Media XII 821- Animator PDF

UNIT 1: 3D Production Pipeline Student Workbook (Class 12; NSQF Level 4) Course: Media and Entertainment PSS Central Institute of Vocational Education (a constituent unit of NCERT, an autonomous organization under Ministry of Human Resource Developm...

UNIT 1: 3D Production Pipeline Student Workbook (Class 12; NSQF Level 4) Course: Media and Entertainment PSS Central Institute of Vocational Education (a constituent unit of NCERT, an autonomous organization under Ministry of Human Resource Development, Government of India) Shyamla Hills, Bhopal – 462 013, M.P., India  Student Workbook (Class 12; NSQF Level 4) Course: Media and Entertainment (Job Role: Animator, QP Ref. Id.: MES/ Q 0701) Dr. Vinay Swarup Mehrotra Professor & Head Curriculum Development and Evaluation Centre (CDEC) & National Skills Qualifications Cell (NSQFC) PSS Central Institute of Vocational Education (a constituent unit of NCERT, an autonomous organization under Ministry of Human Resource Development, Government of India) Shyamla Hills, Bhopal – 462 013, M.P., India 2 © PSS Central Institute of Vocational Education, 2015 Copyright protects this publication. Except for purposes permitted by the copyright act, reproduction, adaptation, electronic storage and communication to the public are prohibited without prior written permission. 3  Student Details StudentName: Student RollNumber: Batch StartDate: 4  Acknowledgements The PSS Central Institute of Vocational Education (PSSCIVE) would like to thank the Ministry of Human Resource Development (MHRD), Government of India for funding the project on the development of curricula and courseware for Classes 9 to 12 (NSQF Levels 1-4). The Institute acknowledges the contributions of National Skill Development Corporation (NSDC) and Media and Entertainment Skills Council (MESC) for making available the Qualification Packs (QP) and National Occupational Standards (NOS), which were utilized for developing the course content. The Institute expresses its gratitude to the subject experts, reviewers and resource persons for their contribution in the development of the course material. Their names have been mentioned in the list ofcontributors. The Institute thankfully acknowledges the valuable suggestions of the members of the Standing Committee of the project and the guidance provided by Prof. R.B. Shivagunde, Joint Director, PSSCIVE in the execution of the project. Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC) and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for guidance and review of the course material. The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in typesetting and composing the material in its present form are thankfully acknowledged andappreciated. (i) 5  Preface The National Curriculum Framework, 2005, recommends that children’s life at school must be linked to their life outside the school. This principle makes a departure from the legacy of bookish learning which continues to shape our system and causes a gap between the school, home, community, and the workplace. The student workbook on “3D Production Pipeline” is a part of the qualification package developed for the implementation of National Vocational Education Qualification Framework (NVEQF). The NVEQF, an initiative of the Ministry of Human Resource Development (MHRD), Government of India, set common principles and guidelines for a nationally recognized qualification system covering Schools, Vocational Education and Training Institutions, Technical Education Institutions, Colleges and Universities. It was subsumed in National Skills Qualifications Framework (NSQF) in 2013. It is envisaged that the NSQF will promote transparency of qualifications, cross-sectoral learning, and student-centred learning and facilitate learner’s mobility between different qualifications, thus encouraging lifelong learning. This student workbook, which forms a part of vocational qualification package for students who have passed Class VIII or equivalent examination, was created by a group of experts. The Media and Entertainment Sector Skill Council approved by the National Skill Development Corporation (NSDC) for the Media and Entertainment Industry developed the corresponding National Occupational Standards (NOS) and the Qualification Pack (QP). The National Occupational Standards are a set of competency standards and guidelines endorsed by the representatives of Media and Entertainment Industry for recognizing and assessing skills and knowledge needed to perform effectively in the workplace. The Pandit Sunderlal Sharma Central Institute of Vocational Education (PSSCIVE), a constituent of National Council of Educational Research and Training (NCERT) has developed modular curricula and teaching-learning materials for the vocational qualification package in Media and Entertainment sector for NSQF levels 1 to 4; level 1 is equivalent to Class IX. Based on NOS, generic and occupation related core competencies (knowledge, skills, and abilities) were identified for development of curricula and learning modules. This student workbook attempts to discourage rote learning and to bring about necessary flexibility in offering of courses, necessary for breaking the sharp boundaries between different subject areas. The workbook attempts to enhance these endeavours by giving higher priority and space to opportunities for contemplation and wondering, discussion in small groups and activities requiring hands-on- experience. We hope these measures will take us significantly further in the direction of a child- centred system of education outlined in the National Policy of Education(1986). The success of this effort depends on the steps that school Principals and Teachers will take to encourage children to reflect their own learning and to pursue imaginative and on-the-job activities and questions. Participation of learners in skill development exercises and inculcation of values and creativity is possible if we involve children as participants in learning, and not as receiver of information. These aims imply considerable change in school routines and mode of functioning. Flexibility in the daily time-table would be a necessity to maintain the rigour in implementing the activitiesandtherequirednumberofteachingdayswillhavetobeincreasedforteachingandtraining. (ii) 5  About Your Workbook This workbook is to assist you with completing the Unit of Competency “3D Production Pipeline”. You should work through the workbook in the classroom, at the workplace or in your own time under the guidance and supervision of your teacher or trainer. This workbook contains sessions which will help you to acquire relevant knowledge and skills (soft and hard) on various aspects of the unit of competency. Each session is small enough to be easily tackled and digested by you before you move on to the next session. Animated pictures and photographs have been included to bring about visual appeal and to make the text lively and interactive for you. You can also try to create your own illustrations using your imagination or taking the help of your teacher. Let us now see what the sections in the sessions have foryou. Section 1: Introduction This section introduces you to the topic of the Unit. It also tells you what you will learn through the various sessions covered in the Unit. Section 2: Relevant Knowledge This section provides you with the relevant information on the topic(s) covered in the session. The knowledge developed through this section will enable you to perform certain activities. You should read through the information to develop an understanding on the various aspects of the topic before you complete theexercise(s). Section 3: Exercise Each session has exercises, which you should complete on time. You will perform the activities in the classroom, at home or at the workplace. The activities included in this section will help you to develop necessary knowledge, skills, and attitude that you need for becoming competent in performing the tasks at workplace. The activities should be done under the supervision of your teacher or trainer who will guide you in completing the tasks and also provide feedback to you for improving your performance. To achieve this, prepare a timetable in consultation with your teacher or trainer and strictly adhere to the stipulated norms or standards. Do not hesitate to ask your teacher or trainer to explain anything that you do not understand. Section 4: Assessment The review questions included in this section will help you to check your progress. You must be able to answer all the questions before you proceed to the next session. (iii) 7  Table of Contents (i) ACKNOWLEDGEMENT (ii) PREFACE (iii) ABOUT YOUR WORK BOOK 09 INTRODUCTION 10 SESSION 1: PRE-PRODUCTION 15 SESSION 2: PRODUCTION-1 21 SESSION 3: PRODUCTION-2 25 SESSION 4: POST-PRODUCTION 29 GLOSSARY 29 SUGGESTED READING LIST OF CONTRIBUTORS 30 8 8 Introduction 2D animation figures are created or edited on the computer using 2D bitmap graphics or using 2D vector graphics. This includes automated computerized versions of traditional animation techniques, such as interpolated morphing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including analog computer animation, Flash animation and Power Point animation. The 2D production pipeline starts with workbook and goes all the way through final checking, compositing and final output in the form of an animatedfilm. A 3D animation is essentially a digital version of 2D animation. 3D animators create poses on a series of still images that are referred to as frames. By creating a series of poses and playing it over a certain amount of frames you can create the illusion of movement. 3D animation is digitally modelled and manipulated by an animator. The 3D Computer Generated Image (CCI) production process emphasizes the importance of a smooth production path. It covers 3D Production Pipe-Line design, modelling and rigging steps through touch up and final output in the form of a video or film. In 3D animation, the animator usually starts by creating a 3D polygon mesh to manipulate. A mesh typically includes many vertices that are connected by edges and faces, to give the visual appearance of form to a 3D object or 3D environment. Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices. This process is called rigging and can be used in conjunction with key frames to createmovement. As a student, you should know the basics of a 3D production pipeline, before you start learning about the various other complex techniques in animation. It will help you in understanding the production process and the role of various people involved in 3D animation. The first process in the animation pipeline, and alsoone of the most important, is the pre-production. It begins withthe main concept or idea, which is turned into a full story througha storyboard and then, once the story has been finalized, otherthings such as the shot sequence and camera angles are workedout. Some of the major components of pre-production are storyboarding, layouts, model sheets and animatics. Pre- production process is followed by production and post production steps, which involves design, modeling, rigging, staging, animation, lighting, effects, rendering, composite, touchup and final film/video output. In this Unit, you will learn about the various terms and stages of 3D animation production line. It will help you in building your foundation for developing a 3D animated film. 1 Session 1:Pre-Production In this session you will learn how to perform pre-production activities. Relevant Knowledge Pre-production is the phase of developing ideas and planning prior to the process of production. It begins with the main concepts or ideas which are initially turned into a full story, and then, once the story has been finalized, other things such as the script, shot sequence and camera angles are worked out. It is the period before any real animation work takesplace. In this session, you will learn about the different steps involved in the pre-production process and how each step helps to develop a foundation on which further production stages are built. The work done during the pre-production serves as a visual reminder of the original plan; something that can be referred back to throughout the production. The major components of a pre-production process are as follows: 1. StoryBoarding 2. Layouts 3. ModelSheets 4. Animatics Storyboard The storyboard helps to finalize the development of the storyline, and is an essential stage of the animation process. It is made up of drawings in the form of a comic strip, and is used to both help visualise the animation and to communicate ideas clearly. Storyboards often include notes to describe the frame in more detail, such as mood and lighting, as well as camera moves. It details key events and scene changes in the animation, often accompanied by text notes describing what is occurring in the scene such as camera movements. It is a visual reminder of the plan and can be referred back to throughout the production stage. Storyboards can be especially useful when working in group environments, something quite common in the animation industry. Character Design Character design involves developing the appearance and features of characters in an animation. Model Sheets and Expression Sheets are produced to help animators be consistent with the appearance of characters. Character Line-up Sheets are also produced to compare the scale of the characters against one another. 2 Layouts Once the storyboards have been approved, they are sent to the layout department which then works closely with the director to design the locations and costumes. With this, they begin to stage the scenes, showing the various characters' positions throughout the course of each shot. Model Sheets Model sheets are precisely drawn groups of pictures that show all of the possible expressions that a character can make, and all of the many different poses that they could adopt. These sheets are created in order to both accurately maintain character detail and to keep the designs of the characters uniform whilst different animators are working on them across several shots. During this stage the character designs are finalized so that when production starts, their blueprints can be sent to the modelling department who are responsible for creating the final character models. Expression Sheets may also be developed as a guide to character facial expressions, such as, smiling, laughing, sad, shocked, startled, sleepy, alert, thoughtful, concerned, etc. Animatic Ananimaticisatimedmovingversionofthestoryboardmadeup of individual frames taken from the storyboard and is often accompanied by audio such as dialogue, sound effects and music. Each frame of the animatic depicts a certain key point of the scene or movie. The running time should match the intended running time of the final animation. Animatic can assist with decisions regarding scenes to include or exclude. On acommercial 3  project this is very important as it avoids wastage of time and money during production. These help the Director plan how they will go about staging the above sequences, as well as how visual effects will be integrated into the final shot. Exercise 1. Fill in the blanks in the flow chart shown for 3D Animation ProductionCycle 2. Develop your ownstoryboard  Take a short piece of text, illustrating a scenario. For example a nursery rhyme is a good starting point if storyboarding is an unfamiliartask.  Breakdownthestory,linebylineintoaseriesofimagesthatrepresenttheactionstaking place in thestory.  Draw these images on to storyboardframes  Writethedialogueundertheimagesandaddanydetailsofsoundeffectsthatmightcontribute to the dramaticscene.  Use variety of different angles to illustrate the story, such as close ups and wideangles.  Discusshowusingavarietyofshotscreatesdramaandvisualinteresttothestory You can use the template given below for developing youstoryboard. 4 Create a short storyboard in the format given below: 5  Assessment Answer the following questions 1. What is the purpose of ModelSheet? 2. What isAnimatics? Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity: Part A Differentiated between the following: 1. Story boarding andlayouts 2. Model sheets andanimatics Part B Discussed in class the following: 1. How to create astoryboard? 2. What are the model sheets andanimatics? 3. What is the use of modelsheets? Part C Performance standards The performance standards may include, but not limited to: Performance Standards Yes No Develop a Storyboard Demonstrate the knowledge of character design Draw a model sheet of a character 6 Session 2: Production -I In this session you will learn about creating model for stop motion 3D animation and Texture a character. Relevant Knowledge Production Now that the storyboard has been approved, the project enters the production phase. It is here that the actual work can start, based on the guidelines established during pre-production. Some major activities that are undertaken during the production phase are the layout, modelling, texturing, lighting, rigging, and animation. Animation production is a very coordinated process where different teams of artists work together while utilizing optimum resources and achieving the initial goal in the time available. The production phase is often the longest and busiest phase of the animation project. During this stage the Director approves camera moves, depth of field and the composition of the models making up the set and set dressing. It is then the responsibility of the Modelling department to deliver these approved set, prop and character models in the final layout stages. A 2D production pipeline starts with workbook and goes all the way through final checking, composting and film output, whilst the 3D production process emphasizes the design, modelling and rigging and animationstages. Layout A layout is a visual map. It instructs the various artists on a scene where the characters are to be positioned and how they are to move. The timing of the scene and individual character movements will be indicated on the “dopesheet”. A dopesheet looks a little like a spreadsheet with rows and columns but its purpose is to provide instructions concerning the time duration of individual character movements, scenes, camera moves and audio details. It ensures that each and every person working on a production is working to the same basic instructions. A Layout Artist set the stage for each scene of animation. The Layout Artist produces the 3D version of what storyboard artists had previously drawn on paper. Each layout is a vital piece of reference for all those involved in the production process. The layout determines lighting and camera angles as well as where characters and props are placed in the scene according to their start positions. The Layout Artist will often work closely with the Director and other specialists such as a Scene Planner and Special Effects Supervisor to work out the scene layout. WhiletheLayoutArtistisresponsibleforcomposingtheshotand delivering rough animation to the animators as a guide, the Background Artist creates scene settings. A background is essentiallyastaticsettinguponwhichtheanimationtakesplace 7 in the foreground. Background images can be very simple and drawn in a similar flat style to the characters. The Key Frame Animators draw the images that determine the beginning of a movement and the end of movement. The Inbetween animators draw the images or frames inbetween the key frames to complete the movements prescribed by the Key Frame Animator. The process of colouring of animation frames is carried out by Digital Ink and Paint Artist using specialist ink and paint software. Clean-up Artists are responsible for re-drawing the Key Frame and Inbetween Animators drawings which are normally of a rough linequality. The Scanner Operator is responsible for scanning drawings prepared by the Clean-up Artist. Ink and Paint, which is the process of colouring the drawn frames is used to transfer drawings over to cels which are then hand painted. However, in the digital age the term is often referred to as Digital Ink and Paint as the process now involves scanning the finished drawings into a computer where they can be coloured using a software package. The scanned cels can be coloured in or 'inked' using simple tools such as the 'Paint Bucket', a tool which is common to many software packages. It is also possible to touch up the scanned line drawings using tools such as the Paintbrush. Line Test A Line Test is a process used to check hand drawn frames prior to them being used for final artwork. Frames are captured either via a video camera, frame by frame or by scanning them into a computer. The resulting sequence allows the animator to assess how well the sequence is flowing. If the result is unsatisfactory then the animator can simply re-draw, add or delete frames and then create another line test. Onion Skinning Onion Skinning is a method used to view several frames of an animation simultaneously, it allows the animator to check the changes occurring within each frame and how they flow together. Traditionally this process involved comparing drawn frames on a light box but many animation software packages include the ability to preview frames with several previous and upcoming translucent framesvisible. Walk Cycle / Loops The 'Walk Cycle' form of loop is where the sequence of frames used to show one foot moving in front of another can be repeated continually and gives the effect of continuous walking. Walk Cycles are a common form of 'loop' animation, they consist of a sequence of frames which together make a continuous flowing loop. They help to make repetitive movements simpler to animate. 8 Modelling Working closely with the Art Directors, Visual Effects Supervisors and Animation Supervisors, Modellers turn the 2D concept art and traditionally sculpted maquettes into high detail, topologically sound 3D models. They then assist the Technical Animator and Enveloper as the model has a skeleton put in place and the skin is developed. Following this, the model may be handed back to the Modeller, who will proceed to sculpt facial expressions and any specific muscle tension/jiggle shapes that may be required. Modellers are usually split into two or more departments. Whilst Organic Modellers tend to have a sculpture background and specialise in building the characters and other freeform surfaces, Hard-surface Modellers often have a more industrial design or architectural background, and as such they model the vehicles, weapons, props, and buildings. Once the model is approved, it will be made available to the rigging and texture paint departments, who complete the final stages in preparing the model for animation and rendering. The model will move through the production pipeline without coming back for modelling fixes, although some amount of fixes are inevitable - problems with models sometimes don't appear until the rendering stage, in which case the lighter will send the model back to be fixed. Whether creating a texture from scratch or through editing an existing image, the Texturing Artists are responsible for writing shades and painting textures as per the scene requirements. Working hand-in-hand with the surfacing and shading departments, textures are painted to match the approved concept art and designs which were delivered by the art department. These textures are created in the form of maps which are then assigned to themodel. 9  Texturing Lighting Technical Directors make sure there is consistency in lighting, colour balance and mood between the various elements of a shot or scene. When appropriate, they ensure the computer- generated imagery looks photorealistic to match the live action plates. They combine the latest version of the animation, the effects, the camera moves, the shaders and textures, and render out an updated version every day. Exercise 1. Preformlayoutanimationbyapplyingtweeningtoeachviewthatispartofthelayoutbeing animated. Here are four types of tweening animation that you canperform:  Scale animation: to make a view smaller or larger either on x axis or on the yaxis.  Rotate animation: to rotate a view around a pivot point by a certain number ofdegrees.  Translate animation: to move a view along the x or yaxis.  Alpha animation: to change the transparency of aview. 10  Assessment Answer the following questions 1. What is 3Dmodeling? 2. What istexturing? 3. Write the roles and functions of thefollowing: 1. LayoutArtist 2. BackgroundArtist 3. Key-frameAnimator 4. In betweenAnimator 5. Clean-upArtist 6. ScannerOperator 11 Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity: Part A Differentiated between the following: 1. Modeling and texturing Part B Discussed in class the following: 1. How to model a character inanimation? 2. What is UV stage inmodelling? 3. How to paint textures inanimation? 4. What isrendering? Part C Performance standards The performance Standard may include, but not limited to: Performance Standards Yes No Demonstrate the knowledge of layout Demonstrate the knowledge of onion skinning Demonstrate the knowledge of modelling and texturing 12 Session 3: Production -2 In this session you will learn about the concept of Lighting and Rigging & the use of concept of lighting to create a bright image Relevant Knowledge Lighting Not only does a Lighting Artist have to think lighting the individual scenes, they also have to consider how to bring together all of the elements that have been created by the other departments. In most companies, lighting TDs combine the latest version of the animation, the effects, the camera moves, the shades and textures into the final scenes, and render out an updated version everyday. Lighters have a broad range of responsibilities, including placing lights, defining light properties, defining how light interacts with different types of materials, the qualities and complexities of the realistic textures involved, how the position and intensity of lights affect mood and believability, as well as color theory and harmony. They are required to establish direct and reflected lighting and shadows for each assigned shot, ensuring that each shot fits within the continuity of a sequence, all the while aiming to fulfil the vision of the Directors, Production Designers, Art Directors and VFX Supervisors. Rigging Rigging is the process of adding bones to a character or defining the movement of a mechanical object, and it's central to the animation process. A character TD will make test animations showing how a creature or character appears when deformed into different poses, and based on the results corrective adjustments are often made. The rigging department is also involved in developing cloth simulation – so as well as making a character able to clench their fist or rotate their arm, the rigging and cloth department is responsible for making their costume move in a believable manner. Planning a character's performance frame by frame uses the same basic principles first developed for 2D animation. 13 In modern production companies, the practice of meticulously planning a character's performance frame by frame is applied in 3D graphics using the same basic principles and aesthetic judgments that were first developed for 2D and stop-motion animation. If motion capture is used at the studio to digitize the motion of real actors, then a great deal of an animator's time will also be spent cleaning up the motion captured performance and completing the portions of the motion (such as the eyes and hands) that may not have been digitized during theprocess. The effects team also produce elements such as smoke, dust, water, and explosions, although development on these aspects does not start until the final animation/lighting has been approved as they are integral to the final shot and often computationallyheavy. 14  Exercise 1. Observe20differentimagesof3Dlighting,riggedcharacterandanimationscenes,givenbythe instructor. List your observations, with rationale, for eachimage. 2. Fill in the blanks in the flow chart shown for 3DAnimation Assessment Answer the following questions: 1. What is 3Dlighting? 15 2. What is the use of rigging in productionpipeline? 3. What is 3Danimation? Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity: Part A Differentiated between the following: 1. Lighting, rigging andanimation 2. 3D Lighting and 3Danimation Part B Discussed in class the following: 1. How lighting is done in an animatedmovie? 2. How rigging is done to animate acharacter? Part C Performance standards The performance Standard may include, but not limited to: Performance Standards Yes No Explain the relation between the various departments of production pipeline Demonstrate the knowledge of lighting, rigging and animation 16 Session 4:Post-Production In this session, you will learn how to perform post-production activities and prepare a flow chart of post production activities and required materials/ equipments. Relevant Knowledge Post-production is the third and final step in film creation and it refers to the tasks that must be completed or executed after the filming or shooting ends. It involves exporting or rendering out the animation frames and then editing the pieces of animation together using video editing software. It includes the editing of raw footage to cut scenes together, inserting transitional effects, working with voice and sound actors and dubbing to name just a few of the many post-production tasks. The three main phases of post-production are rendering, compositing, sound editing, and video editing. Rendering The rendering stage is usually associated with computer- generated animation, although rendering can also refer to the process of creating final animation frames in traditional hand- drawn animation. Rendering is used in both 2D and 3D computer animation. It is the process of getting the final assembled animation scenes or pieces out of the computer in the format of a sequence of individual frames. The aim of rendering is to generate a series of individual pixel based frames or a videoclip. Compositing The Compositing Department brings together all of the 3D elements produced by the previous departments in the pipeline, to create the final rendered image ready for film. After the animation has been rendered it may be necessary to add some special effects or to combine separate rendered elements together into one final animated sequence. This process is known as Compositing. Compositors are responsible for constructing the final image by combining layers of previously-created material. They receive material from various sources including rendered computer animation, special effects, graphics, 2D animation, live action and static background plates. The compositor's job is to assemble the different characters and backgrounds into single frames and sequences and so is often the first to begin to see the animation as intended for the final audience. The compositing stage also allows for the addition of other elements such as special effects which have been created using other equipment andprocesses. General compositing tasks include rendering the different passes delivered by a lighting department to form the final shot, paint fixes and rotoscoping (although compositors sometimes rely on mattes created by a dedicated rotoscoping department), as well as the compositing of final elements and general colourgrading. 17 Editing The editing stage of post-production involves putting the rendered pieces of our animation together in the correct order of events. In this modern digital age this means the use of digital non-linear video editing software which allows a great deal of flexibility in the editing process. In the past the editing process would have involved the use of video-tape or film based methods which were considerably more time-intensive and less flexible. Digital editing offers the benefit of being able to work in a completely digital environment regardless of the final output format. One benefit of digital editing is that it is achievable using any latest desktop computer. Editing is a crucial step in making sure the video flows in a way which achieves the initial goal. Video editing is the process of manipulating and rearranging shots to create a seamless final product, and it is at this stage that any unwanted footage and scenes are removed. Other tasks include titling and adding any effects to the final video and text. Post-production sound editing primarily involves preparing the sound track for import into the video editing software, this may involve adjustments to the sequence or occurrence of particular sounds due to changes made in the editing stage. Editing the Sound track can be a separate process to editing the video track, although these are combined together within the video editing software. The sound track at this stage is already assembled in a fairly complete form having been created in the Production stage. Many sound changes may take place simply within the Video Editing software itself and may not require much, if any, changes to made within the Sound Editing software. Editing Assistants support the Editor and editing department in editing process. They make viewing copies on different formats for various departments, clients and composers. They handle the housekeeping tasks for the editing department, keeping it stocked with relevant materials, ensuring that all equipment is in good working order and placing orders with outsidesuppliers. Sound and Music Score The sound and music score or soundtrack, is an important part of the animation production process. The use of audio, such as music, sound effects and vocal dialogue all play a big part in telling the story. Altering the type of sound used, particularly the choice of music or background ambience will have an effect on the mood of an animation. The editing department is responsible for selecting and assembling the sound recordings in preparation for the final sound mix, ensuring lip sync and adding all of the sound effects required for the finalfilm. 18  Titles and Credits Titles and Credits are an important part of a finished animation. It helps in people know who made it, when it was made, who funded the project and so on. This may involve adding text or subtitles at various points if appropriate. Exercise 1. Observe 20 different images of before and after composited and edited scenes, given by the instructor. List your observations, with rationale, for each image. Assessment Answer the following questions: 1. What isPost-production? 2. What iscompositing? 3. What isediting? 19  Checklist for Assessment Activity Use the following checklist to see if you have met all the requirements for assessment activity: Part A Differentiated between the following: 1. Sound editing and video editing Part B Discussed in class the following: 1. What is the purpose ofcompositing? 2. Why video and sound editing is required to make amovie? Part C Performance standards The performance Standard may include, but not limited to: Performance standards Yes No Demonstrate the knowledge of post-production procedure Demonstrate knowledge of compositing, sound and video editing 20  Glossary 1. Angle of View -The viewable field covered by a lens, measured indegrees. 2. Animatics - A preliminary version of a television commercial in which animated cutout figures are used instead of live participants and realobjects. 3. Animation -The process of creating a progressively altering image that gives the appearance of continuousmotion. 4. Compositing -The process of combining multiple elements shot separately (still images, movie clips) into a final image or sequence to give the impression they were all shot at the sametime. 5. Effects animation -The animation of non-character elements such as explosions, smoke andrain. 6. High definition (HD) -A general term for a video signal with a significantly higher resolution than standarddefinition. 7. Layout- The art or process of arranging printed or graphic matter on apage. 8. Model sheets - Model sheets are also used for references in 3D modelling. It usually is used as reference material so as to allow proper proportions in 3Dmodelling. 9. Story Boarding - A panel or series of panels of rough sketches outlining the scene sequence and major changes of action or plot in a production to be shot on film orvideo. Suggested Reading Books 1. Inspired 3D Short Film Production by Jeremy Cantor, PepeValencia 2. Production Pipeline Fundamentals for Film and Games by ReneeDunlop 3. Guide to Postproduction for TV and Film: Managing the Process by Barbara Clark, SusanSpohr 4. The Art and Science of Digital Compositing, Second Edition: Techniques for Visual Effects, AnimationandMotionGraphics(TheMorganKaufmannSeriesinComputerGraphics)byRon Brinkmann 5. Digital Compositing for Film and Video by SteveWright 6. The Technique of Film and Video Editing: History, Theory, and Practice by KenDancyger Websites 1. http://www.wideopenspace.co.uk/animation-tutorial/s6-how-to-guide.html 2. http://cgi.tutsplus.com/articles/step-by-step-how-to-make-an-animated-movie--cg-3257 3. http://www.cs.dartmouth.edu/~fabio/teaching/projects10/lectures/01_pipeline.pdf 4. http://creativeskillset.org/ 5. http://www.animationmagazine.net/ 6. http://www.awn.com/ 7. http://www.animationnation.com/ 8. http://www.creativebloq.com/3d-world-magazine 9. http://blog.digitaltutors.com/understanding-a-3d-production-pipeline-learning-the-basics/ 10. https://bigcostas.wordpress.com/3d-production-pipeline/ 11. http://3d.about.com/od/3d-101-The-Basics/tp/Introducing-The-Computer-Graphics-Pipeline.htm 12. http://en.wikipedia.org/wiki/Post-production 13. http://www.raindance.org/the-13-steps-of-post-production/ 14. http://en.wikipedia.org/wiki/Video_editing 21  List of Contributors Subject Experts 1. Mr. Suman Mondal, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091 2. Mr. Atanu Moitra, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091 3. Dr. Sreeparna Roychoudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091 4. Ms. Shampa Chatterjee, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091 5. Ms. Paramita Pal, 4/1, Bibeknagar, Garfa, Jadavpur,Kolkata-700075 6. Ms. Sukanya Mitra, C/O Padma Saha, 2/59 Azadgarh,Kolkata-700040 7. Ms. Nisha Nair, 105/B, Ground Floor, Kankulia Road, Golpark, Gariahat,Kolkata-700029 8. Ms Soumya Chakroborty, 126 B, Diamond Harbour Road,Kolkata-700060 Reviewers 1. Prof. (Dr.) Vinay Swarup Mehrotra, Head, Curriculum Development and Evaluation Centre and National Skills Qualifications Framework Cell, PSSCIVE, NCERT, Shyamla Hills, Bhopal – 462013 2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Division, PSSCIVE, NCERT, Shyamla Hills, Bhopal – 462013 3. Dr. Asmita Khajanchee, Associate Professor,Dept. of Electronic Media, National Institute of Technical Teachers' Training & Research, Shamla Hills, Bhopal - 462 002(M.P.) 4. Shri Akhilesh Rajput, Director, Maya Academy of Advance Cinematic (MAAC) Center,Bhopal Resource Persons 1. Mr. Santanu Bhattacharjee, Director, M/s Technable Solutions Pvt. Ltd.,Kolkata 2. Ms. Juthika Sarkar, 108, PurbaSinthee Bye Lane, Natun Bazar, Maidanpally, Dum Dum, Kolkata- 700030, WestBengal 22 PSS Central Institute of Vocational Education (a constituent unit of NCERT, an autonomous organization under Ministry of Human Resource Development, Government of India) Shyamla Hills, Bhopal 23 1  SECTOR: MEDIA & ENTERTAINMENT NSQF Level 4 (CLASS XII) Student Workbook PSS Central Institute of Vocational Education, Bhopal (a constituent unit of NCERT, under Ministry of Human Resource Development, Government of India) 2 1  UNIT 2: Basics of Video and Sound Editing Student Workbook (Class 12; NSQF Level 4) Course: Media and Entertainment (Job Role: Animator, QP Ref. Id.: MES/Q0701) Dr.Vinay Swarup Mehrotra Professor & Head Curriculum Development and Evaluation Centre (CDEC) & National Skills Qualifications Cell (NSQFC) PSS Central Institute of Vocational Education (a constituent unit of NCERT, under Ministry of Human Resource Development, Government of India) 3 Shyamla Hills, Bhopal – 462 013, M.P., India 2 4  Table of Contents PREFACE ACKNOWLEDGEMENTS ABOUT YOUR WORKBOOK UNIT 2: BASICS OF VIDEO AND SOUND EDITING GLOSSARY SUGGESTED READING 4  Preface The National Curriculum Framework, 2005, recommends that children’s life at school must be linked to their life outside the school. This principle makes a departure from the legacy of bookish learning which continues to shape our system and causes a gap between the school, home, community, and theworkplace. The student workbook is a part of the qualification package developed for the implementation of National Vocational Education Qualification Framework (NVEQF), an initiative of Ministry of Human Resource Development (MHRD), Government of India to set common principles and guidelines for a nationally recognized qualification system covering Schools, Vocational Education and Training Institutions, Technical Education Institutions, Colleges and Universities. The NVEQF was subsumed in National Skills Qualifications Framework (NSQF) in 2013. It is envisaged that the NSQF will promote transparency of qualifications, cross-sectoral learning, and student-centred learning and facilitate learner’s mobility between different qualifications, thus encouraging lifelonglearning. This student workbook, which forms a part of vocational qualification package for students who have passed Class IX or equivalent examination, was created by a group of experts. The Media and Entertainment Sector Skill Council approved by the National Skill Development Corporation (NSDC) for the Media and Entertainment Industry developed the National Occupational Standards (NOS) and the Qualification Pack (QP) for the job role. The National Occupational Standards are a set of competency standards and guidelines endorsed by the representatives of Media & Entertainment Industry for recognizing and assessing skills and knowledge needed to perform effectively in the workplace. The Pandit Sunderlal Sharma Central Institute of Vocational Education (PSSCIVE), a constituent of National Council of Educational Research and Training (NCERT) has developed modular curricula and learning materials (Units) for the vocational qualification package in Media and Entertainment sector for NSQF levels 1 to 4; level 1 is equivalent to Class IX. Based on NOS, occupation related core competencies (knowledge, skills, and abilities) were identified for development of curricula and learning modules(Units). This student workbook attempts to discourage rote learning and to bring about necessary flexibility in offering of courses, necessary for breaking the sharp boundaries between different subject areas. The workbook attempts to enhance these endeavours by giving higher priority and space to opportunities for contemplation and wondering, discussion in small groups and activities requiring hands-on- experience. We hope these measures will take us significantly further in the direction of a child- centred system of education outlined in the National Policy of Education(1986). The success of this effort depends on the steps that school Principals and Teachers will take to encourage children to reflect their own learning and to pursue imaginative and on-the-job activities and questions. Participation of learners in skill development exercises and inculcation of values and creativity is possible if we involve children as participants in learning, and not as receiver of information. These aims imply considerable change in school routines and mode of functioning. Flexibility in the daily time-table would be a necessity to maintain the rigor in implementing the activities and the required number of teaching days will have to be increased for teaching and training. (vi) 6  Acknowledgements We acknowledge the contributions of the following persons in development and review of the content of the student workbooks:  Professor R. B. Shivagunde, Joint Director, PSS Central Institute of Vocational Education (PSSCIVE), Bhopal forguidance.  Dr. Vinay Swarup Mehrotra, Professor and Head, Curriculum Development and Evaluation Centre (CDEC) and National Skills Qualifications Cell (NSQFC), PSSCIVE, Bhopal for coordinating the development of curricula, student workbooks and teacher handbooks and reviewing thecontent.  Mr. SumanMondal, Mr. AtanuMoitra, Dr. SreeparnaRoychoudhury, Ms. Shampa Chatterjee, Ms. Paramita Pal, Ms. SukanyaMitra, Ms. NishaNair as experts in Media & Entertainment sector for developing thecontent.  Dr. AsmitaKhajancheeand Shri Akhilesh Rajput for reviewing the content and providing suggestions forimprovement.  Mr. SantanuBhattacharjeeand Ms. Juthika Sarkar, M/s Technable Solutions Pvt. Ltd., Kolkata as resourcepersons. We are thankful to the Department of School Education and Literacy, Ministry of Human Resource Development, Government of India for financial support. (vii) 6  About Your Workbook The student workbook contains sessions which will help you to acquire relevant knowledge and skills (generic and domain-specific skills) related to the job role. Each session is small enough to be easily tackled and digested by you before you move on to the next session. Animated pictures and photographs have been included to bring about visual appeal and to make the text lively and interactive for you. You can also try to create your own illustrations using your imagination or taking the help of yourteacher. Let us now see what the sections in the sessions have for you. Section1: Introduction This section introduces you to the topic of the Unit. It also tells you what you will learn through the various sessions covered in the Unit. Section 2: Relevant Knowledge This section provides you with the relevant information on the topic(s) covered in the session. The knowledge developed through this section will enable you to perform certain activities. You should read through the information to develop an understanding on the various aspects of the topic before you complete theexercise(s). Section 3: Exercise Each session has exercises, which you should complete on time. You will perform the activities in the classroom, at home or at the workplace. The activities included in this section will help you to develop necessary knowledge, skills and attitude that you need for becoming competent in performing the tasks at workplace. The activities should be done under the supervision of your teacher or trainer who will guide you in completing the tasks and also provide feedback to you for improving your performance. Section 4: Assessment The review questions included in this section will help you to check your progress. You must be able to answer all the questions before you proceed to the nextsession.  8 (viii) SECTOR: MEDIA & ENTERTAINMENT NSQF Level 4 (CLASS XII) UNIT 2: Basics of Video and Sound Editing Student Workbook 10  Table of Contents INTRODUCTION SESSION 1: INTRODUCTION TO ADOBE PREMIERE PRO SESSION 2: EDITING VIDEO SESSION 3: INTRODUCTION TO ADOBE SOUND BOOTH SESSION 4: EDITING SOUND 113 Introduction Like any other skill, editing has some basic rules that help us to understand what the filmmaker and editor wants to say. Take some time to study films and TV so you can learn these. What you add to the image and sound after it is filmed can hugely influence a film. You must have noticed in movies that tension is indicated by music and close up shots on actors. Different camera angles break the scene down and make it interesting by leading the viewer‘s eye to what is important. The way you cut between these, i.e. fast or slow, is also telling the audience more information about the story. The editors can alter everything about the film with theirskills. Understanding modern techniques of editing is the key to the success of the film, if your audience is to follow what you mean with your edits. Watch lots of movies and examine how cuts are made. How do scenes end, what does a cut to black signify or a slow dissolve mean? Editing styles can alter the feel of your film. Short snappy cuts give the film a tense, fast pace. Long gaps between cuts allow time for the audience to relax into the scenes. Clever editing can create illusions; just the sound of a helicopter creates the illusion that there really is a helicopter just out of shot. Editing can also help smooth over problems, you can edit around a difficult interview by cutting out bits. If you need to show more than one aspect of a scene, you can film the scene several times from different angles and in the edit cut between thoseangles. Montage is the principle underlying all editing. The audience is trying to interpret your film as they watch, create meanings from the images and sounds you play them. If for example, you put together a politician‘s speech without sound, followed by images of war, then the politician is assumed to be talking about war. Montage creates a new meaning from two independent images. Similarly you can lead the audience this way, show separate images of two people walking down a street and the audience will assume the two will eventuallymeet. In this Unit, you will learn about the working procedure of a video editing software known as Adobe Premiere Pro and a sound editing software known as Adobe Sound Booth. 114 Session 1: Introduction to Adobe PremierePro In this session you will learn about the use of tool box of Adobe Premiere Pro. RelevantKnowledge Adobe Premiere Pro is a video editing software that can capture, edit, perform special effects, add graphics and titles, all the way to final production. Using the Adobe Premier Pro you will learn a series of steps for creating, editing and fine-tuning various video pieces. About Workspaces When you work with Adobe Premier Pro, it presents a virtual workspace on the screen. You can move windows around, close some items and open others. To begin, start by launching Adobe Premier Pro, Click Start All Programs Adobe Premier Pro, then click on the New Project. Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Tools, Properties, Timeline, and so on), you move and group panels in the same way acrossproducts. The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that standalone. You customize a workspace by arranging panels in the layout that best suits your working style. You can create and save several custom workspaces for different tasks—for example, one for editing and one forpreviewing. You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window. As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors. 115 Example of Workspace A. Applicationwindow B. Grouped panels C. Individual panel Tools The Tools panel contains a number of tools for editing sequences in the Timeline panel. When you select a tool, the pointer changes shape according to the selection. For example, when you select the Razor tool and position the pointer over a clip in the Timeline panel, the icon changes to a razor. However, the Selection tool icon may change to reflect the task currently being performed. In some cases, pressing a modifier key (such as Shift) as you use a tool changes its function, and its icon changes accordingly. Select tools from the Tools panel, or use a keyboard shortcut. You can resize the Tools panel and orient it vertically orhorizontally. Note: The Selection tool is the default tool. It is used for everything other than specialized functions. If the programme is not responding as you expect, make sure that the Selection tool is selected. Toolbox A. Selectiontool 116  B. Track Selectiontool C. Ripple Edittool D. Rolling Edittool E. Rate Stretchtool F. Razortool G. Sliptool H. Slide tool I. Pentool J. Hand tool K. Zoom tool AboutProjects Every project includes a Project panel. This acts as a storage area for all files used in the project. You can organize a project‘s media and sequences using bins in the Project panel. Within a single project file, you can edit individual segments as separate sequences, and then combine the segments into a finished programme by nesting them in a longer sequence. Similarly, you can store multiple variations of a sequence in the same project. Note: There‘s no need to save copies of a project when creating different segments or versions of the same video programme. Simply create new or duplicate sequences within a single project file. Adobe Premiere Pro does not store video, audio, or still image files in the project file—it stores only a reference to each of these files based on its filename and location at the time you imported it. If you later move, rename, or delete a source file, Adobe Premiere Pro cannot find it automatically the next time you open the project. In this case, Adobe Premiere Pro displays the Where Is The File dialog box. Create a Project In most cases, you can start a project simply by using one of the presets provided in the New Project dialog box. The presets included with Adobe Premiere Pro include common project types. Preserve editing quality by using a preset that conforms to the specifications of your original assets. For example, if your project uses footage mostly in DV format, use a DV preset. If you need to specify lower quality settings for output (such as streaming web video), do not change your project settings—instead, change your export settings later. If your computer has a capture card compatible with Adobe 117  Premiere Pro, its own optimized presets may appear in the available Presets list. The project settings must be correct when you create the project file. Once a project is created, some project settings, such as the time base settings, are locked. This prevents unwanted inconsistencies that could result from changing project settings later. Either choose New Project on the Welcome screen that appears when Adobe Premiere Pro starts up or, after the application is open, choose File > New > Project. Do one of the following: To apply a preset, select it from the Available Presets list. To customize settings, choose the preset that most closely matches your source footage, click Custom Settings, and then select your specific project settings. For Location, specify where you want to store the project ondisk. Type the name of the project, and then click OK. Note: Whenever possible, specify a location and name that you will not have to change later. By default, Adobe Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project. Moving a project file later may require moving its associated files aswell. Exercise Open the interface of Adobe Premiere and try to understand the workspace. Practice use of tools on saved projects. Write a report on your understanding of the features. Assessment I. Short answerquestions 1. What isWorkspace? 2. Name the editing Tools of Adobe PremierPro 118  3. Describe the procedure for creating a project in Adobe PremierPro II. Fill in the blanks 1. Montage is the principleunderlyingall , as it creates a new meaning from two independentimages. 2. Adobe video and audio applications provide aconsistent,customizable. 3. ThedefaultworkspaceinAdobePremierProcontainsgroupsofpanelsaswellaspanelsthat alone. 4. You customize a workspacebyarranging in the layout that best suits your working style. 5. Youcan panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the applicationwindow. 6. The panel contains a number oftoolsfor sequences. 7. Every project in Adobe Premier Proincludesa panel. This acts as a storage area for all files used in theproject. 8. Adobe Premiere Pro doesnot video, audio, or still image files in the project file—it stores only a reference to each of these files based on its filename and location at the time you importedit. Checklist for AssessmentActivity Use the following checklist to see if you have met all the requirements for assessment activity. Part A Differentiated between the following: 1. Grouped panels and Individualpanel 2. Different tools of Adobe PremierPro 119 Part B Discussed in class thefollowing: 1. Workspace 2. Creating a project on Adobe PremierPro Part C Performance Standards The performance standards may include, but not limited to: Performance Standards Yes No Demonstrated the knowledge of using workspace on Adobe Premier Pro Demonstrated the knowledge of the various tools in the Tool Box of Adobe Premier Pro Created a project in Adobe Premier Pro 120 Session 2: EditingVideo In this session, you will learn about how to edit the video. RelevantKnowledge EditingWorkflow You create your project in Adobe Premiere Pro by assembling clips into a sequence. The workflow you choose depends on your preferences and the needs of your project. Here is a common editingworkflow: 1. View and trim source clips in the SourceMonitor Use the Source Monitor to view clips that you have captured and added to your project. As you view the clips, you can set In and Out points for the portion of each clip that you want to use in the sequence. 2. Assemble clips into asequence Drag each clip individually to the Timeline panel, or automatically assemble clips selected in the Project panel. As you add individual clips, you can decide whether to add video, audio, or both to your sequence. 3. Retrim clips in asequence If you did not set precise In and Out points for a clip, or you decide to change them, you can retrim the clips in a Sequence tab of the Timelinepanel. 4. Adjust clip attributes ifnecessary As you assemble your sequence, you may want to change the duration or the speed at which the clip plays. 5. Rearrangeclips After clips are placed in the Timeline panel, you can rearrange how they appear in the sequence. You might need to split a clip to use different effects, or extract or move a clip and close any resulting gaps in the sequence. Source Clips, Clip Instances, and Sub clips You can use clips as source clips, clip instances, sub-clips, or duplicate clips. You can edit all types of clips in sequences in the same way. The clip types differ in the following ways: Source (master) clip: The clip is originally imported into the Project panel. It is listed in the Project panel only once by default. If you delete a source clip from the Project panel, all of its instances are alsodeleted. Clip Instance: It is a dependent reference to a source clip, used in a sequence. Each time you add a clip to a sequence, you create another instance of the clip. A clip instance uses the name and 121 source file reference used by its source clip. While clip instances are not listed in the Project panel, they are differentiated in the Source Monitor menu if you open instances there. The Source Monitor menu lists instances by name, sequence name, and In point. Subclip: A section of a master clip that references the master clip‘s media file. Use subclips to organize and manage your projects, especially when you need to use only sections of long master clips. Duplicate clip: An independent copy of a source clip, which you create manually using the Edit > Duplicate command. You can also create a duplicate clip by importing the same file more than once. Unlike a clip instance, a duplicate clip maintains its own reference to the original clip‘s source file on disk and exists as an additional clip in the Project panel. A duplicate clip is not deleted when you delete its original from the Project panel. Master and duplicate clips can be renamed independently. Timeline Panel Overview You assemble and rearrange sequences in the Timeline panel, which represents a sequence graphically, showing clips, transitions, and effects. A sequence can consist of multiple video and audio tracks running parallel in the Timeline panel. Timeline panel A. Sequencetabs B. Timeruler C. Videotracks D. Audiotracks Each sequence in a project can appear as a tab in a single Timeline panel, or in a separate Timeline panel. A sequence must contain at least one video track and one audio track.Multiple 122 video tracks are used to superimpose clips. Sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing. Multiple audio tracks are used to mix audio. You can specify the type of audio channels supported by each audio track and decide how they are sent to a Master audio track. To achieve even greater control over the mixing process, you can create submix tracks. Navigate in the Timeline Panel The Timeline panel contains several controls for moving through the frames of a sequence. Time navigation controls in the Timeline panel A. Current‑timedisplay B. Current‑timeindicator C. Viewing areabar D. Work areabar E. Timeruler F. Zoomout G. Zoom slider H. Zoomin Time ruler measures sequence time horizontally, using the counting method specified in the project settings (although you may toggle to a counting method based on audio samples). Tick marks and numbers indicating the sequence time are displayed along the ruler and change according to the level of detail at which you view the sequence. The time ruler also displays icons for markers and the sequence In and Outpoints. 123 Current‑time indicator (CTI) Indicates the current frame displayed in the Program Monitor. The current frame displays in the Program Monitor. The current‑time indicator is a light blue triangle in the ruler. A vertical line extends from the current‑time indicator to the bottom of the time ruler. You can change the current time by dragging the current‑time indicator. Current time display Shows the time code for the current frame in the Timeline panel. To move to a different time, click in the time display and enter a new time, or place the pointer over the display and drag left or right. You can change the display between time code and the simple frame count by Ctrl‑clicking (Windows) or Command-clicking (Mac OS) the current time in either a monitor or the Timelinepanel. Viewing area bar Corresponds to the visible part of the sequence in the Timeline panel. You can change the size and position of the viewing area bar to quickly view different parts of the sequence. The viewing area bar is located just above the timeruler. Work area bar Specifies the area of the sequence that you want to preview or export. The work area bar is located in the lower portion of the time ruler. Zoom controls Change the scale of the time ruler to increase or decrease the number of frames visible within the current viewing area. The zoom controls are located at the bottom left of the Timeline panel. Work with Tracks The video and audio tracks in the Timeline panel are where you arrange clips, edit them, and add special effects. You can add or remove tracks as needed, rename them, and determine which can be affected by a procedure. Add Tracks New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Projectpanel. Note: You can add any number of tracks, limited only by your system‘s resources. With the Timeline panel active, choose Sequence > Add Tracks. In the Add Tracks dialog box, do any of the following: To add tracks, type the number of tracks you want to add in the Add field for video, audio, and audio submix tracks. To specify the placement of added tracks, choose an option from 124  the Placement menu for each type of track added. To specify the type of audio track you want to add, choose an option from the Track Type menu for audio and audio submix tracks. Click OK. Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5.1. If you are not sure what kind of audio your clips use, select the clip in the Project panel and read its information in the preview area. Exercise 1. Import a video in Adobe Premiere Pro and edit it using tools, effects and transitions. Write down the steps followed. Assessment Fill in the blanks 1. You usetheSource to view clips that you have captured and added to your project. 2. After clips are placedinthe panel, you can rearrange how they appear in thesequence. 3. Clip isadependentreferencetoasourceclip,usedinasequence.Eachtime you add a clip to a sequence, you create another instance of the clip. 4. Sub-clip is a sectionofa clip that references the master clip‘s mediafile. 5. clip is an independent copy of a source clip, which you create manually using the Edit > Duplicatecommand. 6. A duplicate clip is not deleted when you delete its originalfromthe panel. 7. Master and duplicate clipscan be independently. 8. Each sequence in a project can appearasa in a single Timeline panel, or in a separate Timelinepanel. 9. A sequence must contain atleastone track and one audiotrack. 10. Multiple tracks are used to superimposeclips. 11. Time rulermeasuressequence horizontally, using the counting method specified in the projectsettings. 12. ‑time indicator (CTI) Indicates the current frame displayed in the Program Monitor. 13. The video and audio tracksin the panel are where you arrange clips, edit them, and add specialeffects. 125 Checklist for AssessmentActivity Use the following checklist to see if you have met all the requirements for assessment activity. Part A Differentiated between the following Source Clips, Clip Instances, and Sub clips Part B Discussed in the class the following: 1. EditingWorkflow 2. Timelinepanel 3. How to work withtracks? Part C Performance Standards The performance standards may include, but not limited to: Performance Standards Yes No Edited a video using common Editing Workflow in Adobe Premiere Pro Listed the functions of Timeline panel in Adobe Premiere Pro Demonstrated the application of Timeline panel in Adobe Premiere Pro 126 Session 3: Introduction to Adobe SoundBooth In this session you will learn about the various features and applications of Adobe Sound Booth for editing sound. RelevantKnowledge Adobe SoundBooth Before opening Adobe Sound Booth, make sure that all of your files are organized. First, create a folder in which to save your sound (.wav) files as well as your Adobe Sound Booth project file. This is your ―project folder.‖ Always keep a Sound Booth project file and its associated.wav files in the same project folder. The project folder IS your project. If parts of your project should happen to get lost (.wav files, for example) your Adobe Sound Booth file may notwork. Using the Workspace Start Adobe Sound Booth. Unless you modified the workspace, the application should automatically open in the Default workspace. The upper-left corner of the default workspace contains the Tools panel. The Tools panel contains the most frequently used tools in Sound booth: the Time Selection tool, the Frequency Selection tool, the Marquee tool, the Lasso tool, the Hand tool and the Zoom tool (see Figure 1). Figure 1: Tools Panel In the upper-right corner of the interface is a Workspace pop-up menu. This menu contains the Default workspace, along with two other preset workspaces, Edit Audio To Video and Edit Score To Video. Choosing one of these different workspaces changes the panel arrangement to suit that particular task. Choose Edit Audio To Video to see how the panels are arranged in this workspace. Figure 2: Workspace Menu 127 The Workspace menu contains options for creating new workspaces as well as deleting workspaces. To customize your workspace, you usually start by moving panels. To move a panel, click the panel‘s tab and drag the panel to a different location. As you move the panel, purple areas called drop zones appear where you can drop the panel and snap it into theinterface. Figure 3: Move the History panel into the Tasks panel and drop zones appear where the panel will be placed after you release your mouse. When you are satisfied with the workspace, choose New WorkspacefromtheWorkspacepop-upmenu.Typeanamefor 128 your workspace in the New Workspace dialog box and click OK. Your custom workspace then appears in the Workspace pop-up menu. Figure 4: The New Workspace Dialog Box. Switch back to the default workspace by choosing Default from the Workspacemenu. Choose File > Open and open 1_1_0_Part2_I_2.wav. Open files appear in the Files panel. The Files panel is located in the upper- left corner of the default workspace. The waveform of the file also appears in the Editor panel in the middle of theworkspace. Choose File > Open and open 2_2_0_End_e_4.wav. When you have two files open, you can switch between them by double-clicking the file name in the Files panel or choosing the file name from the pop-up menu at the top of the Editor panel. Display the new file by double-clicking the name in the Filespanel. Figure 5: Files Panel Below the Files panel is a group of three panels: Task, Effects, and Markers. The Tasks panel contains frequently used tasks, such as Auto Compose Score and Change Pitch, and Timing. Choose Remove A Sound to see the task‘s menu. Notice that the Editor panel switches from the default waveform view to aspectral 129 display of the audio track, which makes it easier to remove specific frequencies from the sound. You can reopen the waveform view by clicking and dragging the split bardownward. Figure 6: The Remove A Sound task opens the spectral display in the Editor panel. The Effects panel is the next panel in the group. When you add effects, you are essentially creating a set of effects that are listed in this panel. The Markers panel allows you to add markers (known in Adobe Flash as cue points) at any point in your sound file. This is particularly useful when you are exporting to Flash Video, because this panel lets you embed event and navigation markers that can be read in Flash. Figure 7: The Markers panel 130 Below the Tasks, Effects, and Markers panel group is the History panel. The History panel is similar to the History panels found in other Adobe applications. It contains a list of all of the actions performed since the file was opened. Click on an action to return the file to that state. Press Delete to delete a selected action. Figure 8: The History panel The main panel in the workspace is called the Editor panel. You can switch between any of the sound files you have opened by choosing the file from the pop-up menu in the upper-left corner of the panel. The zoom navigator, is located directly below the pop- up menu and provides a view of the entire waveform. You can use the main Editor window to zoom in on just a range of the waveform in greater detail. To zoom in or out, press the + (plus) or – (minus) keys. To return to 100% view, click the Zoom OutFull button to the right of the zoomnavigator. Figure 9: Zoom in on a portion of the audio track using the + and – keys 131 Click and drag over a portion of the waveform. Notice that a menu pops up allowing you to increase or decrease the volume of the range. Click and drag the underlined number to the right or left to increase or decrease this setting. Click anywhere in the Editor panel to deselect the range. Figure 10: Increase or decrease the amplitude of a range by using the volume pop-up menu. The Set Fade In Open and open Interview.wav. This sound file is an excerpt from an interview. You can see the waveform of the file in the Editorpanel. Figure 1: The waveform of the audio clip is visible in the Editor panel. Click the Play button at the bottom of the Editor panel to play thefile. This audio clip has some problems, namely the cell phone ringing near the beginning. These issues are covered in the tutorial on screening and restoring audio. For now, you‘ll focus on some of Soundbooth‘s more basic editing capabilities. The first important skill to learn is how to select a specific portion or range of the waveform. To select a range, choose the Time Selection tool in the toolbar and then click and drag across the waveform in the Editor panel with your mouse. Any changes you make are applied only to the selected range. 135  Figure 2: Select a range of the waveform using the Time Selection tool. Select a range and click the Play button. Notice that the clip starts to play from the beginning of the range. You can modify the selected range by dragging the start and end points in the time ruler of the Editor panel. Move them closer together to shorten the range or farther apart to lengthen the range. Figure 3: Increase or decrease the length of the range by clicking and dragging the start and end points in the time ruler. 136 Click the Loop Playback button at the bottom of the Editor panel to hear the selected range repeat when you click the Play button. Figure 4: Click the Loop Playback button to loop a selected range when you press Play If you have trouble making a very precise range selection, you can zoom in on the waveform. To zoom in or out, press the + (plus) or – (minus) keys on your keyboard or use the Zoom tool in the Tools panel. The Zoom tool works similarly to the Zoom tool in Adobe Photoshop CS3. You click and drag on the area you want to zoom in on or click the mouse to zoom in on an area. Hold down Alt (Windows) or Option (Mac OS) and click to zoom back out. If you have a mouse with a scroll wheel, scroll forward to zoom in and scroll backwards to zoomout The zoom navigator is located at the top of the Editor panel. You can see your entire waveform, navigate through the time line, and zoom in and out on different parts of the waveform. To navigate to a different area of the waveform, hover your mouse over the highlighted area in the zoom navigator until it switches to the Hand tool and then drag to the left or right. The new highlighted area appears in the mainwindow. Figure 5: Hover over the highlighted area in the zoom navigator until the cursor switches to the Hand tool and drag to the right or the left to move to a different point in time. Click and drag the edges of the range in the zoom navigator in or out to zoom in or out on the waveform displayed in the main window. 137  Figure 6: Move the end points in the zoom navigator to zoom in or out on the clip displayed in the main window. To view the entire waveform in the main window, click the Zoom Full button to the right of the zoom navigator. After you select a range, the workflow is similar to having text selected in a word processing program, that is, you can edit, cut, copy, paste it, and so on. To access these options, press Control and right-click on the selected range, use the standard keyboard commands (for instance, Control+X to cut), or use the Edit menu. To delete a selected range, press the Delete key on your keyboard. Select 00:00:01.20 through 1.50 (this is the word drink when the interviewee says ―energy drink company ) and press Delete. Press Play to review youredit. Press Control+Z (Windows) or Command+Z (Mac OS) to undo the deletion. Select 00:00:07.25 to 8.75, where the waveform looks a little shorter. Press Play to hear the interviewee say ―When I first saw her arrive, I was….. This section of the waveform is shortbecause it is quieter than the rest of theclip. Figure 7: Select the range from 00:00:07.250 to 08.750 138  To make the selection louder, go to the