1. Advanced
Post
Production
Workshop
40-­‐3421
(01)
Tuesdays
6pm-­‐9:50pm
4
Credits
Instructor
Name:
Ashley
Kennedy
Contact
Phone
Number:
312-­‐369-­‐8549
E-­‐Mail
Address:
askennedy@colum.edu
Course
Description:
This
class
is
designed
for
advanced
level
post-­‐production
students
and
addresses
new
and
complex
technologies
and
procedures
used
in
professional
post
environments.
It
also
delves
into
the
reasons
for
cutting
–
and
not
cutting
–
primarily
using
Walter
Murch’s
In
the
Blink
of
an
Eye
as
a
model
from
which
to
study
(as
well
as
to
critique
peer
edits).
The
first
half
of
this
course
covers
advanced
editing
techniques;
the
last
half
of
this
course
covers
advanced
effects
techniques
–
all
of
which
are
beyond
the
scope
of
your
introductory
and
intermediate
production
and
editing
courses.
Students
will
use
Avid
Media
Composer
to
learn
how
to
appropriately
execute
project
and
media
management
strategies,
and
will
use
advanced
editing
and
effects
techniques
to
organize
and
efficiently
edit
complex
visual
materials.
The
course
will
also
include
advanced
concepts
of
digital
production
and
broadcast
and
High
Definition
TV
standards.
All
footage
will
be
provided
by
the
instructor
to
achieve
class
goals,
and
most
weeks
will
combine
concepts
from
consecutive
class
periods
to
achieve
deeper
and
more
complex
understanding.
Course
Prerequisites:
Production
and
Editing
I
and
Production
and
Editing
II
(or
equivalent
to
introductory
and
intermediate
production
and
editing
classes)
Course
Objectives:
By
the
end
of
the
course,
students
will:
• Be
able
to
delicately
fine-­‐tune
a
sequence
to
achieve
perfect
pacing
using
advanced
trimming
and
editing
techniques,
and
be
able
to
defend
complex
edit
decisions
by
answering
the
simply
question:
Why
does
this
cut
work?
• Be
able
to
properly
manage
and
manipulate
metadata
and
media
in
the
nonlinear
editing
environment
 Use
efficient
shortcuts,
advanced
editing
techniques
and
MultiCameara
editing
for
faster,
more
efficient
editing
and
complex
multi-­‐track
sequence
building
 Use
script
integration
and
ScriptSync
to
efficiently
organize
and
edit
narrative
and
documentary
projects
 Properly
color-­‐correct
a
show
using
video
scopes
 Be
able
to
delve
deeply
ino
the
world
of
effects
and
compositing
to
build
and
design
complex
“virtual
worlds“
using
various
matting
and
keying
tools
(Paint,
Animatte,
Matt
Keys,
Chroma
Keys,
Luma
Keys)

2.
TextBooks
and
Articles:
• (Required)
Effects
Tools
and
Techniques
for
Avid
Media
Composer,
by
Avid
Training
Services,
Avid
Technology,
Inc.
Copyright
2009.
(I
will
provide
you
this
text
for
rental
during
the
duration
of
this
course.
If
you
wish
to
purchase
the
book,
you
may
do
so
at
any
time
–
just
come
see
me.)
• (Recommended)
In
the
Blink
of
an
Eye:
A
Perspective
on
Film
Editing,
by
Walter
Murch.
Copyright
1995.
• Handouts
provided
by
the
instructor,
written
and
arranged
by
Ashley
Kennedy
(handed
out
in
class,
also
on
Moodle)
Getting
Ready:
Customizing
and
Setting
up
Your
Workspace
Delving
Deep
into
Timing
and
Pacing:
Advanced
Trim
Techniques
The
Digital
Script:
Using
Script
Integration
for
Efficient
Editing
Using
Multi-­‐camera
Sync
for
Efficient
Editing
Color
Correction
is
more
than
Color:
Using
Your
Eyes
and
Your
Scopes
to
Correct
Isolating
and
Adjusting
Audio:
Audio
EQ
and
AudioSuite
Grading
Policy:
Class
Projects
(six
total)
50%
Quizzes
15%
Midterm
Exam
15%
Final
Project
15%
Class
Participation
5%
**No
sequences
named
“Untitled
Sequence“
will
be
graded!!**
Name
your
sequence
in
the
following
style:
Project
Name_Initials_Date
(ColumbianExposition_AK_2-­‐23)
Grading
Scale:
Intermediate
grades
will
be
assigned
in
this
course.
The
scale
is
as
follows:
A
94-­‐100%
A-­‐
90-­‐93%
B+
87-­‐89%
B
84-­‐86%
B-­‐
80-­‐83%
C+
77-­‐79
C
74-­‐76
C-­‐
70-­‐73
D
60-­‐69
F
Below
60

3. Attendance
Policy
Two
tardies
equal
one
absence;
three
absences
may
result
in
failing
the
course.
Tardy
equals
coming
to
class
later
than
the
beginning
of
the
instructor's
opening
discussion
or
10
minutes
after
class
start
time.
The
same
penalty
holds
for
leaving
early
as
well.
There
are
no
excused
absences
because
of
the
requirements
of
class
participation
and
group
discussions.
ANY
absence
requires
notification
and
contact
with
the
instructor
prior
to
the
next
session.
All
absences
affect
your
grade,
since
participation
is
weighted
heavily
in
this
course.
Except
under
very
unusual
circumstances,
absence
from
three
classes
will
result
in
point
deductions
that
would
prohibit
passing.
Class
Website
Upload
All
assignments
must
be
uploaded
to
the
course
website
(Moodle)
by
6pm
of
the
day
it
is
due.
In
most
cases,
the
.avb
(bin
file)
that
contains
your
finished
sequence
should
be
the
file
you
upload.
Because
I
have
the
media
that
you
use,
I
will
be
able
to
load
the
sequence
and
view
and
critique
all
of
your
edits.
In
certain
cases,
I
will
require
that
the
entire
project
folder
(that
contains
all
bins,
settings
and
project
file)
be
uploaded.
Fine
Cut
Policy
All
projects
which
you
wish
to
improve
may
be
refined
by
turning
in
a
fine
cut
version
within
two
weeks
of
the
rough
cut
grade
distribution.
If
you
choose
to
turn
in
a
fine
cut,
re-­‐upload
your
sequence
bin
to
the
website,
and
email
me
that
you
have
done
so.
I
will
grade
the
fine
cut
and
re-­‐post
the
grade
as
a
weighted
average
of
the
two.
Setting
up
a
time
to
discuss
your
approach
of
how
to
improve
the
project
is
highly
recommended.

4. Course
Outline
&
Schedule:
WEEK
1:
SETTING
IT
ALL
UP:
CUSTOMIZATION
AND
NAVIGATION
This
week,
we’ll
concentrate
on
the
editor’s
workspace,
and
how
it
can
be
best
optimized
and
customized
for
the
most
efficient
workflow
in
every
stage
of
the
post-­‐
production
process.
Lecture/Discussion
Customization
and
Navigation
Techniques
• Review
and
discuss
navigation
and
editing
techniques
o Keyboard
customization
o Manipulating
the
Timeline
o Navigation
and
Match
Frame
techniques
o Using
common
keyboard
shortcuts,
and
Opt+shortcuts
o Customizing
User
Settings
o Setting
up
Workspaces
o Advanced
Bin
Organization
 Custom
Columns
 Sorting
 Custom
Sift
 Cloning/Duplicating
Clips
and
Sequences
Reading
Handout:
Getting
Ready:
Customizing
and
Setting
up
Your
Workspace
Assignment
due
next
week
• Study
for
Quiz
• Customize
your
own
keyboard
and
workspaces
(with
cheat-­‐sheet
explaining
rational):
UPLOAD
TO
CLASS
WEBSITE
[UPLOAD
USER
SETTINGS
(LOCATED
AT
Mac
HD/Users/Shared/Avid
Media
Composer/Avid
Users/Mac
OS
User/Avid
Users
WEEK
2:
ADVANCED
TRIMMING
AND
EDITING
TECHNIQUES
Most
deem
that
trimming
is
the
heart
and
soul
of
editing,
as
it
gives
the
editor
the
means
to
control
the
pacing
of
the
show
–
tightening
up
lingering
scenes
and
adding
breath
to
scenes
that
need
space.
This
week,
we
will
explore
all
of
the
methods
of
advanced
trimming,
as
well
as
how
to
determine
where
to
cut
(timing),
and
when
(pacing).

5.
You’ll
use
these
skills
to
fix
a
badly
“broken”
dialog
scene
from
the
ABC
show
LOST,
restoring
proper
sync,
timing,
and
pacing
to
a
ruined
sequence.
Quiz
on
Navigation
and
Customization
Techniques
Lecture/Discussion
Advanced
Editing
Concepts
o Trimming
 Basic
trimming
review
 JKL
trimming
 Trimming
on
the
Fly
 Slip/Slide
 Bi-­‐directional
trimming
o Extend
Edit
o Top
and
Tail
o Replace
Edit
o Sync
Point
Editing
Reading
Handout:
Delving
Deep
into
Timing
and
Pacing:
Advanced
Trim
Techniques
Assignment
due
next
week
• Study
for
Quiz
• Edit
LOST
“broken
sequence”:
UPLOAD
TO
CLASS
WEBSITE
WEEK
3:
SCRIPT
INTEGRATION
AND
SCRIPTSYNC
This
week,
we
will
explore
Script
Integration
and
ScriptSync,
which
allows
you
to
link
your
master
source
clips
to
an
imported
script
or
transcription.
(This
technique
can
be
thought
of
as
a
souped-­‐up
digital
extension
of
the
traditional
lined
script
that
editors
typically
use
in
determining
coverage
of
a
scene.)
This
practice
is
a
terrific
time-­‐saver
for
both
narrative
and
documentary
editing.
This
week,
you
will
use
ScriptySync
to
edit
the
same
LOST
scene
that
you
fixed
last
week
–
but
you
will
have
68
camera
angles
(from
the
actual
dailies)
from
which
to
choose
to
edit
your
sequence.
Quiz
on
Advanced
Trimming/Editing
Techniques

6. Lecture/Discussion
o Script
requirements
and
import
o Script
features
o Using
Script
Integration
o Using
Script
Sync
o Using
ScriptSync
to
scripted
projects
o Using
ScriptSync
with
documentary
projects
Reading
Handout:
The
Digital
Script:
Using
Script
Integration
for
Efficient
Editing
Assignment
due
next
week
• Study
for
Quiz
• Edit
LOST
ScriptSync
exercise
(Script
and
scene
construction):
UPLOAD
SEQUENCE
BIN
TO
CLASS
WEBSITE
WEEK
4:
MULTICAM
EDITING
This
week,
we
will
explore
Multi-­‐camera
editing
with
Avid
Media
Composer.
Multi-­‐
camera
editing
allows
you
to
sync
multiple
clips
together
and
edit
them
as
a
group
in
the
timeline.
This
way,
you
can
quickly
cut
between
different
shots/angles,
while
maintaining
sync
between
all
of
the
shots.
(This
of
course
saves
much
more
time
than
having
to
load
and
match
each
shot
individually.)
Both
narrative
and
documentary
footage
can
be
shot
with
multiple
cameras,
and
each
can
exhibit
tremendous
benefits
using
this
method.
You
will
use
Multi-­‐camera
editing
to
edit
a
musical
performance
by
the
band
Columbian
Exposition,
which
was
shot
using
four
takes,
each
with
three
cameras.
Your
finished
edit
will
be
comprised
of
all
12
takes.
Quiz
on
Script
Integration
and
ScriptSync
Discuss/Critique
Lost
edits
Lecture/Discussion
o History
of
MultiCam
o Shooting
MultiCam
o Creating
Group/Multigroup
Clips
o Setting
up
Multicam
editing
o Activating
and
Executing
Multicam
editing
o Multicam
techniques
o Editing
Audio
with
Multicam

7. Reading
Handout:
Using
Multi-­‐camera
Sync
for
Efficient
Editing
Assignment
for
next
week
• Study
for
Quiz
• Edit
“Columbian
Exposition”
Multicamera
project
UPLOAD
PROJECT
FOLDER
TO
CLASS
WEBSITE
WEEK
5:
COLOR
CORRECTION
USING
VIDEO
SCOPES
This
week,
we
will
explore
the
deep
artistic
science
of
color
correction,
where
we
not
only
use
our
eyes,
but
also
signal-­‐exact
video
scopes
to
adjust
luma
and
chroma
levels
of
video.
We
will
explore
four
main
video
scopes:
Y
Waveform,
YC
Waveform,
RGB
Parade
and
Vectorscope.
We’ll
also
learn
how
to
use
–
and
not
use
–
automatic
color
correction.
You
will
use
proper
color
correction
techniques
to
correct
and
stylize
the
Columbian
Exposition
music
performance
that
you
edited
last
week.
Quiz
on
MultiCam
Editing
Discuss/Critique
Multi-­‐Camera
edits
Lecture/Discussion
o Looking
at
Chroma
and
Luma
Problems
o Using
Video
Scopes
 Y
Waveform
and
YC
Waveform
 RGB
Parade
 Vectorscope
 Automatic
Color
Correction
Assignment
for
next
week
• Study
for
Quiz
• Color
Correct
“Columbian
Exposition”
sequence:
UPLOAD
TO
CLASS
WEBSITE
(BOTH
SEQUENCE
BIN
AND
EXPORTED
QUICKTIME)
WEEK
6:
MANIPULATING
SOUND
WIH
AUDIO
EQ
AND
AUDIOSUITE
Just
as
with
color
correction
and
finishing,
audio
editing
is
a
deep
science
that
comprises
entire
curricula.
This
week,
however,
we’ll
scratch
the
surface
of
this
expansive
art
to
intelligently
isolate
and
improve
audio
issues
in
our
video
program.

8.
This
week,
you
will
correct
and
enhance
the
audio
in
your
Columbian
Exposition
sequence.
Quiz
on
Color
Correction
Lecture/Discussion
o Analyzing
audio
problems
 Understanding
the
EQ
spectrum
 Understanding
audio
frequency
charts
o Repairing
bad
audio
 Manipulating
EQ
 Using
AudioSuite
plugins
o Using
Audio
as
Effect
 Manipulating
EQ
 Using
AudioSuite
plugins
o Manipulating
time
 Time
Compression/Expansion
of
Audio
Assignment
for
next
week
• Study
for
Quiz
WEEK
7:
MIDTERM
REVIEW
Discuss/Critique
final
Columbian
Exposition
edits
(Color
Correction)
Midterm
Review
Jeopardy
Game
Assignment
for
next
week
• Study
for
Midterm
WEEK
8:
MIDTERM
Take
Midterm
exam
Assignment
for
next
week
• None!

9.
WEEK
9:
ADVANCED
EFFECT
TECHNIQUES
The
final
seven
weeks
of
this
course
will
involve
the
art
of
“compositing”
in
Avid
Media
Composer,
which
simply
means
that
you
will
be
building
complex
vertical
designs,
thereby
creating
virtual
realities
out
of
disparate
parts.
It
is
commonly
thought
that
editors
must
build
composites
in
3rd
party
programs
like
After
Effects,
but
this
course
will
teach
you
how
to
create
the
same
professional
results
within
the
editor.
This
week,
you’ll
get
your
feet
wet
with
some
very
useful
effect
building
techniques,
especially
nesting
–
which
will
allow
you
to
build
as
many
effects
as
you
want
onto
a
single
video
segment.
Lecture/Discussion
o Advanced
Effect
Display
Techniques
o Advanced
Effect
Edting
Techniques
o Saving
Effect
Templates
o Custom
Transitions
o Track
Hierarchy
o Nesting
Techniques
 Simple
Nesting
 Expanded
Nesting
 Autonesting
o Changing
Source
Video
in
Effect
Composites
o Collapsing
Tracks
Reading
Chapter
1:
Advanced
Effect
Techniques,
Effects
Tools
and
Techniques
for
Avid
Media
Composer.
Assignment
for
next
week
• Study
for
Quiz
WEEK
10:
THE
PAINT
EFFECT
The
Paint
Effect
allows
you
to
manipulate
video
by
creating
shapes
and
altering
the
pixels
within.
In
this
way,
you
can
change
the
way
certain
pixels
look
–
for
example,
by
changing
luma/chroma,
blurring
objects,
cloning
objects,
removing
scratches,
etc.
By
using
many
shapes
together
in
layers,
you
can
begin
to
alter
the
video
to
create
a
virtual
reality.

10. This
week,
you
will
use
the
Paint
Effect
to
complete
the
first
phase
in
a
3-­‐part
effect
composite.
The
visual
is
of
a
ship
sailing
off
the
side
of
the
world
–
using
only
five
pieces
of
totally
separate
and
unrelated
video.
Quiz
on
Advanced
Effect
Techniques
Lecture/Discussion
o Shape
Creation
Tools
o Using
Object
Manipulation
Tools
o Understanding
Object
Parameters
o Commonly
Used
Paint
Techniques
 Using
Clone
Mode
 Using
Scratch
Removal
Mode
 Using
Color
Match
Mode
o Using
Motion
Tracking
with
Paint
Objects
o Keyframing
Multiple
Objects
Reading
Chapter
2:
The
Paint
Effect,
Effects
Tools
and
Techniques
for
Avid
Media
Composer.
Assignment
for
next
week
• Study
for
Quiz
• Complete
Stage
1
of
Edge
of
the
World
WEEK
11:
WORING
WITH
THE
ANIMATTE
EFFECT
AniMatte
is
the
first
of
four
types
of
mattes
that
you
will
use
to
create
intricate
effect
composites.
AniMatte
allows
you
to
use
shapes
to
key
through
vertical
video
tracks,
which
will
let
you
show
and
hide
certain
elements
of
certain
pieces
of
video.
By
creatively
layering,
you
can
design
realities
out
of
very
separate
elements.
This
week,
you
will
use
AniMatte
to
create
the
second
phase
in
the
3-­‐part
effect
composite
–
the
environment
of
the
ocean,
waterfall,
sky
and
stars.
Quiz
on
the
Paint
Effect
Lecture/Discussion
o Using
and
Modifying
the
Animatte
Effect
o Animatte
Parameters
(Foreground,
Mode
Selections,
Feathering)
o Keyframing
Animatte
Shapes

11. o Exporting
Animatte
Shapes
o Creating
a
Matte
Element
Reading
Chapter
3:
The
Animatte
Effect,
Effects
Tools
and
Techniques
for
Avid
Media
Composer
Assignment
for
next
week
• Study
for
Quiz
• Finish
editing
Stage
2
of
Edge
of
the
World
WEEK
12:
WORKING
WITH
CHROMA
AND
LUMA
KEYS
Everyone’s
heard
of
“green
screen,“
and
many
video
editors
have
slapped
a
chroma
key
effect
on
a
shot
or
two,
but
few
people
really
understand
how
to
properly
pull
a
key,
and
the
workflow
that
will
result
in
the
cleanest
chroma
key.
Using
SpectraMatte
and
the
3-­‐D
Luma
Keyer,
we
will
explore
this
science
by
closely
examining
the
various
parameters
that
have
so
much
control
over
how
we
view
the
key
and
fill
of
a
chroma
key
composite.
This
week,
you
will
complete
Stage
3
of
the
Edge
of
the
World
composite
by
keying
the
ship
over
the
waterfall.
You
will
also
complete
a
chroma
key
sequence
of
a
Goya
(juice)
commercial
spot.
Quiz
on
the
Animatte
Effect
Lecture/Discussion
o Working
with
Chroma
Keys
(Spectramatte)
 Using
the
SpectraMatte
Keyer
(mechanics
and
features)
 Step-­‐by-­‐Step
Workflow
of
Pulling
a
Key
o Working
with
Luma
Keys
 Configuring
the
3D
Warp
Luma
Key
Reading
Chapter
6:
Chroma
Keys
and
Luma
Keys,
Effects
Tools
and
Techniques
for
Avid
Media
Composer.
Assignment
for
next
week
• Study
for
Quiz
Two
Assignments
DUE:
• Finish
Stage
3
of
Edge
of
the
World:
UPLOAD
SEQUENCE
BIN
TO
CLASS
WEBSITE
(Should
comprise
Edge
of
the
World
1,
2
and
3
from
the
past
three
weeks.)
• Finish
Goya
sequence
(UPLOAD
SEQUENCE
BIN
TO
CLASS
WEBSITE)

12.
WEEK
13:
WORKING
WITH
MATTE
KEYS
The
fourth
and
final
type
of
Matte
you’ll
be
working
with
are
Matte
Keys
–
images
imported
into
the
editing
program
which
have
an
alpha
channel,
or
transparent
layer.
We’ll
talk
about
how
to
create
and
manipulate
alpha
channels
in
Photoshop,
and
how
to
properly
import
them
into
Avid
to
use
in
your
effect
composites.
Quiz
on
Chroma
and
Luma
Keys
Discuss/Critique
Edge
of
the
World
edits
(Phase
1,
2
and
3)
Lecture/Discussion
o Working
with
Tape-­‐Based
Matte
Keys
o Working
with
Imported
Matte
Keys
 Criteria
for
Imported
Graphics
and
Animations
 Square/Non-­‐Square
Pixels
 Importing
Graphics
and
Animations
o Using/Modifying
Imported
Matte
Keys
 Modifying
the
Content
of
a
Matte
Key
 Unlocking
the
Matte
Element
 Animating
the
Matte
Element
Reading
Chapter
5:
Working
with
Matte
Keys,
Effects
Tools
and
Techniques
for
Avid
Media
Composer.
Assignment
for
next
week
• Study
for
Quiz
• Start
Ball
State
(FINAL)
WEEK
14:
IN-­‐CLASS
TIME
FOR
FINAL
PROJECT
The
final
project
in
this
course
–
a
very
complex
commercial
spot
–
contains
every
single
effect
element
we’ve
studied.
You
will
spend
the
final
two
class
periods,
as
well
as
outside-­‐class-­‐time,
to
build
this
composite
using
all
of
the
tools
in
your
arsenal.
Quiz
on
Matte
Keys
In-­‐Class
Activity
• Students
will
work
on
the
Ball
State
(FINAL)
sequence
in
class

13.
WEEK
15:
COMPLETE
FINAL
PROJECT
In-­‐class
Activity
• Students
may
finish
Ball
State
(FINAL)
in
class
BALL
STATE
(OR
OTHER
FINAL
PROJECT)
DUE
BY
9:50
PM
ON
THE
LAST
DAY
OF
CLASS!
(UPLOAD
SEQUENCE
BIN
TO
CLASS
WEBSITE)
MAKE
SURE
YOU
ARE
IN
A
POSITION
COMING
INTO
CLASS
ON
TUESDAY
TO
EITHER
TURN
IN
FINAL
OR
COMPLETE
IT
WITHIN
CLASS
TIME!