Kvibe Productions Adobe Premiere Short Cut Keys
Installation instructions For MACS
1) Open Finder
2) Go to View and on the keyboard hit “option” and the library will appear
3) Click on Library
4) Go to Application support > Adobe > Premiere Pro > 6.0
5) Place the Khoa Shortcut.sys into the folder
6) Open Premiere CS6
7) After you have setup your sequence
8) Go to File > Keyboard Shortcut
9) Use Khoa Shortcut keyboard on the dropdown
Introduction to Editing (week 3)
Continuity Editing (wikipedia):
1) Match Cut – is a cut in film editing between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically.
2) Cutaway – the interruption of a continuously filmed action by inserting a view of something else.It is usually, although not always, followed by a cut back to the first shot, when the cutaway avoids a jump cut.The cutaway shot does not necessarily contribute any dramatic content of its own, but is used to help the editor assemble a longer sequence.For this reason, editors choose cutaway shots related to the main action, such as another action or object in the same location.
3) Jump Cut – two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to “jump” position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing. Jump cuts, in contrast, draw attention to the constructed nature of the film.
4) Continuity editing – the predominant style of film editing and video editing in the post-production process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.
5) Diegetic sound is that which is to have actually occurred within the story during the action being viewed. It is sound that comes from within the narrative world of a film (including off-screen sound). Continuous diegetic sound helps to smooth temporally questionable cuts by overlapping the shots. Here the logic is that if a sonic occurrence within the action of the scene has no breaks in time, then it would be impossible for the scene and its corresponding visuals to be anything but temporally continuous.
6) Temporal discontinuity can be expressed by the deliberate use of ellipses. Cutting techniques useful in showing the nature of the specific ellipses are the dissolve and the fade. Other editing styles can show a reversal of time or even an abandonment of it altogether. These are the flashback and the montage techniques, respectively.
8) Cross Cutting – a technique which conveys an undeniable spatial discontinuity. It can be achieved by cutting back and forth between shots of spatially unrelated places. In these cases, the viewer will understand clearly that the places are supposed to be separate and parallel. So in that sense, the viewer may not become particularly disoriented, but under the principle of spatial continuity editing, crosscutting is considered a technique of spatial discontinuity.
8) Eyeline Match – a film editing technique associated with the continuity editing system. It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, followed by a cut to the object or person at which he is looking.
9) Flash Back – a relocation of time within a story, or more accurately, a window through which the viewer can see what happened at a time prior to that considered (or assumed) to be the story present. A flashback makes its time-frame evident through the scene’s action or through the use of common archetypes such as sepia toning, the use of home-movie style footage, period costume or even through obvious devices such as clocks and calendars or direct character linkage.
10) Discontinuous editing describes the deliberate or accidental violation of rules of continuity when editing films. As a deliberate technique, it may be used to connote authenticity or to create alienation. The viewer’s expectation of continuity can be violated by such methods as changing image size or tone between shots, changing direction or changing shots before the viewer has time to recognize what is happening. It is also known as montage editing, and employs a series of often rapid and non-matching cuts which creates a style the audience is conspicuously aware of, or alternatively that create uneven and unpredictable rhythms and emphasize the rapidity of movement between images
11) 30 Degree Rule – basic film editing guideline that states the camera should move at least 30 degrees between shots of the same subject occurring in succession. This change of perspective makes the shots different enough to avoid a jump cut. Too much movement around the subject may violate the 180-degree rule. Following this rule may soften the effect of changing shot distance, such as changing from a medium shot to a close-up.
12) 180 Degree Rule – is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters and by keeping the camera on one side of this axis for every shot in the scene, the first character will always be frame right of the second character, who is then always frame left of the first. If the camera passes over the axis, it is called jumping the line or crossing the line.
We recommend purchasing your own SDHC card for shooting. It does not matter what brand you get as long as the card is a class 6 or above and it should be at least 8gb in capacity.
We also recommend you purchase you own SD card reader so you can backup at home. If you already own a digital still camera you may be able to use it as a card reader depending on the camera model. You can also use the borrowed camera as a card reader, just follow the manual.
Memory cards should be formated inside of the camera that will be used before every shoot. SD Cards are not formated at Central so may contain old recordings.
Two brands we definitely recommend are Sandisk and Kingston.
SD CARD BACKUP DRIVE:
For SD card Backup Hard Drive if your not using a Fibrejet Partition or for offloading the fibrejet partition at the end of the semester before they are deleted.
The minimum requirements are:
-at least a 500GB none RAID external
-USB 2.0 is fine. Firewire 400/800, usb 3.0 or esata would be faster.
-This drive will only be used to backup the SD cards, media asset backups (pictures, audio files, etc) and the NLE project file Backups (FCP, Avid, Premiere Pro)
-This drive will not be used for editing.
-The preferable format of the drive should be Fat32. This can be done to any new drive in one of the workstation rooms with the help of a professor or Jason in Central.
When backing up SD cards, create and name a folder at the root of the backup external (something like “SD CARD BACKUP”) and save all the recordings in the new folder. Each backup should have its own folder and unique name. The procedure to backup is simply drag and drop the contents from the root of the memory card into your backup external’s folder that you created (DO NOT SEPARATE OR PICK AND CHOOSE FILES FROM THE SD CARD, YOUR BACKUPS IN THE EXTERNAL SHOULD RESEMBLE THE MEMORY CARDS STRUCTURE). It is very important to make no changes to the backup folders and file names. Make all name changes in your NLE.
The external hard drive brands we recommend in order of preference are Glyph Techologies, G-technology, OWC, LaCie, Fantom, Maxtor, Seagate, or any other budget friendly manufacturers. If you?re Tech Savvy you can build your own external drives, just follow our minimum requirements.
EXTERNAL DRIVE FOR VIDEO EDITING:
For the external Hard Drive used for Editing, the minimum requirements are:
-at least a 1.0TB and preferably in a RAID configuration (The RAID should at least be 2 hard drives with either a raid 0 or raid 5)
-7200rpm or solid state hard drives
-minimum firewire 800 and ESATA connections (absolutely no USB only drives)
-All the hard drives need to be formatted Mac OS Extended. This can be done to any new drive in one of the workstation rooms with the help of a Professor or Jason at Central.
For the Editing External, each project’s media should be in its own folder with the NLE project file at the root of the External for easy access when editing with FCP and Premiere. For Avid just leave the avid files/folders that it creates alone and use the Avid interface to find your project files.
The external hard drive brands we recommend in order of preference are Glyph Techologies, G-technology, Avastor, OWC and Lacie externals. If you?re Tech Savvy you can build your own external drives, just follow our minimum requirements.
Some options include:
– G-Technology 1TB G-DRIVE mini
– G-Technology 2TB G-DRIVE
– 2TB LaCie d2 Quadra
– OWC Mercury Elite Pro (FW800+USB3.0+ESATA and 1GB MINIMUM)
– Glyph Tech GPT50 (1TB minimum)
– G-RAID mini 1TB (7200rpm version)
– OWC Mercury Elite Pro Dual RAID (1TB Minimum)
The difference between desktop and portable externals are the portable options can be bus powered so are useful if you work on laptops often and the desktop externals will always need to be plugged in to a power outlet. The plus to purchasing the desktop external would be that the price will be cheaper.
We strongly recommend that your editing and backup externals be used only for production work and nothing else.
It is also recommended to purchase a separate non RAID external that equals the size of you’re editing drive and Backup drive combined for periodic backups of all your projects and as another backup of the SD Card Backup Drive. You may also choose to just purchase a larger SD Card backup drive to also backup your Edit drive.
It is Not Recommended to own only one drive used for both SD card backup and editing (YOU SHOULD HAVE A MINIMUM OF TWO HARD DRIVES AS DESCRIBED JUST IN CASE ITS NEEDED) but it is ok and recommended to have your SD Card backups on both the Backup drive and the Editing Drive. It may also be necessary if editing native with either Premiere Pro or Avid AMA.
If you still plan on only using one hard drive for both backup and editing, then the RAID size minimum should then be 1.5TB and also consider backing up your memory card shoots and NLE project files onto either DVD, Bluray and/or USB thumb drives.
If you shop at B&H Photo and want to purchase from them but live in NJ, buy online so they don’t have to pay NY tax. You can also check amazon, tigerdirect, newegg, ebay, etc.
COURSE TITLE: Video Production I – Spring 2013
COURSE NUMBER: 0311
REFERENCE NUMBER: 7035 (Monday section)
COURSE MEETS: Fries Hall Rm. 118, Wednesday 3pm-5:30pm
PREREQUISITES: Foundations of Media Design (MEDI 110), Audio Production (MEDI
INSTRUCTOR: Khoa D. Le
OFFICE: temporary- MA111, Conference Room; permanent- MA228, Fries Hall
OFFICE HOURS: Monday – Friday 7:30pm to 11:00pm (285 Westside Ave., STE #278) (Must schedule an appointment)
TELEPHONE: (201) 936-8033
E-MAIL ADDRESS: email@example.com
BLOG ADDRESS: www.kvibe.com/video_production_1
1. COURSE DESCRIPTION
Video Production I is an introductory course in the theory and practice of video
production. It will emphasize your becoming both a competent technician as well
as a thinking producer. Just as important as gaining knowledge of the technology
of video is coming to appreciate and use it as a creative and expressive medium.
This course includes work in DSLR field production, basic editing, and
multi-camera studio production. There will be a variety of assignments and
projects, some of which are individual and some of which are group based. You
will each keep a journal of written assignments, including your pre-production
preparation, production notes, and evaluations of your work; your critical
reactions to screenings, readings, and your classmates’ works.
2. COURSE OBJECTIVES:
a) To Access Your Own Creative And Directorial “Voice” In Video. To learn more
about your creative capacities, personal sources of creativity, interests and
b) To Improve Your Ability To Tell Stories. To learn the translation skills to bring
your ideas out from your head and onto the screen.
c) To Expand your Skills Working with Audio as an Element of Media
d) To Explore A Variety Of Working Styles. Individual/collaborative, long
term/short term, subjective/objective, conventional/experimental.
e) To Develop Your Critical Perspectives And Vocabulary. To cultivate a deeper
level of engagement and a language of critique in viewing media.
f) To Learn The Technical Fundamentals Of Video. Learning how to operate and
apply technology to your aesthetic ends in a capable and creative manner
g) To Gauge Your Relationship To Technology. Help you understand your
strengths, weaknesses, likes and dislikes in working with the medium, and to
help you plan your future accordingly.
h) To Learn The History Of The Video Medium. To learn the technical and
aesthetic history of television and independent video production.
3. COURSE ASSIGNMENTS & ACTIVITIES
Guidelines for All Production Assignments:
1) Plan carefully and get started early. There is no better teacher than experience,
and the more time you spend shooting and editing, the better you will become at
2) The exact length of your piece does not matter. Some projects might be only a
few minutes; others ten, fifteen, or longer. Make your project the length that
works best for it on its own terms.
3) Carefully consider your sound design. If you want to make a silent piece, make
this a deliberate decision before going into production. If using sound, do not
shoot and edit for picture only and then add a soundtrack as an afterthought.
Consider sound an integral design element of the piece. In all sound pieces, you
MUST include some audio that you have recorded yourself. Pieces with a music only
soundtrack will not be accepted.
4) Let mistakes be your teacher. There is no better opportunity to learn from your
mistakes than while in school. Often one makes exciting discoveries through
mistakes. Keep your eyes and ears open!
4. Projects and Assignments
Creating and Developing Mini-Stories:
For this assignment you will create and develop mini stories of any particular scene that inspires you. The scene could be as simple as opening a box, checking the mail, opening a book, or drinking a glass of water. It’s the process and approach of these ideas that matters most.
The purpose of shooting a mini story is to help you understand:
1) Development – Script, storyboard, shot list, pre-editing decisions, and production
2) Workflow – The process of achieving the end goal from Step 1 to Step 1000.
3) Pre-production – To figure out everything that you think is needed to produce your story from cameras, actors, props, locations, lighting, look, crew, and etc…
4) On Set Production – Producing your mini-story by following the script/blueprint of your development, pre-production work, and having an open mind on set.
5) Post Production – To take your production shots and creating your story utilizing your editing decisions, pacing, colors, music, sound, and etc…
6) Collaboration – Video production and filmmaking is all about collaboration. It’s about sharing ideas and being a team player.
7) Creating emotions with a purpose – Conveying emotions rather than the act itself.
The department has digital camcorders and DSLRS available for shooting these projects. You may use your own cameras if you wish to do so.
You must work in a group of at least 2 and a maximum of 4. Roles will have to be clearly defined in your proposal.
“Memory and Remembrance”
“I remember that I have remembered the same thing an untold number of times
already.” — J.L. Borges
In this assignment you will create a short video piece dealing with the theme of
memory, a concept artists have addressed for centuries. How you approach this
theme is very much open to your own interpretation: you may use an
experimental, documentary, or narrative approach, or some combination of these
genres. Your tone can be poetic, serious, comedic, or farcical.
You may work alone or with a partner; in special cases even a trio, but this will
require prior approval. You must develop a proposal and script.
Through both in-class instruction and a series of outside-of-class tutorials, you
will learn to use Adobe Premiere CS6 editing software. There will be a series of four
required outside lab sessions taught by student assistants. These sessions will be
offered several times each week to keep the group sizes small and accommodate
your varied schedules. Tutorials will begin around the third week of the semester. I highly advise on customizing short cut keys to the industry standard “Avid” systems.
I will pass out a sheet asking about your schedule and availability. A very good
on-line manual and tutorial for Adobe Premiere CS6 is also available on-line via
During the last half of the semester we will be creating multi-camera, live-to tape
studio productions on a weekly basis. Productions may be originally written
or be adapted to the screen from a previously written work. In all cases, your
script must be submitted to the professor for approval prior to the production
date. The creative realization of each project will be in the hands of a team of two
to three students; the technical realization of the production is in the hands of
the entire class. Each person in the class is required to be part of the creative
team on at least one studio production.
Studio production is a very team based effort and it requires a lot of cooperation,
patience, and respect to operate smoothly. If you are going to be late or unable
to show up for a job position for which you have signed on for, please leave a
message on my office phone listed above. It is expected that at all times you will
demonstrate professionalism working on each other’s productions and in your
use of equipment. Food or open beverages are not permitted in the studio.
Several days before the day of your production you should schedule a brief
meeting with me to review your preparations (my office hours are listed above;
just before class is also often a good time). Doing a rehearsal with your crew
before the day of your shoot is always a good idea. The studio is available for you
to work or rehearse in on the same basis as all other equipment in the building
(sign up at Central for three hour blocks)
You are required to work in each of the studio job positions at least once (some
jobs twice) during the semester. A listing of these jobs and a schedule of
upcoming productions will be posted in the studio at all times. There are two
sections of this class; you may work as crew on the other section’s productions
to fulfill this requirement.
You are required to keep a journal/production book for this class. You should
use a 3-ring bound notebook. In it you will record your reactions to various
screenings and readings for the class, keep your written proposals for your
projects and your evaluations of your own and your classmate’s work. I will let
you know when I would like you to write an entry.
Written assignments are due following class.
Grading is based on the following:
• Mini story 10%
• Written treatment for “Memory and Remembrance” project 10%
• “Memory and Remembrance” – Rough Cut 10%
• “Memory and Remembrance” – Fine Cut 20%
• Written treatment/preparation for your Studio project 10%
• Studio production 25%
• Journal/production book – mid term 10%
• Journal/production book – end of term 5%
COURSE MEETS: Fries Hall Rm. 118, Wednesday 3pm-5:30pm
REFERENCE NUMBER: 3058
Week 1: January 23
• Course introduction
• Student self-introduction
• Screenings: to be announced
• Syllabus walk through
• Introduction of the mini short story project, which is due on February 26th.
Write in your production Journal:
1) Write a one to two page statement listing a) your strengths as a media
producer or filmmaker b) your weaknesses as a media producer or filmmaker c) what you hope to get from this class.
2) Write a treatment of your mini story and the emotions you’re trying to communicate. Treatment must be submitted via email by January 27th.
3) Write down the roles you are interested in from the “Crew” sheet.
Assignment: Reference Mini Story Assignment Sheet
Week 2: January 30
• Answer any questions regarding the mini short story
• Introduction to above the line and below the line crew (sheet hand out)
• Introduction to DSLRS, Lenses, support accessories, microphones, and sound recording.
Online reading will be assigned
Write in your journal specific challenges when producing your mini-story:
1. List all mistakes and challenges that you’ve encountered from the pre-production and production (if you have started).
2. List any solution that YOU came up with and if any, steps to achieving it
3. List all the things you’ve enjoyed through the development and production process
This should not take you more than an hour to complete.
Week 3: February 5
Editing tutorials begin this week. Bring your mini story footage with you to your
• Open class with Q&A about the challenges, solutions, and what you enjoyed while producing the mini story
• Introduction to editing from pacing, story, music, sound, aesthetics, color, and organizational skills
• Introduction to Adobe Premiere CS6 editing software (laptop demonstration)
• Delivery Formats via encoding settings
Recommend online tutorial www.lynda.com
Online readings will be assigned
Write in your journal:
1) Challenges you fear when editing a project
2) Solutions to those challenges that you face
3) At what point do you feel you need to resolve those issues?
Week 4: February 12
• Shoot to delivery (demonstrate workflow on shooting a subject, directing an action, recording sound, transfer media to laptop, import into CS6, organize bins, and cut the sequence, add sound, Delivery format) – Completed within 90 minutes
• Adobe Premiere CS6, continued…
• Tips and tricks to save time on editing via organizing bins, panels, and short cut keys.
• Q &A of the shoot to delivery production
Write in your journal:
1) Which role in that process interested you the most (ex. Camera operations, directing, shot decision, editing, organizational skills, equipment, lenses)
2) Which was the most intimidating portion of the process and why?
Week 5: February 20
Introduction to Lighting / Cinematography
• What is a Cinematographer / Director of Photography
• Differences between hard light and soft light
• What is considered flat lighting and non-flat lighting?
• What is shallow depth of field and deep depth of field? Brief demonstration
• Lighting workflow and the thinking process to lighting
Assignment: Polish & complete your mini-story
Week 6: February 26
• Screening of Mini Stories (be ready to have constructive criticisms)
• Discussion of readings and how what you read so far applies to a real world situation
• Intro to the “Memory and Remembrance” project
Assignment: You will prepare a written shooting script and proposal for the “Memory and Remembrance” assignment.
Pretend this is a PAID project and you are the production company hired produce a piece for your client. This client is the ticket to your future for many years to come. Take it seriously and put a lot of thought and effort into this piece.
The components of your proposal are 1) a one or two paragraph Synopsis 2) A detailed Treatment or a Two-Column Audio/ Video Script 3) a summary of location(s), actor(s), or special equipment needed, and 4) a production and post-production timeline.
Minimum of 3 minutes and a max of 6 minutes
The schedule for completion of these pieces will be as follows:
First draft shooting script due: March 6th
Final draft of shooting script due: March 13th (please submit via email)
Rough cut screening: April 17rd
Fine Cut screening: May 1st
Online reading will be assigned
Write in your Journal:
1) Concept / Idea of the “Memory and Remembrance” project
Week 7: March 6
• Recap of earlier weeks and answer anymore questions or concerns
• Progress update on scripts and answer any questions
• Video Art: a brief history
• Introduction to studio production: job descriptions, communications, the studio
switcher, wave form monitor and vectorscope. Basic studio terminology. Studio
production proposals and script formats.
Online reading will be assigned
Write in your Journal:
1) 1 paragraph reactions to the online reading
2) Challenges you predict to face compared to the mini-story project
Week 8: March 13 – NO CLASS THIS WEEK
• Final draft of “Memory and Remembrance” shooting script is due (please email)
• If you did not start production on the “Memory and Remembrance” assignment, I advise to do so during the break as you may have more time to work on it.
Week 9: March 20
• Television studio exercise: “The Conversation”. In preparation, we will cover:
• The character generator
• Luminance keying and chroma-keying
• Audio mixing
• Scheduling of Studio Production projects for the rest of the semester. You must
turn in a preliminary draft of your proposal for Studio Production two weeks
before your production date; the final draft of your Studio Production proposal is
due the week before the date of your studio production. You may collaborate
with one or two other classmates on your Studio Production. Creative and
organizational responsibility should be shared equally. On the day of the
production, one should be Director, one Technical Director, and if there is a third
collaborator, she/he should be Floor Manager. After your Studio Production is
completed, write an evaluation of it in your Production Journal.
Mid-term collection of Production Journals. Journals should include:
– Week 1 to 7 assignments
Week 10: March 27
Studio Production #1
Week 11: April 3
Studio Production #2
Week 12: April 10
Studio Production Day #3
Q&A on any challenges with the “Memory and Remembrance” projects.
Week 13: April 17
• Review of studio productions
• Screening of Rough Cuts of “Memory and Remembrance” projects
• Provide constructive criticism in class. Offer suggestions to enhance the final product
Write in your Journal:
1) Your experience between shooting your mini-stories versus studio production work? Which do you prefer and why?
Week 14: April 24
Studio Production Day #4
Week 15: May 1 – – FINAL EXAM WEEK
We will meet at our usual time and place for screenings of completed “Memory
and Remembrance” projects.
Include self-evaluations of your “Memory and Remembrance” and your Studio Production in your Production Journal, which is due today.
Your Production Journal should also include a brief revisitation of your
“Strengths and Weaknesses” essay. Has anything shifted or changed?