr M s Hfr(mm wr m fr(Er
qrfiffi Es I

-lntfi
e,.r.. .E-The shot : ffi e G&,c*qtft+ $r*.Fqcqtffi e ryQffi lfuqlfi dof<t{ q$4vf6q{t
u1qmFr6 <T qle'F,1{g $v c+tr* 16tn q$ fir't{ d p1v1e m P_, By e &&1r* Fn s
Fr;Ftcgq c$ cqF.F ;rv+t *irRc<r,t {fsfi c<q+rlT€ T{H'€
q+F t{ft{'F frrqAqft Ertqs I
D.rfu e &Be fr{11r cq6 q6{qtq1 T{EE5v rnyt{ I TlTt EIfu e &&,eGE@lfifr qqB t
stqlT {ffi{r.r{ {Cf E.[{t€(5T<rft{t{ A fiLn or video shot is parallel ot equal to the sentence.

q.*?. fr{-rhe Scene : frt*1*rq6qfu e &G,q'Fqc4rtryfpffi r eF'Tf '1fiftm rffi 6q16O3Ot

{t T6p1.{ eF cqF.F "rq3lrt q+F qm qtq.retrcr'r$0N, q6s {ttr+ | sll€ fi$e ,s{F Ai{{{q-ryS
.Ffr$c rffi6rt$sWr qf+ tvFf{ GFtrI (TIFr ,f+Fq1qnffi€tq{ Cvlfr A fikn or video
scene is parallel or equal to the paragmph.

q.e. ftr+1rE+-The : fu[ e &Gs* q<uEgs w QFFF qrqt

sequence fucfi
fr5E161tttr <rlt Y ft 1 y
d {t-,r{ts r .+stkr Fmd 1rtrd ffir ffi
rfirs frr+tr{q qfu Er* qgE w{9 1 fuffi
q+ft ,mq-ffi 6q3i'ErqFqqrr qstR-r ffirqqrqlc't {6qqrFn{tcsqdat-,rft r
qsFTtF f{k .,tu<* <t'eum rn+fRfr wfrq cltV' rts Ntf{k\rr 6{fc{tqlq-TlFr "|fifr W frt
1$ I A filmor video sequence is parallel or equal to the chapter'

Mqe-itt&rmation:
Shot size in terms of camera distance : ELS, LS, FS, MLS, MS, MCS, CS, CU, MCU, BCU, ECU'
Group of firm and video shots :.Llsilstssk MS, MCS'
:ilal]#t H&,ffi-
Shots in terms of camera angle : High angle, exteme bigh aagle, top angle or top shot, low angle, extreme
low angle, diagonal angle, norrn l angf straight angle, frontal angle, side angle ot profile shot, reverce angle or
reverse shotback shot, 180 degree angle shog 360 degree angle shot"

Othet Necessary film or video shots : Establishing sho! Master shot or Main shot, Re-establishing shot,
Inter cut, Iasert ot Iosert sho! Cutaway, Cut-in, Reaction shog Over the shouldet shot/ O/S' Dolly shot,
Trolley shot, Crane shot, Crab shot, Trucking shot-track forward and track backward / track back, Pan /
panning shot-tilt up and tilt down, diagonal panning, Moving sho( Static sho! Zoom shot-zoom in and
zoom out, Freeze rhot o, Freeze frame, Two shot, Three shot, Four shot, Triangle composition shot,
Diagonal composition shot, Cross-composition shot, Circle composition shot, L-shaped composition shot,
S-shaped composition shot, Eye shaped composition shot-
e[o,t-.
"fi5
q. fu e&&gd ffi qffi
q{, qt$Gsgt cst{atw r {sttrFrF qErHfu, ffi
E65q qHRIR€I x$dGqq.Dt't{t e ftffiB*:t-ttq{t r q',ttq'{Tfrfr{-trp?rrf<Frq .+R{qkqf{
q1r6a1ffi:
\ t-). FiIm and Video Continuity : A book is read from beginning to end. A story in pictures
should be told in the same way. By using continuity the story is placed in pictures in their
logical arrangement of scenes and sequences in the production. Continuity is an important
factor Whether a film is good or bad, If the continuity is good the film and video will be in
most cases. Bu if the continuity is poorthe film or video will be poor in every case. The
proper development of a story and connection of film and video scenes and sequences to
create smoothly joined, coherent film or video story is what we call the best form of
continuity

l, {-f,. Meaning of continuity : The logical :progression of action and consistency of appearance
from shot to shot is called continuity.

\ t-e. Why continuity is necessary ? : Shooting out of sequence requires to order to ensure all the
elements of a scene remain to consistent from shot to shot usually several takes of the same
action shot because of technical erors or some other reasons, to make smooth and minimize
any discontinuities.

t r{-8.. Continuity of editing : The editing principles, which maintain a smooth and chronological
flow of the action in the scenes and sequences of the fikn and video.Smoothness of transition
from one part of a film and video to the next carrying of the spectator's attention from one
shot to another without any displeasing breaks.

\ t-4. ffi {{rm {ffi [ various types of Continuity ]:

qlEHRWt I continuity of action
--\ryFtrH
--rqTqlxffi {tlFtRNt ( contiauity of position),
---tettrqtfpr:rrEn {FHfut ( continuity of camera movement ),
---T+rItIB{ qfffikf ( continuity of look),
---qFt-Tt(EEf r{Hl{kEt ( contiauity of space),and time ),
--€t5qr1'"
q{frffi qffi (continuity of entrance and exit),
---\[trstFr (continuity of lighting),
--€dqffi{q:&{ qkFilfu ( continuity ofprops),
---x{Hf{ -qfrq&F {llmftrut ( continuity of costume),
--'tq e xftltf{ qHFrlfut ( continuity of sound and music ) I
Montage Editing : In montage editing the emphasis on conveying an idea or concept The images
are chosen for their conceptual Sand emotional value, not for the way convey scene. There generally
isn't a plog dialogue or storyline. Montage is the hardest rype of editing because we don't have the
structure ptovrde by a story linq we are dealing in concq>t. During twerties, the Russian directors
used the term mofltage as ceative editing. The person who made the concept of montage famous is
the important figures in the history of fikn" the Russian filmmaker and theorist S. M. Eisenstein. To
him what he called himself lntellectual Monage'---intellectual perception through yi5url perception.
To him Montage is achieved ftom a collision or shock between two independent and unrelated
shots and a third meaning is created that is separate from the conteot of th"e two individual images.
To Eisenstein propff film continuity should proceed by a seties of shocks that each cut should give
dse to a conflict between the two shots arrd tho.by crezrte a ftesh impression. The term montage
includes other important figues of former Soviet Russia, Lev Kuleshov and Y. I. Pudovkin

"tM-8
 Mixed Editing : N{ixed editing sit iu the middle between the continuity and montage editing. Mixed
editing like montage editing but is less imptessionistic than a mofltage. It often include dialogue or
descriptive narrative. Elements of the story can be induded without distinct continuity. There is no
attempt to fabricate ateahty, So mixed editing borrows some feature ftom the two styles--gontinuity
and montage.

d, 'f.
wilq-{keft3+ alfip1cf:
a, rt-!. The establishing shot (E!T-{F[ qeh'E ), The master shot ffIItctttlT"F 1, The extreme
long shot ( lxeEf{qS ), me master scene technique ( {gt{$- frft$ 6fr{q ), Inter-cut
Aqaffi <FF), rnsert shot ( {E "F x{r<q fuc'lr Tbl$ {f qfrs s alppq {t{l<lRwf rfic{
<11EisE{) t Cut @) Match cu! Cutaway, Cut-in, Cut-back, Flash back, Slow motion,
Fast motion, Time lapse, POJ Shot.

a. tt-\. Film and Yideo Transitions. : Visual change from one shot to another. Process of
movement betw,een shots, clips, scenes, sequences. Transition is the intermediato positicn
and condition between shots.

Categories of transitions : (1) Cinematic transition.tut and (2) Optical transitions

Fade in and fade out, Dissolve, Wipe, Swiss pan, , Bleach out, Black frame, Out of
focus to focus axe used as transitions in different conditions

ffi ' {. frfi s m€ .:iffiFiliimrffiEffiqFifr :

01. Shots that follow one another should joined using from different camera positions, distances
and angles.

02. Make cuts when characters are in motion so that cuts should go almost without notice.

03. Scenes and sequences should always cut alternately from different point of viev;.

04. Less movement there is in a shot, the shorter it should be.

05. The long shots have more cortents, so, they should also be shown longer.

06. Cause and effect cuts : Shots are related by virtue of cause and effect: without the first shot,
the second shot would be incomprehensible.

07. Bridging the gaps : Make an effort to bridge the gaps from one filming location to another.

08. Maintaining continuity : Continuity=;; consistency of detail for example, props, cosfume,
and continurty of action. position, movemen! and look is vital to provide a satisfying
.viewing

09. Commcntary : Keep commentiiry in brief. A general rules applicable to all comrnentary'is
that less is more.

10. Sele+t appropriate music because it re enforcc the massage of a film or video, This is
sometimes time consuming but greatly appreciated by the viewers.
"fist-a
 eo. oq. \oltl
Sut: v
"tt}-+. fr&ltE&&s'tsffirF : sD Format & HD Format.
SD(standard formats): DV(DigitalVideo)/iliniDV:Cassefte ltape:W wide.Resolution :S00horizontal
scan lines. Mini DV records digital lmage on a very small tape / cassett+*S0 to 62mins.

DVCAilI ( Drgital Video ComputerAided Marufacturing ) : DVCIilit is the first professional SO digita format.
lntroduced by Sony in 1995. Cassette / tape 1/4" wide and270 minute lengttr duration. Resolution
500 horizontal scan lines.

DG Beta ( Digital Betacam ) : Cassette / tary i W wide. Resolution 525 horizontal scan lines. DGBeta proviCes
very high quality digital signal and used both for produclion.and post production.high standard.

HD ( High definition formats) :

HDV , HDTV, HDCAil ( High Definition Video / High Definition Television / High Definition computer Aided
Manufacturing.
Three categories-HDV-1 resolution 128Ax7VA, HDV-2 resolution 1440 x 1080, HDTV resolulion 1920 x 1080.
HDTV also called HD or HDCAM.
Verv Hiqh Definition Diqital Fonnats and Camcorders :
1K refers to he images wifr 1000lines horizontal pixel resolution.
2K refers to the image5 with 2048line$ horizontrl pixel resotution.
3K refers to the images wift 3000 lines horizontal pixel resolution.
4K refers to the images wifrr 4096lines horizontalpixelresolution.
NB, Most digitalfeatures have beer chot at 1920 x 1080 resolution.

q. Dolby Digital Sound Sysfiems for TV drama Production :A mulli channel digital sunound sound system and
"fit
format This digital audio system ensures accurate reproduction of sound. Dohy Digita Sound System is he global
standard for DVD -audio and DVD -video and digital audio standard for HDTV. Dolby Digital 5.1 Channel is the
development of Dolby Digital. Dolby Digital 5.1 uses five speakers-(1) Left, (2) Centre, ( 3) Right, (4) LeA suround,
( 5) Right sunound, And (6) Low frequency effecb a subumfer to provide exoellent precision and dearer dialogue ttran
other formats. ln 5.1 drannel $ere are five discrete ( disoete means eadr channel is separate and distinct ) digital
audio. DTS ( Digital Theate System ) : DTS is a 5.1 sunound system that is competitive to Dolby digital. This system
is more acctrate han Dolby Digital. DTSformats are used in theates and homes.

More information :
Pixel : Pixel is picture elements. Each picfure is a sample of fte bdghhess or color of the image at he spot. The
Smaller fie piiels the closure ffie lines, trrd sharper the ima$e will look. We can inereaSe thd resolUtion bt incieasing
the number of pixels.
Definition : Description of the brighhess and sharpness or clarity of the television picture. High definition porhays a
bt of detals an-d low defrnition pqrEays lqw detaitg and lsqk wfr and less dear.
Resolution : A measure of the sharpness of a picture. Usually measurd in pixels in the horizontal direction. And
lines or pixels vertically.
Video : Electronic means of remrding generating, storing, and reproducing visual images.

'ttb
tt Color Broadcasting Slandard Systems I Television Sftandard. 1. PAL{ Phase Altemating line) : PAL video uses
625 horizontal rcan lines and 50 Hz, 60 fietds per second and runs 25 ftames per second. Australia New Zealand,
China, India, Bangladesh, and the major parts of te Africa .and the world. NTSC {National Television Systems ) :
NTSC video uses 525 horizontal scan lines and 60 Hz, 60 fields a second and runs 29.97 / 30 frames oer second.
NTSC is he pioneer color television system. Whic-h was developed in fte USA and now used in south America,
Japan and many muntries of fie world. SECAI, ( Systeme Eleeffonique pour Couleur avec Mamoire ) video uses
625 horizontal scan lines and 50 Hz, 60 fields a second and runs 25 frames per second. SECAM video is mainly
used in. France, Eastem Europe and Russia.
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(compressed) 1t Iffs ( extended) €l$$lt 1a1p1q*{ftsfiq sfrGs* input€ output:rllIt?ftf;

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q- 5. :rqPrFnn\{(: qq*f; e {ffi{ tflexible, changeable ) : which is flexibte, changeabre
and alterable. Nonlinear means the arrangement of information is fluid This is a computer based
digital editing system allowing random access to mateial to be edited. This type of editing uses
software and digitized video-address.

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qrgfr'ts 'tlrtrt rr{fiEBt6{q$'s$k catFttm 6{r+tntqlrilfiffiE.F,frcrfd efr+trt{rst/i{qtcqffst
\rqlR!, {a1s .qBqwq{ rEFtvtT{+{&&g yp11q1 ,tqRrcowfifil+tfu&&B,F u Brc'Hffi
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acces to material to be edited. This editing system uses software and digitized video and audio
address. In this editing system the editor recognizes clips very quickly or make changes sections
without having to recreate the entire program.

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ot-c. effiFr .l.{ftfr{rde&E {Bftt-{kR q{h dtT ; (r) q6ftgqGER ,tfrq (offine edirins srase )
q-{q ($ vr{clt{{,qefiq rf{ts (ootio" editing stase ) I

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qfrFq
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s q(frs THrs +rf$ Protection cow or work-dub. €Q work{ub frrst qt !$ qqpTtt{ .qBE\ r

Editing the work-dub is called offline editing. Offline editing is a kind of pre-edit done to arrive
at the basic structure ofthe complete movie--rvith all the shots on order and cut to their length.
el{$tv ErFt, tE( fidArFT T:tffUttr* fiffi
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wrtr{fit Avr, JPEG,
MPEG. (audio video compression systems ) I

qfiEq q"tfila Effirt, e rtfqx{ , fi(Bq rq{ &G,effi frr e fiEsE{q,E$R EDL(edit
decision list ) tsE Ht r fi'ffiq rn QBqq \w[t,F lt fr'f frc{ fr{ s B6qynq qlqtrlt Ec{ vlT r?tyqt
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\ir{Tqq ffim qfu* u fq.trr qFFr T{ qr{xrlrm w t qftF fi{ s fi6rg6ssq {qRNr Efrr
'F e 1M qffi$utrrtqtnH ,hffififtrt{qqr"ffi sfiffi1qrrq q+F qurvt q;fiffi
ql$r{ Tft ffi €t <* {t,Huilur \firtk{ .qe$(d{ EE{tm,qe& 6qfr!{ tE.qt(.m fiwfiTq
wF w,ttqqt €t q{ \rft qFrR\ eEG\-q{ tffi!tr qnL l&q.r ft'rs t'rgt st6l rFrrq frG'€0m
fra s fr6E6lr66 q?Hfuut6{ qlqhnt, {ttlr \qqqft qo'ttr'{l?FmT wmfu {{tcr* p rp1 ayffi
qgNt Et {l{ I Offline editing was developed to save money by editing in a less expensive
equipments. facilities at a lower resolution The editor can then perform the final onJine editing
with tull resolution clips on that systems. \rFrft qstttnt{ W u qEb"{6T t[6 rtm qtr{ qt I

lnql?l,qe& q{rlEl Er{ TitFfi, qR{ ffirl qqu <t q<flFt &G#tq +firfuf* .{&E\-q{ WF
3 r

dtcfr rlqlfqtqqqft{ .{BR e,ffi6n ${qqfiRqqe144iepfu 7!,afu E frrTE{cq cfiFF

l&qrr- .s{&G,e e srBs*:rcrofr.t s eluflffcrql*icEvlsmtrm rfur+* qeGr, cfirrnBffi
QFen urrfttsffi 6sfrR't{TF{t{TlrtrfT, wRoqmeq{ql?t,:rFF[ qirrtr.tq E qqftrq{ rtfifie
gqfu Gmrr<t {{rfu{t, &&,e r qBs{ {ffi{ iffi, .F € Ar?kTR{FrrF eqq eilEtiFlT
q|.6f{ Tft{ bt6
Wts Tr* rendering :{Bg'ftrt "[{'r elrt{T S"trnlft rFEt qF r Qrry6a1 Eg-+16
ffffiF:r-W rfbf* TFf ffi qir wqFI ,{BFC{'t'fr fr&e q*ftr+6rBr e tawtrm qRq
q0fidAq s SffiFt @rq-qq ql&{s Elq € qfuf{ lrRElft qgg q{ | The onlone editor
needs to know a lot of engineering to operate the sophisticated costly electronics editing
equipments. Digital nonlinear editing ( offline * online ) has advanced rapidly from its ,"Hi"-
 ion in the late. It will continue to become more accessible as the cost of computers and storage
devices drops. It is now a wide rang of production, such as Broadcast Television, due to the
combination of more powerful hardware and more powerful software.
* Mrru informttionfor video learners and editors.
AVI ( Audio / Video Interleaving ) : A PC compatible
standard for digital video file format. Video
for windows saves more space when it writes the video to disk by interleaving the data for
the picture with the audio in afile format.

JPEG ( Joint Picture Engineering / Expert Group ) : The image date compression system. A
committee was established by ISO (International organization for Standardization ) in
1982 to examine the ways of reducing the requirements for digital photographic images.
JPEG standard a way of compressing still image.

MPEG ( Moving Picture Engineering / Expert Group ) : The video and audio data compression
standard on which CD, DVD and digital broadcasting are based.A working group of ISO
established in 1988 for the development of standard for coded representation of digital
audio and video
Video Resolution VIIS: 240+
SuperVHS 400 +
DVD 480 +
Digital TV :
Between 48&-1080
ffiTY IHD IIIDCAM : l92A x 1080

DYD ( Digital Versatile Disk ) : An optical disc format for video and audio. DVD refers to a l2cm
single sided duel layer digital giving 120 minutes at24 fps. High quality audiovisual format used
for high qualrty multimedia computing and video viewing. maximum storage capacity 17 GB

SDTV--NormaI television broadcast standard aspect ratio 4 :3 with 480 + Iines of resolution

HDTV standard aspect r:atio of screen-16 : 91 1.78 : I and 1920 x 1080 lines of resolution.

tbx. Rfut? € Tlt{tqrF c{tQriBlamn /tQIF t,

Premier Windows : Majorwindows : l. The Project window, Z.The Monitor window,
3. The Time line window.
Final Cut PRO interface in brief : Four primary windows that make up the Final Cut
PRO Interface-l. The Browser window : Where the editor organize all the project
Elements or source materials and uses when editing. 2. The Viewer Window : Where
editor views source materials, chooses edit points modifies transitions and effects and
builds titles. 3. The Time line window : This window is editor's workbench where he
edits his materials trims it, moves it, stacks it, and adjusts it and where he can see all
is materials at a glance. The Canvas window : This window is used for both displaying
and editing. project. The canvas shows the editor's choice visually like a movie.
* f,very tools ofFinal Cut PRO has a shortcut key, the editor can access each one directly
from the keyboard.

Prepared by AKM ZAkiulHaq B A (Hons.) MA, Diploma in Cinema with Specialization

in Editing. Film and Television Institute of India, Pune. Former Director, Research Compilation
and Folklore Division Bangla Academy Dhaka. President Bangladesh Film Culture( BFC ),
Director DFL 01716102606
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