Working with Audiovisual Archives

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© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris

Paris, Maison des Sciences de l’Homme, 2004-2006

Working with Audiovisual

Archives

Course realized within the framework of the European Program Leonardo da Vinci

Authors C. BILJETINA, C. BONNEMAZOU, H. CHALLULAU, R.FILLON, F. LEMAITRE, A. MAESTRE, E. de PABLO, MSH-ESCoM Design

Elisabeth de PABLO, MSH-ESCoM

Conception and Scientific Direction

Peter STOCKINGER, MSH-ESCoM

Project Coordination

Charles BILJETINA, MSH-ESCoM

Courses Coordination

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Author

Camille BONNEMAZOU, Alice MAESTRE, Richard FILLON, ESCoM-MSH

Second Reading

Charles BILJETINA, Hélène CHALLULAU, Alice MAESTRE, ESCoM-MSH

Course n°3

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General

content of the course

That would be semi-professional or professional, film always need to be edited, that is to say cut and reorganized. Today, this work is carried out with computer, with specialized software making possible to remove failed scenes, to cut down too large shots, to organize sequences, to add aftereffects, titles or sounds.

If software are different by their interface, ergonomics and capabilities, however they have some similar features. Thus, the interface is unchangingly based on three modules: a project window or trim bin ° in which are all video, audio and image elements and titling used; a timeline where we organize selected sequences on one or more tracks; and a monitor that allows to control what we are doing.

We edit with Adobe Premiere Pro 1.5, powerful and comprehensive software that makes possible to work in drop frame° (like other software as Final Cut Pro, Pinnacle Studio 9 or Avid Xpress ).

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Objectives

of the course The objectives of the course are :

1. to assimilate basics concepts of DV° technology and its own vocabulary,

2. to understand the capture process which allows to transfer DV video on a computer,

3. to integrate basics concepts required to a video edition on computer,

4. to propose various types of video editing in the framework of the Archives Audiovisuelles de la Recherche,

5. to optimize a video following the norms of the Archives Audiovisuelles de la Recherche.

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Raised

subjects 1 – DV technology

2 – Capture

3 – Editing interface of Premiere Pro 1.5

4 – Cutting ° of a video

5 – Integration of documents

6 – Multicam editing

7 – Color match, cropping and mixing

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Resources, references and helps for this course

To learn more, you can refer to :

9 A glossary

9 A bibliography

9 Web sites

9 Tests and exercises

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1st Part

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-1 Part :

DV technology

DV refers to a specific type of tape used with camcorders and digital recording tape-deck. We are more familiarized with mini DV tape.

A video camcorder working with mini DV tape compresses the video to the standard format° DV25, and it has at one’s disposal a connection port to a computer.

This sort of compression can be saved on all type of digital: 9 hard disk°

9CD-ROM 9DVD

The compression format DV25 has a fixed rate of 25 Mo/s for storage of video images.

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1 Part :

DV technology

The pluses of DV technology:

9 DV video affords 500 lines (for PAL and 525 for NTSC) of vertical resolution (versus 250 lines for VHS format).

9 The improvement is palpable on the level of video resolution as well as accuracy of colours.

9 The quality of sound is also really better as the DV format produces CD quality sounds of 48 kHz.

9 The digital connection to a computer avoids overheads during the DV file transfer. Therefore, it is possible to clone a DV tape as many time as is it necessary, while maintaining the same level of quality than the one of original record.

9 Digitizing is done into the camcorder so it is unnecessary to add a video capture card into the computer.

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It is possible to transfer directly digital data from a DV camcorder to a computer and conversely. This direct transfer is executed by ports trunks using the IEEE 1394° standard. Developed at first by Apple Computer, this standard is also known as Firewire° (Apple Computer) and ILINK (Sony Corporation).

Only one trunk IEEE 1394 transfers all information required, like video and audio data, time code° and machine control (making possible to control the camcorder from a computer).

IEEE 1394 is used for video transfer, and it is a digital interface that can be used for other type of connections, to hard disks or networks for example.

1 Part :

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 DV25 codec° gives 25 million bits of video data per second. DV25 executes a compression of fixed rate from 5 to 1. Control data are also transmitted so that total rate approximates 3.6 million octets (3.6 Mo) per second. In other words, about 13 thousands million octets (13 Go) are necessary to store one hour of sequences of compressed DV of 60 minutes corresponding indeed to 13 Go of space storage.

Audio data are not compressed and there are two stereo pairs. Audio data can be digitized either at 12 bits with a sampling rate of 33kHz or at 16 bits with a sampling rate of 44kHz or 48kHz. Usually, it is recommended to use the superior configuration (16bits, 48kHz).

1 Part :

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DV quality is equal to Beta-SP quality that acts as reference in occupational video production speciality. But, DV format is not free from failings:

9For sophisticated processes, the reduction of information relating to colours during the DV25 compression can causes visual artefacts. During, for example, the sticking of a protagonist picture on a blue background in a new location.

9Compression adds noises on image. In case of decompression and then recompression repeated, DV quality starts to get damaged.

Nevertheless, usually, our montages do not need such executions, so the eventual damages induced by DV compression will be undistinguishable.

1 Part :

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2nd Part

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-2 Part :

Capture IEEE 1394 card is the simplest interface card. It is used for giving an IEEE

1394 interface to computers who do not already have.

Even though digital video transmitted by the IEEE 1394 card is compressed, the card itself does not execute any compression or decompression. Those tasks are managed by the camcorder or the computer.

With the DV format, it is enough to connect the DV player to the computer using an IEEE 1394 connection without any setting.

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© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris 2 Part :

Capture Example of architecture in DV technology:

Monitor Computer

DV player

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The greater part of editing video softwares have functions of video capture.

Within the framework of the Archives Audiovisuelles de la Recherche we are working with the cutting software Adobe Première Pro 1.5. The examples of handling will be taken from this software.

The first thing to do is to choose the audio and video settings of the project. The editing video softwares enable you to work with different types of audio and video format. The choice of those settings will be done obviously according to those used during the recording of the video.

2 Part : Capture

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© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris This is the starting window of Adobe Premiere Pro 1.5 :

a

b

c

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Here are the different settings:

In that case, the preview selected is the one of a video recorded on a mini DV tape on PAL° and the audio on 16 bits, 48kHz. The corresponding settings.

a

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© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris The settings of this preview are described on the right of the window:

b 2 Part :

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When the settings are selected, we have to give a name and a place to the project.

The project takes only some kb on the hard disk, as it does not contain video, audio or image, but only the data related to the project.

c

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There are some ways to proceed during the capture of the video data. All the tools of video capture have their own vocabulary, but in general they all offer these different possibilities of capture.

This is the video capture window in Adobe Premiere Pro 1.5 :

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Manual capture:

We can launch the reading of the tape in manual mode on the DV player and launch the recording of the video data on the capture tool.

In order to start the capture in that way, it is enough to click on the recording button

a

after launching the reading of the tape on the DV player.

a

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Capture by hardware control :

9 The hardware control consists in command the DV player using the capture tool. We can do this with the boxed buttons below.

9 The simplest is to transfer the tape entirely from the beginning to the end of the time code by clicking on the button « Tape ». Since the DV player is controlled by the capture tool, it launches in the same time the reading of the tape.

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9 An other way to proceed is to reference the time codes by creating a list of in points (time code for beginning) and out points (time code for end) for various clips on the same tape.

For that, we have to select the beginning of the video clip chosen with the button “Set In”, and to do it in the same way selecting the end of the video clip with the button “Set Out”. Then we have to log the clip in order to reference it.

Next, it is enough to automate the digitizing of those clips clicking on the button « In/Out ».

This process may be useful if we don’t have a large place of storage. We do not capture all the tape but only the clips that interest us. Moreover, this is particularly effective if we want to work again on an ended project which audio and video files are not anymore on the hard disk.

Thanks to this type of capture, you will be able to recreate your video with its original tape. Indeed, since the time codes are in the project, it is enough to capture the different clips according to the corresponding time codes.

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The files obtained will depend on the capture toll used. For example with Adobe Premiere Pro the initial DV will be converted, but without compression, on an AVI° file with a DV flow; whereas with Final Cut Pro, it will be converted on Quicktime (.mov) with DV flow.

This does not modify at all the quality of the video, as it is always the same format, that is to say DV format.

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3rd Part

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-© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris

The interface of Premier Pro is simple

b

a

c

Explanations are on the following slides 3 Part : Editing interface of Premiere Pro 1.5

d

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It contains:

9 A window called ‘Project’

a

with a bin where are stored the different items necessary to the editing: video files, titles, files of musical credits, etc.. 9 A window ‘Timeline’

b

with the cutting table and a schematical outline of the project with various audio and video tracks, tracks for transitions °, titles and audio files of credits.

9 A window ‘Tools’ d

9 A window called ‘Monitor’

c

to control the video and the work achieved. There are several display modes of this window:

3 Part : Editing interface of Premiere Pro 1.5

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This is the cutting table (called Timeline):

b

a

c

_{Explanations are on the following slides}

d 3 Part : Editing interface of Premiere Pro 1.5

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The cutting table contains:

9 A time scale graduated

a

allowing to move on the video or audio timeline

9 The menu called ‘Time zoom factor’

b

enables to choose a unit of time (from an image to 8 minutes)

In general it is useful to change regularly of time scale during the video cutting in order to make sure that all is doing well.

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9 A horizontal scroll bar

c

enables to go on the entirety of the Timeline°

9 Several video and audio tracks

d

likely to be:

- Added or deleted (the timeline can contain until 99 video tracks and 99 audio tracks)

- Activated or disabled - Locked 3 Part : Editing interface of Premiere Pro 1.5

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This is the tool window of the Timeline :

9 The selection tool a is used for selecting or relocating an item. 9 The track select tool b is used for selecting or relocating all the

items, full or partial, that are on a track.

9 The razor c is used for cutting the video files that are on the timeline. a b c d e 3 Part : Editing interface of Premiere Pro 1.5

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Furthermore, the tool window disposes of several tools that enable to facilitate the cutting.

We can mention for example:

9 The slip tool d that relocates the first image and the last image of an item (forward or behind) without affecting the remained items. 9 The slide tool e that saves the duration of the item and of the

program modifying In and Out points of the previous and next items. 3 Part : Editing interface of Premiere Pro 1.5

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This is the Monitor window :

9 The simple display of the window ‘Monitor’ shows only the result of the work achieved in the window ‘Timeline’:

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9 The dual view of the window ‘Monitor’ shows the result of the work achieved in the window ‘Timeline’ (on the left)

1

and the initial item (on the right)

2

:

1

2

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9 The display on trim mode of the window ‘Monitor’ shows a close-shot of a specific alteration in the window ‘Timeline’:

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4th Part

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- Before explaining with detail how we cut a video in the cutting software, it is important to specify the cutting logic we adopt:

9 We film different types of scientific events in the field of human and social sciences. The work that precedes the on-lining of those scientific events in our audiovisual archives consists in segmenting every event (according to the subjects mentioned by the researcher or the questions which were asked to him) so that the user could browse on the film and detect what could interest him for its researches.

9 Those events will appear as chapters (in concordance with our segmentation).

4 Part : Cutting of a video

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Importation of audio and video sources:

9 If the capture of the audio and video sources was done in the project which we are working on, so they appear automatically in the bin: 4 Part : Cutting of a video Information about the document selected in the bin

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9 If the capture of the audio and video sources, that we want to use, was done in an other project or with different capture tool we have to import the sources.

9 For that we have to select ‘File/Import’ or press at the same time on « CTRL » and « i ». Then we select the items and click on ‘Open’.

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The next step consists in relocating the items from the bin to the time line. 9 We can drag every item from the bin to the time line:

When we are dragging the video files on the time line, progressively the duration of the video appears under the preview window.

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9 An other method consists in opening the item in the window ‘Monitor’, when this one is in dual view mode. It is enough to double-click on the item selected in the bin and then the video appears in the left part of the window

‘Monitor’:

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Cutting of a video

The next stage consists in defining an In point and an Out point to this item:

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And dragging the selection on the Timeline as considering previously:

This method appears very useful if we do not want to work with the whole item, but only with some parts of it.

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9 Then we can read the track. To start the reading we have to press on the “space” key of the keyboard.

The whole duration of the track is written as

the time code where we are

reading. 4 Part :

Cutting of a video

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Now we can materially cut the file into chapters and remove some parts:

9 It is enough to use the ‘razor’ tool to cut the file where we want it:

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9 We have divided the file into two independent items:

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9 However we could have cut in a wrong place. In that case we can relocate this cutting point using the ‘rolling edit’ tool. In that example, the cut was situated at the place of the reading cursor, we have moved it further and we already have two independent items:

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9 It is possible to isolate an other part in order to delete it using also the ‘razor’ tool:

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9 Then it is enough to select the new created item:

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9 And to delete it:

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9 We can also directly modify the In and Out points of the items in the window ‘Monitor’, when this one is in dual view mode. For that you double-click on the item to be modified in the window ‘Timeline’:

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in the window ‘Monitor’, when this one is in dual view mode. For that you double-click on the item to be modified in the window ‘Timeline’.

9 This one will appear on the left of the window ‘Monitor’ :

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9 Here we are modifying the In point of the item:

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9 This action will have to modify the item in the window ‘Timeline’:

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5 Part :

Integration of documents

You can execute this manipulation right away in the window ‘Timeline’. Pointing the mouse with the ‘selection’ tool on one of the limits of the item. So the pointer changes like this:

or according to the end selected.

Then it is enough to drag it, maintaining pressed the right button of the mouse, in order to modify its In or Out point.

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5th Part

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-5 Part :

We can add various types of documents to our video. Indeed, cutting softwares admit many types of audio and image documents.

9 There is a list of still image and movie formats recognized by Premiere Pro 1.5:

9 AI files, AI movie, PSD, PSD movie, JPEG, TGA, TGA movie, TIFF, TIFF movie, PCX, BMP and BMP movie.

9 To add documents implies a research, but some resources are supplied by the participant of the event so as to enrich and illustrate his talk.

9 If a document is not recognized by a cutting software, it is generally possible to change its format to make it compatible. Thus, it is not difficult to extract PSD files from a PowerPoint and to use them during the editing.

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With Adobe Premiere Pro 1.5, the importation procedure of a still image or a movie is the same as an audio or video source as considering previously.

Information about the PSD document

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5 Part :

We place the document in the window ‘Timeline’, as for a video item.

The video reading works by tracks priority, that is to say that when the track a is above the track b, the track a hides the track b.

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We place our PSD image above the video track, so the

image is read in priority at this

moment. What we can see

on the monitor corresponds to what is reading in

the window ‘Timeline’.

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5 Part :

Still images have a duration by default when we import them in Premiere Pro 1.5. We can modify the In and Out points directly in the window ‘Monitor’, according to the method considered previously in the chapter « cutting of a video ».

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We can also overwrite the video track and replace it by our image. When we are doing this operation, the monitor window indicates the image that will precede our document 1 and that one that will be after it 2.

2

1

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5 Part :

In that case we modify the duration of our image changing cutting points of the item with the movie using the ‘rolling edit’ tool.

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There is little chance that the document integrated would have the same size as the movie: 720 x 576 pixels for DV Pal.

We can modify the size and place of our image.

Here, the document is a text that has been scanned. We would like to be able to read the whole text by screening the movie. But the size of the document is larger than the size of the movie so we only see a part of the text.

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5 Part :

First, we select the file in the window ‘Timeline’. Then, we open the ‘effect controls’ in the pull-down menu called « Window ». All the settings of the effects° that we could apply to the different items of the movie will appear in that window. Two effects are considered as basic: opacity and motion.

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9 We can modify the data corresponding to the scale and the position of the image in the fields:

Here we modify the scale.

We can see all the

modifications available on the motion of the item, like to

modify the image position

a

, or to do a rotation

b

.

a

b

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5 Part :

9 We can do these modifications in an other way. In the window ‘Timeline’, we place the reading cursor on the item to be modify, so as to that one would appear in the window ‘Monitor’ :

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9 Then we click on the monitor view. A grid G appears on the movie :

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5 Part :

9 We can reduce or enlarge the size of the document or make a rotation, by placing the mouse on the active corners of the grid:

In that way we have reframe the text that is

now entirely perceptible. The active grids are represented by squares

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These operations of reframing and relocation are available on all types of documents, including video items.

So we can do again the frame of a movie, if that one does not satisfy us.

However, This type of action implies a new compression of the movie. Moreover, this does not modify the source definition° of the image. So, if we enlarge the size of the image on a detail, the quality will be worse.

For example, here we have reframed the video image (with initial size is 720 x 576 pixels) in order to obtain a close-up on the participant face. We can see that the result is not satisfying. So we have to be careful while using this procedure.

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6th Part

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-© Équipe Sémiotique Cognitive et Nouveaux Médias (ESCoM) - Paris 6 Part :

Multicam Editing

We have considered the cutting of a movie when that one only has one shot. However, we can have several shots in a movie when we have the opportunity to use more than one camcorder. In that case, we will appeal to cutting notions more complex.

We can illustrate it with an interview where two researchers are in a office facing each other.

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6 Part : Multicam Editing

9 First, we use the shot of one of both researchers

a

as a reference and we place it in the ‘Timeline’ according to the procedures considered previously:

The movie appears in the right part of

the ‘Monitor’ window that is in

dual view.

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9 Then, we integrate an other shot

b

in the same way as for adding an item. This procedure has been explained in the previous chapter.

In a first time we can apply the method that consists in choosing specific moment of the movie using the ‘Monitor’. This has been considered in the chapter 4 « Cutting of a video »:

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In a second time we drag the selection in the ‘Timeline’ overwriting the corresponding part of the first shot a:

The ‘Monitor’ enables us to see what is the part of the reference shot that we are

overwriting.

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9 Now, we have two different shots in the movie. We can see both researchers talking to each other:

a b

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9 It may be that two shots are not matching. For example, we place a shot c, where we can see the researcher from an other point of view. Since it is a shot of the same person during the same action, we have to be very careful so as to the movement of the character would be continuous from a shot to the other.

c a

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For that we use the ‘Monitor’ in Trim mode:

We can see the last image of the

first item on the left, and the first

image of the second item on

the right

Then, we can change our connection between

those two items modifying the Out point of the former and the In

point of the second. 6 Part :

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In order to change the connection between the items, we can also use the following tools: ‘rolling edit’, ‘Slip’ and ‘Slide’.

The connection is very important when we are working with various shots. So we can give a rhythm to the movie and enrich it making the action credible according to space and time.

Here is an example of a succession of shots:

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7th Part

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-modify the brightness or the color of the movie, the sounds, to reframe images and also to add an artistic touch.

Let see first color match:

Select Video Effects in the Effects tab.

(We can notice that for this example we will choose an effect but we could have chosen an other)

7th Part:

Color match, cropping and mixing

Open the file Image Control and select,

for example, Color

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Drag the effect to the ‘Timeline’. When it is placed on a video item, this one appears in the Effect Controls tab:

7 Part : Color match, cropping and mixing

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Select Curves, in the Effect Controls tab, that enables to modify the RGB° colors of the image.

Open the monitor window in dual view so as to keep looking over the source image a. 7 Part : Color match, cropping and mixing a

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In that case, the RGB curves have been all of them modified.

Notice the modifications of the colors between both images. 7 Part : Color match, cropping and mixing

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Let see now the cropping already mentioned before

Reason of cropping: to focus the attention on something into the image, to delete needless elements.

9 In the chapter « Integration of documents » we have considered two methods to crop an image. There is a third one.

9 Still in the Effects tab, go in Video Effects and select the Crop effect in the Transform file.

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element, this one appears in the Effect Controls tab:

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9 In the following example, the matter is to crop the image so as to obtain an unvarying background and delete the element behind the curtain.

The crop effect enables to centre from each sides: on the left, on the right, on the top and on the bottom.

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The crop tool enables us to drag black frames from every sides of the image.

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When the new frame is selected, it is enough to quote the button Zoom so this one is applied.

However, we can repeat that every cropping implies a loss in image resolution. So it is necessary not to overuse it.

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Let see now the audio mixing. The Audio Mixer window of

Premiere Pro enables to regulate the volume and the balance of several audio elements. The sound level is represented by a graduated vu-mètre (volume-unit meter).

We can modify, enrich with effects and mix until to 99 tracks.

global audio rendering

Audio tracks

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Only with a click we can change the balance and the volume a good sound level varies between -12 and -6db 7 Part : Color match, cropping and mixing

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The small indicator on the top of the vu-mètre is red when the sound level is too high.

There is what we called a clipping or distortion

When this occurs, generally, it is possible to modify

the audio track on the Timeline.

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9 We can apply many sound effects from the audio mixer to the different audio tracks and to the master track.

In the example below, two effects have been applied

to every track. Then you can adjust their intensity 7 Part : Color match, cropping and mixing

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8th Part

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-8 Part :

Finalization When the movie is cut and assembled and when the color and audio settings

are good, there is a last step left.

The movie needs to be prepared to be edited, it needs titles, credits and those have to be done according to specific norms of edition.

There are the edition norms for the Archives Audiovisuelles de la Recherche de la Maison de Sciences de l’Homme:

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Finalization 9 Then we use four types of credit lines and each of them corresponds to

a type of event: a conference, a seminary, an interview or a report. There are two examples:

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8 Part :

Finalization Now let see how to proceed to add titles and background to the movie with

Adobe Premiere Pro 1.5.

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Finalization 9 If we want a background for the titles, as well as for the Archives

Audiovisuelles de la Maison de Sciences de l’Homme, first we have to import it into the project as every document:

Here the background will be a PSD image

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8 Part :

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Finalization 9 In the ‘Project’ window, we click on the right button and in the pull-down

menu we select “New Item” and “Title”.

9 This window has the functions of a text editor. You can choose a letterpress, do several transformations, create shapes and rolling titles.

9 When the title is ready, save it by giving a name and a place on your hard disk.

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8 Part :

Finalization 9 The created file will have the prtl extension and will appear in the project

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Finalization 9 Then drag it into the ‘Timeline’ window. As we saw it previously, the

track that is below the others is read in priority. So we have to place the title in a track below so as not to be hidden:

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8 Part :

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Finalization 9 We can proceed to modifications. With a double click on the “prtl” file in the

‘Timeline’ window, the Title Designer appears again and we can do the transformations.

9 We can also change the duration of the title. Use for that the several methods that we saw in the previous chapters, modifying the In or Out points in the ‘Monitor’, or using the ‘Rolling Edit’ tool, the ‘Slip’ tool and the ‘Slide’ tool.

9 We can add a dissolve transition so as the change of sequence not to be brutal. Open the ‘Effects’ window in the menu ‘Window’ and select the folder ‘Video Transitions’. Then in the folder ‘Dissolve’ you will find different types of transitions

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8 Part :

Finalization Choose one of them and drag it into the ‘Timeline’ on the limit of the item on

which you want to apply the effect:

There is the transition

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Finalization You can modify the duration of the transition using the ‘Rolling Edit’ tool, the

‘Slip’ tool or the ‘Slide’ tool, or the ‘Monitor’. This last method will offer you more options of modifications of the effect.

The last thing to do is to add other presentation items if you want it. Like, for example, the animation at the beginning of the movies of the Audiovisual Archives of the Maison des Sciences de l’Homme.

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8 Part :

Finalization When the movie is completely done, we have to export it as an independent file.

9 You have several options. First choose the file type that will contain your movie. We saw, in the chapter about the capture, that the files obtained during the transfer of the movie into the computer, depend on the capture tool used. With Adobe Premiere Pro the DV will be converted, but without compression, in a AVI file with a DV flow. So we select the same type of file, i.e. “Microsoft DV AVI”:

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Finalization 9 Then you choose to export all the movie or a sequence. In the framework

of the Audiovisual Archives of the Maison des Sciences de l’Homme we index the movies by chapters, so we export each chapter independently one from the other. We use the setting “Work Area Bar”:

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8 Part :

Finalization 9 Of course, first we have to place this “Work Area Bar” according to the

selection:

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Finalization 9 Then choose the other settings. Keep the same settings than the source

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8 Part :

Finalization 9 When all the settings are well defined, give a name to the file, choose a

place and export it.

Choose the destination of the

movie file.

Give a name to the movie file.

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Summary and appendices

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-Summary

In summary :

9 The use of the DV technology needs a knowledge of this one. 9 A cutting software as Adobe Premiere Pro 1.5 seems simple for a basic use, but it needs a stronger control for an advanced use so as to enrich a movie.

9 It is necessary to respect all of the steps as well as some editing norms to obtain a quality document, whether for the movie, the audio or the discourse.

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Glossary

The most complex terms are explained in this glossary:

Animation: Originally, creation of the appearance of movement, such as in a cartoon, by flipping a series of gradually varying drawings in rapid sequence. Today, creating animation and cartoons is done more effectively using computers with appropriate graphics software and genlocking

hardware. The final product of computerized animation can be integrated into videotapes or a video production using encoding equipment.

AVI: Audio Video Interleaved. A computer graphics animation format used in Microsoft(tm) Video for Windows. This format interleaves digitized video frames (or computer-generated frames) and synchronized audio in one file. The clips generated in the AVI format may be played back in a Windows(r) equipped PC, usually independent of screen resolution and color palette. Bin: window of the Adobe Premiere Pro 1.5 interface used for the storage of the video files and other items necessary to the video editing.

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Glossary

Codec: Stands for compressor / decompressor. Hardware chip or

software that can compress and de-compress audio or video content. In general, codecs are used to decrease the file size without noticeable loss of quality. With constant frames per second ratio, compression allows to highly reduce the bit rate of a stream.

Cutting/Video Editing: A procedure for combining selected portions of

several videotapes, or of the same tape, in order to create a new, edited version. A variety of editing consoles are available which meet several standards, e.g., 1/2 inch, 3/4 inch, etc. During video editing, special effects such as cross fading, inserts, 3D effects, etc. can be added. Professional editing uses a special time code, which is printed on every frame of the magnetic tape. This allows for very accurate revision down to the level of a single frame. Very often, audio editing is carried out simultaneously with video editing. The PAUSE control of a VCR can do simple cut-to-cut editing.

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Glossary

Definition of a picture: The aggregate of fine details available on the

screen. The higher the definition of the picture, the greater the number of fine details that can be recognized on the screen. The fine details of a picture appear in the highest frequency region of the signal. As a result of the limited frequency response of magnetic tapes and the electronic

circuitry employed in the recording process, the high frequency part of the video spectrum is often attenuated. Therefore, during analog video

recording, picture definition is frequently lost or impaired. This creates a loss of fine details and blurs the picture. Each additional generation of a copy of an analog videotape results in fewer and fewer fine details as losses are accumulated. Digital videotapes, due to the nature of digital storage technique, are far less sensitive to this problem. To overcome definition loss, the use of video enhancers is recommended. However, low quality video enhancing, while trying to cure the definition loss problem, generates excessive noise (snow on the screen) and the advantages of enhancing are lost. A high quality image enhancer uses a noise gate to limit the snow and noise and produces a sharp image with minimal snow.

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Glossary

DV Digital Video: A format initially used by SONY (tm) for the output of a

digital camera or VCR. The DV format uses a special communication protocol: IEEE1394 (a.k.a. Firewire, iLink). The format is basically a digital component video format (YUV*). In PAL it is based on 50 fields/sec and 625 lines per frame and the encoding system is 4:2:0. In NTSC there are 60 fields/sec and 525 lines (similar to the analog format) and the encoding system is 4:1:1. The audio part of the DV format is digitally encoded but uncompressed, with sampling rates that can be selected by the user - 44.1 kHz @16bits for two sound channels (similar to an audio CD). At 12 bit and 32 kHz sampling rate, four audio channels can be used. The compression rate is about 5:1 and the standard provides a 25Mbit/sec data rate. Every compressed frame is fed in parallel to ten channels during recording

(NTSC) or to 12 channels (PAL), therefore, dropout effect becomes almost obsolete. There are two cassette sizes for this format: a mini cassette for up to 60 minutes of recording and a regular cassette for up to 240 minutes of recording.

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Glossary

Firewire (IEEE 1394): A recommendation for a fast universal interface

and protocol developed by Apple(tm) and published by the Institute of the Electrical and Electronics Engineers, also called Firewire (iLINK). This standard allows fast interfacing between digital cameras, VCRs, CD-ROMs, hard disks, scanners, graphics cards and editing systems. Data rates of 100Mbit/sec are easily obtained by this standard as well as fast and accurate audio/video synchronization. This standard allows "hot

swapping" inputs and outputs, adding to its versatility. Firewire is catching on rapidly in the professional video market due to its simplicity, versatility and the ability to easily interconnect video and computer hardware.

Format (video): There is an enormous variety of video formats. They vary

in tape width - 4mm, 8mm, 1/2 inch, 3/4 inch, 1 inch, etc.; in signal formats - composite, YC and component video; and in operation - analog or digital. In addition, digital formats themselves take various forms - no single

standard prevails. Also, all formats exist in PAL, NTSC and SECAM and their sub-standards, which implies that any video production studio requires an extensive range of interface devices to enable equipment designed for a specific format to work with devices designed for other formats.

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Glossary

Frame: the term frame comes from movie film. A frame is one complete

picture within the reel of film. Many frames are shown every second to produce the effect of motion. One video image in a series. One still image of many sequential images that creates the perceived motion in video. The piece of a video signal containing the spatial detail of one complete image; the entire set of scan lines. In an interlaced system, a frame contains two fields.

Hard disk: A mass storage media for digital information used in

computers, video and audio. In contrast to a floppy disk, the Hard Disk is usually non-removable (though there are already some removable and transportable Hard Disks). The access time of a Hard disk is much shorter than that of a floppy disk, and the amount of data (images or full video-scenes, for example) that can be stored on a large disk can reach several gigabytes (thousands of megabytes). The name Hard Disk comes from its internal construction of metal (mainly aluminum) platters, which are very stiff, and not floppy.

NTSC (National Television Standards Committee): Standard of color

telecasting used in the United States and Japan, which takes its name from the American committee, which formulated it. The NTSC standard has the advantage of simplicity but there are several major drawbacks to its use such as limited video bandwidth which affects picture sharpness

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Glossary

PAL: The European color TV broadcasting standard featuring 625 lines per frame and 50 frames per second. It has a more complex color

encoding system than NTSC, but provides better color fidelity and better resolution.

Post-production: All the editing work done with the video crude material

in the studio after filming. Editing, special effects insertion, image enhancement, and other processes enriching and fine-tuning the production are done in a studio during post-production.

RGB (Red/Green/Blue): The basic constituents of a color video signal. By

using a color encoder, in conjunction with sync information, a complete composite video signal comprising luminance, chrominance and sync can be generated. Professional processing equipment always employs RGB signals for editing and processing. The use of component video, of which RGB is one form, results in superior quality output.

Special effects: Artistic effects added to a video production in order to

enhance a tape. Special effects may vary from the limited addition of

patterns, the mixing of several video images together, completely changing color and texture of the image, to sophisticated digital effects such as

shrinking the picture, page flipping, three-dimensional effects, etc. Special effects generators usually create special effects.

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Glossary

Time code: A digital code or number inserted into videotape, unseen on

the screen, for editing purposes. The time code identifies every frame of the videotape and displays hours, minutes, seconds and frames. For editing purposes it is a must, as each video frame can be addressed

individually. There are several methods of inserting and reading time codes such as VITC, LTC and others.

Transition: link between two items, used for adding nuances or special

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Bibliography

Peter Stockinger, Le document audiovisuel. Paris, Hermès Science Publications 2003.

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Useful

web links _{conferences, seminars, colloquium and interviews with searchers at the MSH}The Audiovisual Archives in Humanities of the MSH - It proposes

(Maison des Sciences de l’Homme).

The Audiovisual Archives of the University of Cuyo - It proposes conferences, seminars, colloquium and interviews with searchers at the University of Cuyo, Mendoza, Argentina.

Canal U - The Web TV of high teaching and research.

Diffusion of Knowledge of the ENS - Text, audio and video of conferences, seminars, colloquium and other cultural activities in the school ENS (École Normale Supérieure).

Canal IRD - Video illustration of the main events constituting the life of IRD (Institut de Recherche pour le Développement) and its searchers.

TéléSavoirs- The Web TV of scientific debate.

Internet.TV - The Web site of the Nobel Prize Fundation which proposes conferences and interviews with the laureats in Sweden.

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Tests and

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Online

documents Peter Stockinger (éd.),_{Chania, Greece 2003.} Digital Audiovisual Archives in Humanities.

French Project of Research and Development « Opales » (Outils pour Portails Audiovisuels Éducatifs et Scientifiques – Tools for Educational and Scientific Audiovisual Portals) coordinated by the National Institute of