Video editing 

is the manipulation and arrangement

of video shots. Video editing is used to structure and present all
video information, including films and television shows, video
advertisements and video essays. Video editing has been
dramatically democratized in recent years by editing software
available for personal computers. Editing video can be difficult
and tedious, so several technologies have been produced to aid
people in this task. Pen based video editing software was
developed in order to give people a more intuitive and fast way
to edit video.
How to learn video editing
1. Make sure your computer hardware can handle video editing. ...
2. Download specialized video editing software. ...
3. Take footage and upload it so you can practice. ...
4. Organize your files strategically. ...
5. Consider taking a video editing course. ...
6. Pursue experiential learning opportunities.

Types of editing

 Linear video editing uses video tape and is edited in a very

linear way. Several video clips from different tapes are
recorded to one single tape in the order that they will appear.
 Non-linear editing systems (NLE) allow video to be edited on
computers with specialized software. This process is not
destructive to the raw video footage and is done by using
programs such as DaVinci Resolve, Avid Media
Composer, Adobe Premiere Pro and Final Cut Pro.
 Offline editing is the process by which raw footage is copied
from an original source, without affecting the original film
stock or video tape. Once the editing is complete, the original
media is then re-assembled in the online editing stage.
 Online editing is the process of reassembling the edit to full
resolution video after an offline edit has been performed. It is
done in the final stage of a video production.
 Cloud-based editing is the process of utilising the internet to
work with content remotely, collaboratively or of a time-
critical nature such as editing of live sports events in real-
time using video proxies (lower resolution copies) of original
material.
 Vision mixing is used when working within live
television and video production environments. A vision mixer
is used to cut live feed coming from several cameras in real
time.
What is the concept of video editing?

Video editing is the art of manipulating and combining

video files to create a completed video project. Video
Editors will cut together film clips, alter and correct sound
mixing, add digital effects, and make other essential
technical changes to video files.

What is a Video Editor?

A video editor is the person who makes production and/or post-

production changes to a film. The video editor works closely
with the director to achieve the best...
5 Basic Steps of Video Editing

Step 1: Organized your footage

 A) Bin: a folder to store videos in

 B) Import footage: Similarly, in computer terminology,

"import" means to bring a file from a different program
into the one you're using

 C)File Name: Name a file with your detail like date,

client name or footage name, etc.

 D)B roll: B-roll is secondary footage, often used as

cutaway footage, to provide context and visual interest
to help tell your story

Step 2: Assembly Cut

 The assembly cut is also known as the first or the rough

cut

 it contains the main message of the video and is

generally based on the main camera footage.

Step 3: Inserts, Close up & cut Always

 Inserts: an insert is a shot of part of a scene as filmed

from a different angle and/or focal length from the
master shot.
  Close up: A close-up shot is a type of camera shot size
in film and television that adds emotion to a scene

 Cut always: Cuts are used in footage to Maintain the

flow of footage.

Step 4: Fine-tuning

 There is the process of the cut where an editor finds the

rhythm.

 A) When to cut?

 B) Where to cut?

Step 5: Clean Up 

A) Sound Mastering: The process of preparing and transferring

recorded audio from a source containing the final mix to a data
storage device (the master), the source from which all copies
will be produced
B) Color correction: Color correction is a technical process
that fixes color issues and makes footage appear as naturalistic
as possible.
Video post-production: everything you need to know.

Post-production is the final stage of video creation. Once you’ve

shot your footage, the finishing touches will need to be added to
your film. The process can involve many individuals and teams,
from sound mixers and voiceover artists to editors and colour
 graders. Learn more about the stage of the process in our
comprehensive guide.

What you’ll learn:

 What is involved in video post-production?
 Key differences between pre-production, production and
post-production
 Who is involved in post-production?
 Understanding the post-production process
What is involved in video post-production?
Post-production is the third and final stage of video creation. It’s
a detailed process that involves many different services, skillsets
and types of professional software, all working together to create
a final version of your video or film. Once your footage has
been shot, you’ll enter the post-production phase of creation,
editing your reels of film together and finalising the look, sound
and feel of your film.
Key differences between pre-production, production and post-
production.

As the third stage of the video creation process, post-production

follows on from the first stage, pre-production and the second
stage, production.
Pre-production.
Pre-production is the planning phase. It encompasses every
stage of work that occurs before a film is shot. This includes
producers, directors, cinematographers, storyboard artists and
more. In this phase, everything for the shoot will be planned out
and the general look of the film will begin to take shape
through storyboarding  and a shot list. Equipment and staff will
be hired, actors and locations chosen and everything prepared
for the shoot.
What’s involved?

Scripting, Storyboarding, Shot List, Hiring, Casting, Costume &

Makeup Creation, Set Building, Financing and Insurance,
Location Scouting.
Who’s involved?

Directors, Writers, Producers, Cinematographers, Storyboard

Artists, Location Scouts, Costume & Makeup Designers, Set
Designers, Artists, Casting Directors.
Production.
This is the shooting phase. Footage is gathered by filming
scenes live. Often, footage will be shot and saved after each day,
ready to send to the post-production team as soon as possible.
Depending on the length of a film and the amount of footage
needed, some shoots can take days, while others can take
months. Voiceovers and sound will be recorded on location,
where needed.
What’s involved?

Filming, On-location Sound Recording Reshoots.

Who’s involved?

Directing Team, Cinematography Team, Sound Team, Grips &

Equipment Operators, Runners, Costume & Makeup Team,
Actors, Stunt Team.

Post-production.
This last stage is where the film takes shape as an actual
product. Footage is brought together, sound is recorded and
added and the finishing touches are put to the film ahead of
marketing and release.
What’s involved?

Editing, Colour Grading & Correction, Visual Effects &

Animation, Sound Recording, Foley Recording, Script Sound
Recording, Sound Mixing & Editing, Soundtrack & Music.
Who’s involved?

Editors, Visual Effects Artists, Animators, Composers, Sound

Mixers & Editors, Sound Recordists, Colour Graders, Foley
Artists, Voiceover Artists, Actors.
The 5 stages of video post-production.
Post-production is a very detailed process involving many
individuals, but it can be broken down into five distinct stages:
1. Logging footage. You won’t want to lose your footage, so
make sure it is saved and clearly labelled ahead of moving
 into the editing process. Depending on the length of the
film and your computer processing power, this could take
several days.
2. Assembling footage. This is the beginning of the editing
process. All the footage is gathered and any sub-standard
footage - outtakes, misread lines, staff in the back of shot,
for example - is deleted. Gather several takes from each
individual scene into folders, labelled by scene name, for
ease later. This whole process may take a few days.
Footage from each scene is then placed into an ordered
timeline as the film begins to take shape.   
3. Rough cut. A rough version of the film is edited together.
This can easily take a couple of weeks depending on your
processing power and the number of editors involved. The
timeline is cleaned up, with final takes of each scene
chosen and a rough edit put together. The post-production
sound team will also work on the film at this stage, re-
recording clearer voice acting, adding sound effects and
composing music.
4. Fine cut. The film is tweaked and tightened up and
finalised scenes begin to take shape. Pay attention to each
individual frame, making sure the film works together and
there are no obvious mistakes, such as changing costumes
or changing camera angles.
5. Final cut. The final cut is where all the remaining work
takes place, including colour grading and correction,
motion graphics and visual effects work ahead of release.
Who is involved in post-production?

Post-production involves many talented individuals, from a

composer writing the musical score, to large teams of visual
effects artists working on the motion graphics and computer
special effects.
These are just some of the skilled professionals who tend to
work in post-production.
Picture Editors.
An editor or editors, is responsible for splicing the film footage
into a finished product. They take the reels from the location
shoot and cut it all into a finished version of the film. They often
work closely with the director and adhere to the storyboards and
screenplay created during pre-production to ensure the story
makes sense and that the final edit matches the vision of the
director.
Foley Artists (AKA Sound Editors).
Sound recorded on location is often unusable in the final version
of a film. It might be difficult to hear the actors’ voices over the
wind or it may be they spoke too softly. Much of a film’s sound
is recorded afterwards and added to the final edit.
Actors re-record lines in a soundproof booth and sound effects
are created by a team of professionals known as foley artists.
They have access to a whole room (or two) of different materials
and record everything from footsteps and clothes rustling to car
engines and gunshots. A Foley Artist will work closely with
Automated Dialogue Replacement (ADR) supervisors and
dialogue editors to create sound effects and re-record actors’
lines.

Music Editors.
The music editor or composer, is in charge of creating the music
for a film. Either they will use tracks by established recording
artists or they’ll create the music for scratch with a team of
musicians.
Sound Mixers.
A sound mixer usually works as part of a team. They take all the
film’s sound, from voices and music to footsteps and wind
noises and ensure it’s mixed correctly for volume and the edit of
the film. It’s their job to ensure the actors can be heard clearly
by making sure their lines are louder than other sounds in the
scene. It would be odd, for example, if the sound of someone’s
footsteps on a pavement were much louder than the car driving
past in the same scene.
VFX Artists.
Visual effects artists (VFX) are the team behind the film’s
computer-generated images and effects. These effects aren’t just
monsters, aliens and blockbuster elements in the latest
Hollywood release either. Visual effects can include altering
backgrounds slightly or creating new ones following green
screen shooting. VFX are different to special effects, however,
which usually include things like monster makeup, explosions
and stunt work.
Post-production involves many skilled professionals, not least
the few mentioned above. There can be hundreds of artists and
animators working on the latter stages of a film’s production,
sometimes taking months to finalise the motion graphics or
perfecting a film’s musical composition. Other roles include
trailer editors, responsible for putting together a film’s
marketing trailer and credit artists, who create the credits
showcasing the names of everyone involved in the production. 
Understanding the post-production process.

Post-production is a detailed, multi-step process that involves

many different teams working in tandem to create the finished
product ready for release. Find out what’s involved in each stage
of the process.
Editing format.
Raw video footage takes up a huge amount of computer file
space, especially if it’s high definition. First off, make sure you
have enough space to store the footage.
You’ll then need to select an editing format. Video is edited in a
different file format to the files used for the final delivery of a
video, such as MPEG. This is because you’ll need to access the
raw video footage for the editing stage, which will likely consist
of hundreds of different individual files from your on-location
shoot. Later, when exporting the final product, you can master
and compress your finished film into a smaller file size.
The two types of file codec are:
  Intra-frame - for editing. All the footage is stored and
accessed as individual frames ready for cutting and
splicing. File sizes are quite large, but it’s important to use
detail at this stage.
 Inter-frame - for delivery. The footage is not stored
individually, with a computer using information from
previous frames to help it to process the file data. File sizes
are much smaller and easier to transport or send, ready for
uploading to the Internet or exhibiting live.
 
Using a video editor.
You’ll then need to choose your video editing software. You
could start with Adobe Premiere Pro. Which video editing
software you choose can be personal preference, but they all
perform differently, with their own add-ons, features and
interfaces.

Clips are placed in a timeline to create one singular full-length

version of your video. You can choose to cut between different
camera angles and scenes by moving the clips around in the
timeline and tweaking the length of each of them individually.
Get to grips with video editor software
Video editing.
Once you have a finished edit and the creative team is happy
with how the story plays out on screen, the film is ready to enter
the latter stages of post-production. To prepare it for release, the
film’s images and sound will need to be improved and all
mistakes ironed out.
Colour correction.

Colour correction, also known as colour grading, is the art of

improving the overall look of the film by manipulating the
colour palette of each scene. When shooting on location, there
may have been issues with lighting and overcast weather. You
may, on the other hand, want to make artistic choices with the
colour of costumes or scenery.
Enter colour correction. A colour grader will amend the way a
film looks, saturating certain colours, adding filters to certain
scenes and improving the lighting of others - similarly to how
you may edit photos at home. It’s their job to ensure the film has
a similar look throughout and that scenes generally have the
same aesthetic feel.
Visual effects.
Modern blockbusters have incredible special effects, including
monsters, pirate ships and suchlike. Of course, many of these
things don’t exist or are difficult and prohibitively expensive to
build in real life. Enter the visual effects team, which uses
powerful computer tools to create monsters and pirate ships for
the world of the film.

Big budget special effects aren’t the only things the VFX team
create, however. They may be responsible for generating the
backgrounds for green screen shoots, for films where the
background might be fantasy or difficult to replicate in real life.
Main titles and credits.

Graphics and titles will be added next, creating the opening and
closing elements of the film. Any in-film graphics are added too,
such as language subtitles or location stamps. Also, don’t forget
to include everyone who has been involved in your production
in the film’s closing credits.
Sound editing.
A film’s sound is just as important as the images. Sound
problems can be disconcerting and risk pulling the audience out
of the world of the film. Poorly mixed sound can make it
difficult to hear what the characters are saying, meaning vital
elements of the story could be missed.
ADR: re-recording audio.

ADR or Automated Dialogue Replacement, is the stage in which

the screenplay is re-recorded for slotting into the film’s edit.
Sound recorded on set can often be poor quality - you might find
actors are difficult to hear or you’ve recorded the rustling of a
microphone accidentally.
Dialogue is recorded in a soundproof booth by ADR teams,
working with actors and voiceover artists to re-record lines. This
is then added to the final edit - the tricky bit is syncing the
spoken words with the actor’s lip movements. 
Considering foley sounds.

Foley artists are responsible for recreating sounds from the

world of the film, such as footsteps, gunfire and car engines.
They’ll record the sounds using materials in their sound studio
before adding into the film where required.
Music and effects.

A composer will add the music to the film. This can be an

original score composed for the film exclusively or existing
music for which they’ll need to buy the rights. Music will then
be overlaid in the scenes where it is needed.
Mixing audio.

The sound mixer brings together all the sound elements and
mixes them to make sure they can be heard at a suitable volume.
A mixer will want voices to sound louder than a musical score,
for example, so the audience can hear what is being said. They
may also add sound effects, such as reverb or an echo effect if
the characters are in a cave.

Creating graphics.
You may then need a graphics artist to add any finishing
graphical touches to the film, such as on-screen elements or
scene transitions. Once they have been added, the film is ready
to be exported for distribution.
Making the trailer. 
You’ll want people to be excited about your upcoming release.
For that, you’ll need to market it effectively. A trailer or a short
collection of clips from your film, is a good way to do this. A
trailer editor will take exciting elements of the film and edit
them together to create a short video that drums up anticipation
ahead of the big launch. 
There may be more steps involved in post-production than you
thought. However, making sure it is carried out properly will
enable you to add the final flourishing touches and make your
footage truly shine. Need further support? 

How to Cut Video: Basics of Editing

The most important thing when it comes to video editing is to
have a clear idea of what you want to achieve. Whether you’re
creating a personal video for your own pleasure or you’re trying
to create a professional piece for a client, there are certain steps
you need to follow. By following some simple tips and these
steps, you can create videos that look great and are sure to
impress viewers.

Choosing the right tools is essential when editing your videos.

There’s a number of different video editing software programs
available on the market, and each has its own unique features
and capabilities. You’ll need a program that can cut video,
arrange frames, and color correct your footage.

The first step in cutting video is to choose the right tools and
understand the basics of video editing. Before you can start
editing, you need to understand the basic principles of video
editing – things like frame rate, resolution, and duration.

Once you understand these basics, you can start cutting your
video. In order to cut video, you first need to select the frames
you want to keep. To do this, use the tools in your video editing
software to select the frames you’re focusing on.

After you have selected the frames, you need to cut them
together using video editing software. You can use a number of
different techniques for cutting video, but most programs give
you the option to simply drag and drop the selected frames
together to create a new clip.

Once your clip is complete, you need to color correct your

footage. This is important because it can make your videos look
more professional. You can color correct your footage by
adjusting the color temperature, hue, and saturation.

After color correcting your footage, it’s time to add effects — if

desired. Effects can add excitement or drama to your videos, so
it’s important to use them correctly. Effects should be used
sparingly though — overuse can make your videos look
amateurish.

Correcting Colors for a More Professional Look

When color correction is needed, video editing software can
provide a professional look. Correcting colors in video can
improve the look and overall quality of the video. Color
correction is an important part of video editing, and should be
done carefully to achieve the desired effect. Incorrectly
correcting colors can ruin the look of a video.
Bird's eye view. A shot in which the camera photographs a scene from
directly overhead.

Close-up, Close shot. A detailed view of a person or object, usually

without much context provided.

Continuity. The kind of logic implied in the association of ideas

between edited shots. "Cutting to continuity" emphasizes smooth
transitions between shots, in which space and time are unobtrusively
condensed. "Classical cutting" emphasizes dramatic or emotional logic
between shots rather than one based strictly on considerations of time
and space. In "thematic montage" the continuity is based entirely on
ideas, irrespective of literal time and space. In some instances,
"continuity" refers to the space-time continuum of reality before it is
photographed.

Crane shot. A shot taken from a special device called a crane, which
resembles a huge mechanical arm. The crane carries the camera and
cameraman, and can move in virtually any direction.

Cross cutting. The alternating of shots from two sequences, often in

different locales, to suggest the sequences are taking place
simultaneously.

Deep focus. A technique of photography which permits all distance

planes to remain clearly in focus, from close-up range to infinity.

Dissolve, lap dissolve. These terms refer to the slow fading out of one
shot and the gradual fading in of its successor, with a superimposition of
images, usually at the midpoint.
Dolly shot, tracking shot, trucking shot. A shot taken from a moving
vehicle. Originally tracks were laid on the set to permit a smoother
movement of the camera. Today even a smooth hand-held traveling shot
is considered a variation of the dolly shot.

Editing. The joining of one shot (strip of film) with another. The shots
can picture events and objects in different places at different times.
Editing is also called montage.

Establishing shot. Usually an extreme long or long shot offered at the

beginning of a scene or sequence providing the viewer with the context
of the subsequent closer shots.

Extreme close-up. A minutely detailed view of an object or a person. An

extreme close-up of an actor generally includes only his eyes, or his
mouth.

Extreme long shot. A panoramic view of an exterior location,

photographed from a great distance, often as far as a quarter-mile away.

Eye-level shot. The placement of the camera approximately 5 to 6 feet

from the ground corresponding to the height of an observer on the scene.

Fish-eye lens. An extreme wide angle lens, which distorts the image so
radically that the edges seem wrapped into a sphere.

Flash-editing, flash-cutting. Editing sequences so that the durations of

the shots are very brief.

Full shot. A type of long shot which includes the human body in full,
with the head near the top of the frame and the feet near the bottom.

High angle shot. A shot in which the subject is photographed from

above.
Long shot. Includes an amount of picture within the frame which
roughly corresponds to the audience's view of the area within the
proscenium arch of the legitimate theater.

Long take. A shot of lengthy duration.

Loose framing. Usually in longer shots. The mise-en-scène is so

spaciously distributed that the subject photographed has considerable
latitude of movement.

Low angle shot. A shot in which the subject is photographed from

below.

Master shot. A single uninterrupted shot, usually taken from a long or

full shot range, which contains an entire scene. Later, the closer shots are
photographed, and an edited sequence, composed of a variety of
different shots, is subsequently constructed on the editor's bench.

Medium shot. A relatively close shot, revealing a moderate amount of

detail. A medium shot of a figure generally includes the body from the
knees or waist up.

Mise-en-scène. The arrangement of volumes and movements within a

given space. In the cinema, the space is defined by the frame; in the
legitimate theater, usually by the proscenium arch.

from Andrew Sarris:

As I wrote some years ago, I would suggest a definition of mise-en-
scène that includes all the means available to a director to express his
attitude toward his subject. This takes in cutting, camera movement,
pacing, the direction of players and their placement in the decor, the
angle and distance of the camera, and even the content of the shot. Mise-
en-scène as an attitude tends to accept the cinema as it is and enjoy it for
what it is -- a sensuous conglomeration of all the other arts.
Montage. Transitional sequences of rapidly edited images, used to
suggest the lapse of time or the passing of events. Often employs
dissolves and multiple exposures. In Europe "montage" means editing.

Oblique angle. A shot which is photographed by a tilted camera. When

the image is projected on the screen, the subject itself seems to be tilted
on its side.

Open forms. Used primarily by realist film directors, these techniques

are likely to be subtle and unobtrusive, with an emphasis on informal
compositions and apparently haphazard designs. The frame generally is
exploited to suggest a temporary masking which arbitrarily cuts off part
of the action.

Over-the-shoulder shot. A medium shot, useful in dialogue scenes, in

which one actor is photographed head-on from over the shoulder of
another actor.

Point-of-view shot. Any shot which is taken from the vantage point of a
character in the film. Also known as the first person camera.

Pull-back dolly. A technique used to surprise the viewer by withdrawing

from a scene to reveal an object or character that was previously out of
the frame.

Rack focusing, selective focusing. The blurring of focal planes in

sequence, forcing the viewer's eye to "travel" with those areas of an
image that remain in sharp focus.

Reaction shot. A cut to a shot of a character's reaction to the contents of

the preceding shot.

Reverse angle shot. A shot taken from an angle 180° opposed to the
previous shot -- that is, the camera is placed opposite its previous
position.
Scene. A unit of film composed of a number of interrelated shots,
unified usually by a central concern -- a location, an incident, or a minor
dramatic climax.

Set-up. The positioning of the camera and lights for a specific shot.

Shot. Those images which are recorded continuously from the time the
camera starts to the time it stops. That is, an unedited, uncut strip of
film.

Sub-text. A term used in drama and film to signify the dramatic

implications beneath the language of a play or movie. Often the sub-text
concerns ideas and emotions that are totally independent of the language
of a text.

Telephoto lens, long lens. A lens which acts as a telescope, magnifying

the size of objects at a great distance. A significant side effect is
tendency to flatten perspective.

Three-shot. A medium shot, featuring three actors.

Tight framing. Usually in close shots. The mise-en-scène is so carefully

balanced and harmonized that the subject photographed has little or no
freedom of movement.

Two-shot. A medium shot, featuring two actors.

Wide angle lens, short lens. A lens which permits the camera to
photograph a wider area than a normal lens. A significant side effect is
its tendency to exaggerate perspective. Also used for deep-focus
photography.

Wipe. And editing device, usually a line which travels across the screen,
"pushing off" one image and revealing another.
Zoom lens. A lens of variable focal length which permits the camera
man to change from wide angle to telephoto shots (and vice versa) in
one continuous movement.

Zoom shot. A shot taken with the aid of a zoom lens. The lens changes
focal length during the shot so that a dolly or crane shot is suggested.