IZMIR CINEMAS WILL REVIVE
Film industry has been addressed at the “Revive Cinema in Izmir Again!” themed panel that took place on Thursday, December ...
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Department of Radio and Tv Programming (Turkish)
RTV 106 | Course Introduction and Application Information
| Course Name |
Editing Theory and Techniques
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
RTV 106
|
Fall/Spring
|
1
|
2
|
2
|
5
|
| Prerequisites |
None
|
|||||
| Course Language |
Turkish
|
|||||
| Course Type |
Service Course
|
|||||
| Course Level |
Short Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | Application: Experiment / Laboratory / WorkshopLecture / Presentation | |||||
| National Occupation Classification | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | To gain competencies related to video editing |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | Making video editing |
| Related Sustainable Development Goals |
|
|
|
Core Courses | |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Course Introduction and Information on Course Process (Course objectives, content, flow, and assessment criteria) | |
| 2 | Selections from the History of Editing (Griffith’s continuity editing, Eisenstein’s montage theory) | Butler, A. M. (2011). Film Çalışmaları. (A. Toprak, Dü.) Kalkedon. S. 27-39. ISBN: 978-605-5679-76-7 Özkoçak, Y. (2011). Kurgu Estetiği ve Teknikleri. Der Yayınları. ISBN: 9786055500061 |
| 3 | First Steps in Premiere (Premiere interface, project folder organization, timeline logic) | Murch, W. (2005). Göz Kırparken. (İ. Canikligil, Dü.) İstanbul: İstanbul Bilgi Üniversitesi Yayınları. S. 1-65. ISBN: 978-975-6176-12-1 Canikligil, İ. (2017). Dijital video ile sinema. Alfa, S.12-38. ISBN: 978-975-6477-99-1 Özkoçak, Y. (2011). Kurgu Estetiği ve Teknikleri. Der Yayınları. ISBN: 9786055500061 |
| 4 | Basic Editing Tools (Razor, trim, ripple edit; cutting and arranging on the timeline) | Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 Canikligil, İ. (2017). Dijital video ile sinema. Alfa. ISBN: 978-975-6477-99-1 Özkoçak, Y. (2011). Kurgu Estetiği ve Teknikleri. Der Yayınları. ISBN: 9786055500061 |
| 5 | Working with Sound (Basics) (Audio–video synchronization, volume adjustment, fade in/out) | Canikligil, İ. (2017). Dijital video ile sinema. Alfa. ISBN: 978-975-6477-99-1 |
| 6 | Editing Principles and Transitions (Cut, dissolve, hard cut; emotional impact of transitions) | Murch, W. (2005). Göz Kırparken. (İ. Canikligil, Dü.) İstanbul: İstanbul Bilgi Üniversitesi Yayınları. S. 1-65. ISBN: 978-975-6176-12-1 Canikligil, İ. (2017). Dijital video ile sinema. Alfa,S.11-12-13-15. ISBN: 978-975-6477-99-1 Özkoçak, Y. (2011). Kurgu Estetiği ve Teknikleri. Der Yayınları. ISBN: 9786055500061 |
| 7 | Editing Rhythm and Tempo (Fast vs. slow editing; effects of rhythm on audience perception) | Murch, W. (2005). Göz Kırparken. (İ. Canikligil, Dü.) İstanbul: İstanbul Bilgi Üniversitesi Yayınları. S. 1-65. ISBN: 978-975-6176-12-1 Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 |
| 8 | Midterm Week | |
| 9 | Effects and Graphics (Basics) (Titles, subtitles, logos, basic motion effects) | Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 |
| 10 | Color Correction (Basics) (Brightness, contrast, white balance) | Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 Canikligil, İ. (2017). Dijital video ile sinema. Alfa. ISBN: 978-975-6477-99-1 |
| 11 | Directorial Choices in Editing (Examples from Hitchcock—suspense, quick cuts; Tarkovsky—long takes) | Butler, A. M. (2011). Film Çalışmaları. (A. Toprak, Dü.) Kalkedon. S. 27-39. ISBN: 978-605-5679-76-7 |
| 12 | Multicamera and Layered Editing (Multicam editing and nested sequence logic) | Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 |
| 13 | Trailer Editing (Trailer aesthetics: introduction, build-up, teaser ending) | Canikligil, İ. (2017). Dijital video ile sinema. Alfa. ISBN: 978-975-6477-99-1 |
| 14 | Advertising / Social Media Editing (Preparing concise and impactful edits for different media formats) | Brindle, M. (2013). Dijital film yapımı el kitabı/ Mark Brindle ; çev. Ahmet Ilgaz. İnkilap. ISBN: 978-975-10-3352-9 |
| 15 | Final Project Presentations | |
| 16 | Final Exam |
| Course Notes/Textbooks | Butler, A. M. (2011). Film Çalışmaları. (A. Toprak, Dü.). Kalkedon. s. 27–39. ISBN: 978-605-5679-76-7 Brindle, M. (2013). Dijital film yapımı el kitabı. (Çev. Ahmet Ilgaz). İnkılap. ISBN: 978-975-10-3352-9 Canikligil, İ. (2017). Dijital video ile sinema. Alfa. ISBN: 978-975-6477-99-1 Murch, W. (2005). Göz Kırparken. (İ. Canikligil, Dü.). İstanbul: İstanbul Bilgi Üniversitesi Yayınları. s. 1–65. ISBN: 978-975-6176-12-1 Özkoçak, Y. (2011). Kurgu Estetiği ve Teknikleri. Der Yayınları. ISBN: 978-605-5500061 |
| Suggested Readings/Materials |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application |
1
|
20
|
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury | ||
| Project |
1
|
40
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm |
1
|
30
|
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
3
|
60
|
| Weighting of End-of-Semester Activities on the Final Grade |
1
|
40
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
1
|
16
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
2
|
32
|
| Study Hours Out of Class |
16
|
2
|
32
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
0
|
||
| Project |
1
|
60
|
60
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
1
|
8
|
8
|
| Final Exam |
0
|
||
| Total |
148
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
|||||
|
1
|
2
|
3
|
4
|
5
|
|||
| 1 |
To be able to define the historical development process, fundamental principles, and theories of Radio and Television Programming, and explain the basic principles of audio-visual storytelling. |
-
|
-
|
-
|
-
|
-
|
|
| 2 |
To be able to utilize technical equipment and software requiring expertise in the field of Radio and Television Programming according to contemporary techniques. |
-
|
-
|
-
|
-
|
-
|
|
| 3 |
To be able to describe the pre-production research of an audio-visual work, scriptwriting, production planning, camera usage, sound recording, lighting setup, and post-production editing design at a fundamental level and apply at least one of them at an advanced level. |
-
|
-
|
-
|
-
|
-
|
|
| 4 |
To be able to apply standard video shooting and sound recording indoors and outdoors within the scope of a production in teamwork. |
-
|
-
|
-
|
-
|
-
|
|
| 5 |
To be able to explain the national and universal values, professional and ethical principles, and legal regulations required in radio-television broadcasting. |
-
|
-
|
-
|
-
|
-
|
|
| 6 |
To be able to evaluate audio-visual outputs based on technical and methodological criticism. |
-
|
-
|
-
|
-
|
-
|
|
| 7 |
To be able to generate creative and critical approaches and projects suitable for the broadcasting platform and selected media, taking responsibility in individual or teamwork. |
-
|
-
|
-
|
-
|
-
|
|
| 8 |
To be able to consider occupational safety principles while working in media, production, and press-broadcasting fields. |
-
|
-
|
-
|
-
|
-
|
|
| 9 |
To be able to apply the knowledge gained in classes within the scope of an internship in relevant job fields. |
-
|
-
|
-
|
-
|
-
|
|
| 10 |
To be able to follow the information in the field and communicate with colleagues by using English at the general level of European Language Portfolio A2. |
-
|
-
|
-
|
-
|
-
|
|
| 11 |
To be able to possess interdisciplinary knowledge in artistic, cultural, and social issues related to communication fields and programs. |
-
|
-
|
-
|
-
|
-
|
|
| 12 |
To be able to direct their learning towards an advanced educational level by keeping track of technological changes and innovations, considering a lifelong learning vision. |
-
|
-
|
-
|
-
|
-
|
|
| 13 |
To be able to analyze the universal and social dimensions and legal consequences of their professional work in the field concerning human rights, cultural diversity, environmental issues, public interest, and public service. |
-
|
-
|
-
|
-
|
-
|
|
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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