Editing Evaluation

Hello all!

This is the last piece of work expected to be completed and you will have completed the first year of Creative Media Production! Below is some information to support your writing.

Remember the last few important dates.
- Final draft needs to be uploaded to YouTube channel before 4pm on 15/05/15
- Evaluation needs to be handed in by 4pm on the 15/05/15
BOTH lessons week beginning 18/05. This is an important week that will discuss the modules and skills required for the second year.
- Resubmission on the any outstanding work must be handed in by 4pm on the 22/05.

Any work submitted after this point will not be marked.

Well done on all the hard-work this year. There will be an awards ceremony on the 18th June details to follow and there is an exhibition which will feature work you guys have created.

Karl. 

We are at the very important stage where you need to start evaluating your work and your own performance. To help you out (and for the first hour of the lesson) you need to complete both forms which will help you structure your future evaluation AND can be used to evidence areas of weakness and where potential problems may arise.

This is a priority as you need to show how your project has linked to pre-production and if it hasn't (weakness) how you plan to rectify this or can reflect on why you have made the changes.

Below is a break-down of what the acronym SWOT means and below that is an exemplar I have created. Don't just copt it, make it personal to you!

Reminder: editing starts on FRIDAY - you need to bring your files and we will make the rushes LOG. I will also do a class tutorial on some new editing techniques. This form/SWOT analysis needs to be brought to the following lesson or can be e-mailed to me. 

Link to .doc file if you want to word process.

CMP Block D

PRE-PRODUCTION DEADLINE 27/03/15 (FRIDAY)

Task

Complete remaining pre-production documents - (1hr) If you need any more documents you can access them through this link.

Task 2 (1-hr)

1. Look at the assessment criteria below and state where you think you are. Set your self 2 things you think you have achieved well (in-line with assessment criteria i.e. presentation skills and generation of comprehensive and detailed pre-production) and two things that you still need to achieve or improve upon.
2. Working in pairs peer assess each others work again setting two things that have been achieved to a distinction criteria and two things that need to be improved.

You must each e-mail me with the following:

• Self reflection
• Peer feedback (who did you discuss your work with and what was their feedback)

Failure to do-so will result in traffic light change. 

Assessment criteria.

 1.Present pre-production to a quality that reflects near professional standard.

–This can be done on-line via a blog, in a A4 ring-binder (with a contents page). All work should be word processed (storyboard excluded) and should be presented to the best of your ability.

2.Generate throughout and comprehensively detailed pre-production.

–This can be achieved through completing the full amount of pre-production dependent on your independent project. We will cover this on the following slide.

3.Apply pre-production to a specific media production.

–Ensuring that the pre-production matches up to your production. There should be similarities present and it should be obvious that you have followed your pre-production when creating your product.   

Some Tips

Independent project title

Define who the BBFC is

What are the classifications and why do they classify?

What age rating would you give your production – evidence against each criteria

•          Discrimination
•          Drugs
•         Behaviour
•         Language
•         Nudity 
•         Sex
•        Threat
•        Violence

 What similar productions have been rated the same (distinction)

BBFC Ratings

Music Videos Rating (BBFC)

STATEMENT: AGE RATINGS TO BE INTRODUCED FOR MUSIC VIDEOS

The BPI’s Parental Advisory Scheme has been in place for some time, but the music industry trade body has been looking to develop this further in response to more recently expressed concerns, including from government and the public, that some music video content may be unsuitable for family viewing.  The Prime Minister, David Cameron, recently announced an age-ratings pilot aimed at addressing this issue, calling for greater parental guidance to help protect children from unsuitable content and for rules for online videos to fall in line with content bought offline.

The BPI and participating record labels (from Sony Music UK, Universal Music UK and Warner Music UK) have therefore been working with the BBFC to develop a pilot to introduce and test age-ratings and guidance for new music videos to be released online in the UK.  This guidance will accompany age-rated music videos as they are released to the two Digital Service Providers (DSPs) that have also committed to take part in this initiative – Vevo and YouTube.

Commenting on the pilot, David Austin, Assistant Director at the BBFC, said: “Our most recent large scale research, carried out in 2013 and involving more than 10,000 people, highlighted access to music videos containing sexualised imagery, self-harm, drug use and violence as a key concern for parents. Parents are eager to have more input over the types of content their children access, particularly online. By applying understood and trusted BBFC age ratings to online music videos this pilot is a vital step in meeting this demand for choice and child protection.”
Geoff Taylor, Chief Executive of the BPI added: “We want to give parents the information they need to make more informed decisions about the music videos they are happy for their children to see.  That’s why we introduced the Parental Advisory Scheme almost 20 years ago and why we are now working with the BBFC and with video platforms to pilot age ratings for UK music videos.  We hope that if the pilot is successful, video services will consider introducing parental filters as a key next step.” 

Overall summary of the process

Where a label participating in the pilot considers that a music video it plans to release online in the UK would be given at least a 12-rating were it to be reviewed by the BBFC, it will submit the video to the BBFC for an official rating (videos deemed not to contain content that would attract at least a 12 rating will not have to be submitted*).

If appropriate, the BBFC will then issue a 12, 15 or 18 rating – in line with its BBFC Classification Guidelines. As part of the ratings process the BBFC will also include bespoke content advice, called BBFC insight, which may, for example, relate to scenes of sexual imagery or other content deemed inappropriate.  

Once they have received it from the BBFC, the labels will then pass on any rating and guidance when releasing their videos to the two DSPs – Vevo and YouTube, who will, in turn, display it when the videos are broadcast.

The pilot is expected to run for at least three months, and will operate in two phases: the first commencing 3rd October – will focus on developing/refining the process of how labels submit music videos to the BBFC and how this guidance is then passed on to the DSPs; and the second phase – to commence at a later date to be announced by the two DSPs in due course – which will see them begin the process of displaying this guidance on-screen.

* It is estimated that around 20% of music videos released within the pilot are likely to be subject to a rating – the large majority are unlikely to contain content that would be rated 12 or greater.  This estimate is based on a previous video catalogue audit of one of the companies taking part in the pilot.

Phase 1 – from 3rd October 2014

This first phase is mainly about ensuring that the process of rating music video content is up and running and that two Digital Service Providers are provided with all the ratings/guidance information they need (from the participating labels and from the BBFC) to be able to screen appropriate age ratings and BBFC insight when broadcasting a music video that forms part of the pilot.

This process is now up and running – so that for the start of the pilot on October 3rd the two DSPs will commence receiving the information they need to include age ratings and BBFC insight once they are in a position to include this in their broadcast.

How the age ratings and BBFC insight are to be presented on-screen, and the date (within the pilot) from which they will be broadcast is a matter for the DSPs to confirm, as their systems are currently in the process of being developed.  Further details on this next phase will therefore be announced by the two DSPs in due course.

Once over, the pilot and any proposed next steps will be evaluated – both in terms of its operational effectiveness and any consumer feedback. 

Friday 6th March: Lesson Plan

Unit 2: PMD1

To achieve Unit 1 P1, M1 & D1 you need to use "appropriate techniques" to extract information from written sources. The easiest way to achieve this is to reference the websites you have used to gain information for your contextual study.

This can be done in different ways depending on how you have presented your information. However you always will need a reference list.

The easiest way to reference your written sources is through Harvard Referencing

For Books

It should always be;

-  Author’s last name, initial of first name (date) Title of the book. Publisher: Place of publishing

- E.g. Goodwin, A. (1992) Dancing in the Distraction Factory. University of Minnesota: Minneapolis  

For Websites

It should always be:

- Author’s last name, initial of first name (date) Title on the website. [Website]: Available at <URL> Date visited:

- E.g. McHugh, J. (2000). ‘How To Write References’. [Website] Available at: <http://www.referencingfordummies.co.uk/harvard/doesnotexist> Date visited: November 2^nd 2011

Pre-production techniques

Unit 1 Deadlines

Failure to submit work on deadline days. Will result in failure to submit, which you will need to re-apply in line with college protocols. 

• Friday 27th February - Editing Contextual Study
• Friday 27th March - Unit 16 Pre-production 

You will need to stay on-top of all deadlines to ensure you can achieve a merit/distinction grade.

Exemplar Contextual Study

Independent Project: Treatment

Digital Editing

Digital video editing is only 26 years old, and has been mainstream for just over 15 years.  Let’s take a look at some interesting dates in recent history in the exciting world of video editing!

Many younger editors have only ever experienced their craft as a digital endeavor, but anyone who has been editing since before the mid-90s certainly remembers the days of analog — when Steenbecks and Moviolas ruled the post-production world.  As with many computer-related innovations, there have been staggering advancements in digital editing over the past 26 years (which is when the first all-digital video editing and compositing system was introduced by Quantel.)

Digital Editing Firsts: Fun Facts

Let’s take a look at some interesting facts and dates about the beginning of the world of digital editing:

• 1985: Quantel released The “Harry.”  The Harry was the first all-digital video editing and effects compositing system.  Due to technical limitations, it could record and apply effects to a maximum of 80 seconds of 8-bit uncompressed digital video.
• 1987: Avid Technology created the Avid/1 Media Composer.  It was designed using the Apple Macintosh II computer platform, as well as proprietary Avid hardware and software.  (Clarification from Avid pioneer, Michael Phillips, in the Comments section of this post:  The Avid/1 Media Composer was actually developed on the Apollo computer, which is where Avid’s founders worked before forming Avid as a company.  It was then built on the Macintosh II, which is what it shipped with in the company’s first official release in December 1989.) The Avid/1 Media Composer was a revolutionary design, but it was not the first NLE that used modern concepts like clip bins and Timeline editing (these were introduced with Lucasfilm’s EditDroid, a computerized analog NLE from the early 1980s).
• 1989: Avid Technology publicly introduced the Avid/1 Media Composer at NAB to great fanfare.  The codec used for editing on Avid was the Motion JPEG (M-JPEG) codec, which became the primary video editing codec of the early 90′s.  It was not very high quality, but it worked fine for offline editing.
  
  http://youtu.be/Bzy94vWUitE

• 1991:  Adobe released Premiere 1.0 for the Mac.
• 1992: First feature film, Let’s Kill All the Lawyers, was digitally edited using the Avid.  Up until this point, only short-form videos and commercials could be edited because of hard drive capacity limitations.
• 1993:  Media 100 entered the market as a low-cost digital video editing solution.  Media 100 offered steady advancements in compression technology, and continued to develop higher video resolutions focusing primarily via software innovation, rather than hardware.
• 1994-95: By 1994, only three feature films had been edited digitally, but by 1995, the number had grown to hundreds.  This time has become known as the distinct shift in the digital editing revolution.
• 1995:  The DV codec and IEEE-1394 (FireWire 400) brought huge advancements to digital video recording, capturing and editing.
• 1996: The English Patient was the first digitally edited film to win an Oscar for Best Editing (edited by Walter Murch on the Avid).
• 1999: Apple released Final Cut Pro, which soon became a chief competitor to Avid.  (Final Cut Pro was developed after Apple bought Keygrip, which had been a product designed for Macromedia by several ex-Adobe employees.)
  
  http://www.youtube.com/watch?v=KS6pjJ4eiVY

• 2001: The Rules of Attraction, was the first feature film edited using Final Cut Pro.
• 2007: No Country for Old Men was the first Oscar-winning film edited using Final Cut Pro.  (Roderick Jaynes was also nominated for an Oscar in best editing.)

Your Digital Journey

Have you always edited digitally?  If not, where were you in your career when the digital editing revolution took over?  What do you miss about the days of flatbed editing?

- See more at: http://www.premiumbeat.com/blog/fun-facts-and-dates-in-digital-editing-firsts/#sthash.nqv0yXqH.dpuf