Learning Aim C: Edit Task

Learning aim C: Edit a moving image sequence following format conventions 

Topic C.1 Editing different moving image formats

● non-narrative (non-genre) film (demonstration video)
o unstructured external and internal edit 
o unstructured running time 
o style: montage/continuity/breaks continuity/surrealism 

Topic C.2 Preparing to edit a moving image product 
● understanding the brief (requirements of the client/director/audience) 
● organisation of timescale/schedule/deadline 
● viewing the rushes (raw material) 
● digitisation of footage (capture) 
● logging of scenes/shots/takes (e.g. clapperboard (scene/shots), time code, on screen, on paper) 
● storing and filing 
● labelling original and master material. 

Topic C.3 The editing process (must follow all steps)
● rough cut, e.g. rough edit of entire product/narrative to ensure all scenes are working and no omissions 
● external cutting (cutting or moving scenes around in narrative order) 
● internal cutting (cutting or changing shots within scenes) 
● pick-ups (extra footage needed to make the edit work) 
● fine cut (attention to detail, trimming shots to complete the edit) 
● visual effects (addition and rendering of any extra, visual techniques) 
● sound (addition of sound beyond that recorded at source) 
● titles/captions (addition of any text to the shots) 
● playout (final render, levels check and export to media platform, e.g. DVD, MP4).  

For L1Pass: 
Learners at this level will make limited preparations that will mainly consist of digitisation (capturing) of footage for non-linear editing. 

For L1Pass: 

Learners will be able to put a ‘rough’ cut together (external edits or an entire piece or sequence) but may attempt to disguise the basic nature of the editing (mismatches, unintentional jumps etc.) with music laid over the top. The intention of the piece may not be entirely clear. 

For Pass: 
Learners will make adequate preparations for the edit which will allow the editing to proceed with some level of organisation. Logging may be inconsistent or two or three steps may be missed, e.g. reviewing rushes, outlining a schedule/deadline for completion, but the digitisation of footage will be adequately done. 

For Pass: 
Learners at this level will be able to be able to edit a moving image production to an adequate standard whereby the intention of the edit is apparent but the external editing dominates internal editing. There will be many ‘one shot’ scenes and not a lot of variation of techniques; the editing style will be appropriate for the intended format

For Merit: 
Learners will make competent preparations for the edit which will allow the editing to proceed in an organised way. The brief will be considered and those supplying the footage will have been consulted about what they expect from the edit. Logging will be consistent but one or two steps may be missed, e.g. reviewing rushes/agreeing a deadline. The digitisation of footage will be competently done with footage organised into scenes or similar categories, which makes finding shots efficient. 

For Merit: 
Learners at this level will be able to be able to edit a moving image production to a competent standard whereby the intention of the edit is easy to interpret and the external editing has equal competency with internal editing. There will be some variation in the use of editing techniques and the editing style will be appropriate to the intended format, e.g. continuity editing in a short TV drama or sequence/alternative editing techniques for a TV advert or music video. 

For Distinction: 
Learners at this level will be able to edit a moving image production imaginatively whereby the intention of the edit is clear and itself adds meaning to the production. The internal editing may be more complex than the external editing and there will be variation in the use of editing techniques, which makes the production engaging and creative. In a music video this may be the synergy between the internal cuts and the beat or in a continuity piece. This may be the seamless nature of the sequence that allows for viewer immersion in the piece. (It should be noted that it is not only alternatively edited pieces with ‘visual editing’ that should be regarded as ‘imaginative’; seamless continuity that aids narrative should also be rewarded as imaginative).