EDITORS RESPONSIBILITIES AND SKILLS IN FILMS

EDITORS RESPONSIBILITIES AND SKILLS IN FILMS

Editor Editors Skills Responsibilities of Editor

 EDITOR (Films)

Editor (Films)

Film and video editor is a highly skilled film industry employee who edits movies . The success or ultimate failure of the product is in their hands. The final product should be a coherent project that has the story and personality of the cast. Film editing is often regarded as an unread and unread art by many in the industry, with some dubbing film editing as 'silent art'. The history of film editing is a long journey back to the early days of Hollywood. As technology advances, job descriptions for film editors have expanded, including in the field of video editors. There are a lot of works of film and video editors. An employee can study the script himself to work with storytellers, producers and film crew about the script and the director's goals. During filming, the film editor examines the tapes for editing purposes, including errors, lengthy sections, or parts that do not match the story or go along with the story. He works with others to connect voice, voice and music to match the script and put them in the appropriate place. Film and video editors complete these tasks with digital devices and computer software to create high-quality sound effects. Camera angles and shots are marked and the best reels are added. Reels are often reviewed before the editor arrives with the final version called the director cut. In the process, he works with other staff, including sound and lighting technicians, costume designers and makeup artists, actors, directors and other editors. Filming is really a team effort. The job of film and video editor has changed over the years. When the movies are black and white, editing is very easy. With computers and advanced technology, the job of a film and video editor has become more complicated, using computer graphics to edit movies and supply the elements needed to create the final product.

EDITORS RESPONSIBILITIES

Editors Responsibilities

Edit raw footage material to create movie and video. Make video and audio edits based on story sequence and sequel. Use creativity techniques in graphics design. Work with producers and directors during production. Create voiceover text and other comments for the video. Effectively cut video footage to make the scenes flow smoothly and logically. Do all the editing work, including music insertion, sound effects, storyboarding and more. Create a logical storyboard by combining the most effective scenes. Review all revised tapes to identify any issues and recommend necessary changes Develop better skills and expertise in dealing with computer editing equipment, video converting equipment, etc. Discuss video layouts and editing styles with directors and producers. Collaborate with others on audio and visual creations to create a continuous and complete story. Organize and assemble video sections to provide a continuous and continuous story of specified length. Develop post-production models for films. Conduct video screenings to get directors and producers their feedback. Edit the film to suit the director's specifications. Watch the scene and decide what would happen if the room floor was cut. Resize scene sequences. Handle and change raw camera footage, dialogs, sound effects, graphics and special effects. Came Decide which camera angle to use. Music Add music, sound or optical effects. Make Work with Workprint to manage the scenes and transitions that make up a movie. Create a list of editing decisions based on the margin numbers. Television Edit movie for advertisements, station identification and public service messages on television movies and tapes. Check movies for damage damage. Damaged or old tape is damaged. Feature Work on movies, television shows, music videos, corporate training videos or commercials. Log Re-type and tweak the content to ensure logical sequencing and film / video running smoothly. Input truncated part and sound. Steps Determine the exact cutting for the final steps. End Work with the director to achieve the desired end result.

EDITORS SKILLS

Editors Skills

Films industry and film production knowledge Willingness to modify equipment and change that technology Camera Good photographic eye for camera angles and special effects, as well as knowledge of audio effects Ability to work alone on extensive and sometimes laborious tasks Problem-solving skills such as creating film sequences or working with available footage Strong interpersonal skills to work with direct directors, cinematographers, sound editors, special effects editors and music producers Delay product delay, unexpected unforeseen problems and flexibility to deal with a variety of personalities High Ability to stay calm and confident in high stress or crisis situations Rush Rush likes to work long hours at work Quality Commitment to high quality work and continue to improve their skills and knowledge Artic Personal ethics and commitment to follow the director's vision rather than changing the content to make a personal artistic statement Ched and established feature film editors learn their skills according to the demands of heavily complex films with visual effects similar to the Matrix trio. The trilogy's film editor, Jack Steinberg, won an Oscar for "The Matrix" (1999) and edited three films in just four years, both "The Matrix Matrix" and "The Matrix Revolution" released in 2003. He found the ability to sort footage shots for two different images ("Reloaded" and "Revolution") at the same time and place - and edited both images at once. To do this, he worked with a staff of seven, many focusing primarily on special effects. Steinberg had to work on 440 visual effects shots in "The Matrix", 1,100 in "Reloaded" and 750 in "Resolution". Each time the editors got a visual effect, they talked to an author in the Editors Guild, who had to make some changes to the image, from changing some frames to rearranging the whole sequence. The biggest challenge in modifying the trilogy is adapting to the ever-changing workflow.

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POST PRODUCTION CREW MEMBERS IN FILMS

POST PRODUCTION CREW MEMBERS IN FILMS

color Grader Editor Post production super visor

 POST PRODUCTION SUPERVISOR Films

Post Production Supervisor Films

The post production super visor overseas the finishing of a film once shooting ends, He or she attends editing sessions, maintains quickly control and coordinates audio mixing, computer, gpragher and all other technical needs.

Post Production Manager takes responsibility for the various post-production processes required to maintain the clarity of information and open communication between producer, editor, chief audio editor, and institutional companies such as film labs, studios, and bad cutters. Collaborating production directors work closely with the production accountant. This position is not very innovative, but it is highly valued because it ensures that the production budget is met and that it meets certain important deadlines. Films Post Production managers have a stressful role that requires a person who can stay calm and balanced when working under pressure. Working hours are often long and time frames are tense making this a very demanding job. It is common for Post production managers to be involved in several films at a time, although most will only work on 3 or 4 films throughout the year. Post Production Managers are self-employed and often select projects for which they will work. They are usually hired by the manufacturer. Most production managers work alone, except when working on a large product where an assistant can also be employed on the product. Films Becoming a post production manager requires the ability to manage all aspects of post production. This role is often seen working closely with the director and editor to achieve the ultimate production vision. Responsibilities include monitoring audio editors and the work of audio staff, ensuring that any refresh takes place in a timely manner to produce the desired viewing results, and editing images to ensure that color time and video direction are maintained. Post Production Managers is responsible for printing and delivering the final cut to distributors. They may find themselves working on things like legalization and arranging pre-film screenings and budgeting for production processes along the way. During post production, the manager will contact the editor and the manufacturer to obtain the appropriate winners of the production production staff. This includes defining the requirements for hiring sound editors, title makers, and mixers who will make a list of post-production services needed to complete film production. Post Production Managers work closely with the production finance manager to ensure accurate delivery of cost reporting details every few weeks. This information reflects actual costs compared to expected or budgeted expenses. Post Production Management will work with post-production staff to ensure that things continue to stay within budget and that processes are delivered in a timely manner. Films

EDITOR Films

Editor Films

The editor works with the director in editing the film. The director has the primary responsibilities for editing decisions but the editor often has significant input in the creative decisions involved in putting together a final cut of a movie. By assembling primary cuts from the daily footages increasingly , editors work on computerized editing console without touching the actual film.

The ADR editor is responsible for overseeing the cast while viewing the footage and providing voiceovers for their lines to match the original dialogue of the footage. After the film is shot, the ADR editors come into production and the tracks are properly recorded on a digital audiotape. ADR is an automatic dialog alternative and is sometimes called looping. ADR editors oversee actors and other staff as they re-record their lines to replace audio in any part of the footage that has been interrupted by unwanted background noise to the original audio recording. During production, the production sound mixer and script supervisor should take notes of unwanted noises occurring in the background of the scene. The ADR editor uses the notes produced by the production sound mixer or script supervisor to determine how to recreate the sound. The responsibilities of the ADR editor vary depending on the scope of the product. The ADR editor oversees the cast and other groups called upon to recreate the sounds needed for production editing. Occasionally, the ADR editor oversees the "Walda Group", a group of people who make dialogue background noise to fill in the audience's filming situations. While the actors are watching the footage and preparing to voice-over their lines at the appropriate time, the ADR editor helps to keep the dialogue as close as possible to the actual recording. It was their responsibility to see that the film tracks were sent back to the recording mixer after the looping session was over and the director approved the audio capture. The role of the ADR editor or ADR mixer may vary slightly depending on the scope of the image. Sometimes the ADR mixer corrects problems with the sound to eliminate background noise. At other times the ADR editor serves to soften any harsh points in the actor’s speech, making it difficult to fully hear or understand the audio. This person works with actors, actresses and other members of the staff, including directors and producers. Therefore, strong communication skills are a must. In addition, ADR mixers have to be able to work well under pressure, as they often find themselves in positions where they work with actors or actresses, because they are the original footage of the movie. Let me try to align my voiceover properly. ADR editors need to fully understand the creative vision of the script and the director. Finally, it is the job of the ADR editor to match all the background sound and the actor / actress voice and give an idea of ​​what a specific scene will look like with unwanted background noise such as sneeze or director voice. Canceled. . It is the responsibility of the ADR editor to make a clear capture of the audio that matches the original dialogue of the product.

COLOR GRADER

Color Grader

The color timer works with the cinematographer, He or she works in the lab to correct and balance the color of the film to the director wishes for the look of the scene.

Color grading is the process of improving the appearance of an image for display in different environments on different devices. Various features such as Contrast, Hue, Saturation, Details, Black Level and White Point can be enhanced for motion pictures, video or still images. Color grading and color correction are often used equally for this process and include the production of artistic color effects through creative blending and composing different colors. Color grading is usually done digitally in a controlled environment, such as a color suite, or in a place where the computer can be used in dim light. An earlier photochemical film process called Color Time was demonstrated during printing in the Film Lab, where the refraction was used to change the intensity and color of the light to illuminate the image. With this process, it is common to use the Hazeltine Color Analyzer‌ to see these changes in real time, as the user is not able to see the result of their changes quickly. Colorists are post-production technicians who adjust the color, texture and color of the final product. Together with the director and the cinematographer, they established how the director wanted the film to look. In the old razor and tape days, the exposure time changed as the film developed. Thanks to computers and software such as solvent resolution, our methods have become somewhat sophisticated and the definition of a colorful job has become broader. Color grading is the next step, here you create the true beauty of your video. But this is a completely optional process, especially if you want the film to be as realistic as possible. However, proper color grading can help convey a visual tone or mood to enhance the story. For example, in a horror movie you can use darker colors to enhance the story as shown in this color: Try to describe the color you can see. This is very difficult to do and similarly, the color-correction processes can be better understood through video. Fortunately, videos are experts on Vemio. Consider this conclusion, a 30-second visual description of the difference between color correction and color grading:

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