FACULTY OF COMMUNICATION
Department of Cinema and Digital Media
CDM 490 | Course Introduction and Application Information
| Course Name |
Theory and Practice of Digital Video Editing
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
CDM 490
|
Fall/Spring
|
2
|
2
|
3
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
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| Course Type |
Service Course
|
|||||
| Course Level |
First Cycle
|
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| Mode of Delivery | face to face | |||||
| Teaching Methods and Techniques of the Course | Critical feedbackApplication: Experiment / Laboratory / WorkshopLecture / Presentation | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | This course aims to teach the aesthetic tools of film editing language through theory and practice. Students will develop the components of cinematic storytelling through the field of editing. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course combines theoretical work and film editing practice. Each class will start with a theoretical framework and scene breakdown, followed up by in class assignments on digital editing practices. Students will both shoot and edit in order to develop their cinematic storytelling style and aesthetic. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction | Screening: The Cutting Edge: The Magic of Movie Editing (2004) |
| 2 | Principles of Rhythm in Editing In Class Assignment: Scene breakdown through rhythm and movement | Sergei Eisenstein, Film Form: Essays in Film Theory. Edited and translated by Jay Leyda, Harcourt, Brace & World, Inc, 1949, New York. Selections from Chapters 1, 4 & 6 ISBN-10 : 0156309203 |
| 3 | 1st Assignment: supercut with sound What is a supercut? Screening and breakdowns (Similar themed footage will be given to the students and they will construct a supercut using the given specific sounds) In class editing | K. Dancyger (2011) The Technique of Film & Video Editing: History, Theory, and Practice, p. 391-398. ISBN-10 : 1138628409 |
| 4 | Supercut presentations - critique In class editing | Using similar footage to create a rhythmic edit |
| 5 | 2nd Assignment: Dialogue Editing (A dialogue script and different takes and plans of a dialogue scene will be given, students will construct the scene from scratch) In class editing | Chapter One and Eleven: John Purcell, 2007. Dialogue Editing for Motion Pictures: A Guide to the Invisible Art. Focal Press. ISBN-10 : 9780415828178 |
| 6 | Dialogue scene and sound mixing (Students will sync the sound and fix the problems) | Introduction to sound editing and sound mixing |
| 7 | Grading: Shot Matching and Luminance 3rd Assignment: (Shot matching with dialogue footage) | In class editing |
| 8 | Grading: Color correction (Dialogue footage cont.) | In class editing |
| 9 | Dialogue scene presentations - critique | 2nd and 3rd assignment final submissions |
| 10 | 4th assignment: Fight Scene Editing (Cutting in motion: different plans from a fight scene will be given) | Walter Murch, 1995, In the Blink of an Eye: A perspective on Film Editing. Silman-James Press. ISBN-10 : 1879505622 |
| 11 | Rhythm and Emotion/ Fight Scene - critique | 4th assignment submission |
| 12 | Trailer editing/in class assignment | |
| 13 | 6th Assignment - Abstraction | Creating a visual narration from the given footage and sound |
| 14 | 6th Assignment submission - critique | |
| 15 | Review of the semester | |
| 16 | Review of the semester |
| Course Notes/Textbooks | |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques |
1
|
10
|
| Portfolio | ||
| Homework / Assignments |
1
|
80
|
| Presentation / Jury |
1
|
10
|
| Project | ||
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
2
|
32
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
0
|
||
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
1
|
8
|
8
|
| Portfolio |
0
|
||
| Homework / Assignments |
5
|
14
|
70
|
| Presentation / Jury |
1
|
8
|
8
|
| Project |
0
|
||
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
150
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. |
|||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. |
X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. |
X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. |
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| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. |
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| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. |
X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. |
|||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. |
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| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. |
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| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. |
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| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). |
|||||
| 12 | To be able to use a second foreign language at the medium level. |
|||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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