guidelines | missions video editing | apr2010_01

8/9/2019 Guidelines | Missions Video Editing | Apr2010_01

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© shofar media 2010-2011

GUIDELINES FOR CREATING FEEDBACK VIDEOSversion: Aoril 10_01

prepared by the film guys (and girl) at Shofar HQ)




INTRODUCTION

This document was originally created to guide someone who has to create a

feedback video for his missions-trip. We have found it is important that these videos

capture the true heart of the missions trip, in order to give the viewer a true

perspective of such an experience. If done effectively, this video can also act as atool through which the Holy Spirit can move upon people’s hearts to become part of

what God is doing throughout the world to spread the Gospel of the Good News.

This document first and foremost provides information on the technical

requirements for creating a feedback video. What computer do you need? How much

disk space do you need? What applications do you need? And how can you empower

your volunteers to assist you in the making of this video.

Secondly, it briefly aims to give very basic and practical creative advice on how to

effectively communicate the heart of your trip or event on which you need to give

feedback. Please familiarize yourself with this information.

PLEASE READ:

1. Your video should be maximum 3mins in length. (Please keep titles to a

minimum)

2. A 30-day trial version of Premiere Pro is provided on this CD with guidelines

below. Please complete the video before the end of the 30-day trial period.

3. In order to prepare a video that communicates effectively, please prepare a

rough-cut version of your video first and show this to your Shofar representative.

4. Based on his/her advice, please make the suggested amendments and bring the

finalized version to your Shofar Office for final approval.

5. Please use only the fonts, Arial or our corporate font, Trade-Gothic (provided on

the CD) in your video. Also, to keep things simple, please use white text with your

video as far as possible.

6. All videos to be finalized as DVD Video PAL with a play button on the DVD menu

(This is a mpeg2, playable on a normal DVD player. No avi’s, quicktimes or wmv’s

are playable in church.)

7. Unfortunately, your Shofar office will probably not have any freestanding

computers. Please try and use your own equipment for creating this video. If you

don’t have a computer, or can’t borrow a friend’s computer, please communicatethis to your Shofar representative, before you volunteer to create the DVD for

the team.

8. Please look at the technical requirements below to ensure your computer will be

able to handle the editing of video.

9. NB: Please read through the Creative Considerations below.

10. You are responsible to ensure your DVD is on hand when screened at church.

11. After your video has been screened in church, please ensure that a copy of your

DVD is sent to the Shofar Resources Department to be kept on file as a

reference.




12.

TABLE OF CONTENTS

TECHNICAL REQUIREMENTS ... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1. CAMERA ..................................................................................................1 2. CABLE.....................................................................................................1 3. COMPUTER..............................................................................................1 4. HARDDISK SPACE....................................................................................1

a) Footage ................................................................................................1 b) Space for your applications to run smoothly ............................................1 c) Render Space .......................................................................................1 d) Total Space ..........................................................................................2

5. APPLICATION (SOFTWARE) ......................................................................2 BEFORE YOU START – PREPARING YOUR COMPUTER... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

1. SETTING THE SCRATCH DISK...................................................................3 2. CAPTURING.............................................................................................4 3. ORGANIZING AND IMPORTING YOUR FILES...............................................7

a) ORGANIZE ............................................................................................7 b) SETUP THE PROJECT............................................................................7 c) IMPORT................................................................................................7

THE EDITING WORFLOW .. . . . . . .. . . . . . . .. . . . . . . . .. . . . . . . .. . . . . . . .. . . . . . . . .. . . . . . . .. . . . . . . . .. . . . . . . .. . . . 9 1. THE WORKSPACE ....................................................................................9 2. THE VIEWER ............................................................................................9 3. THE TIMELINE.........................................................................................9

CREATIVE CONSIDERATIONS... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 1. ESSAY: CONTENT IS KING......................................................................12 2. WHAT IS THE PURPOSE OF THIS FILM? ..................................................15 3. WHAT IS MY STORY? ..............................................................................15 4. SELECTING SHOTS ................................................................................15 5. THE ROUGH CUT....................................................................................16 6. WHAT IS THE LENGTH OF THIS FILM? ....................................................16 7. LENGTH OF A CUT..................................................................................16

a) REALTIME EDITING: .............................................................................16 8. MUSIC ..................................................................................................17 9. AMBIENT SOUNDS.................................................................................17 10. EFFECTS .............................................................................................17 11. FEEDBACK ..........................................................................................17




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TECHNICAL REQUIREMENTS

You’ve got the shots, you’ve captured the moments… now what?

What will you need… technically speaking?

1. CAMERA

You’ll need a camera that can playback the tapes upon which you recorded the

footage, preferably the camera with which you shot the footage.

2. CABLE

A cable to connect from your camera to your computer. Depending on your camera,

this is either a USB cable or a Fire wire cable. Most small Handycams make use of

USB cables, but some use Firewire. Not all computers have Firewire ports… i.e.ensure that your computer can link to your camera.

3. COMPUTER

We are unable to provide you with a workstation at the Shofar Offices. We trust that

you will have the means to do this. Even if you have to borrow a friend’s computer.

4. HARDDISK SPACE

a) FootageWhen you capture with Adobe Premiere Pro or any program that will generate .avi

files, then 5minutes of footage will equal 1GB of hard disk space.

I.e.:

60min footage = 12GB in total (60 / 5)

If your local harddrive is too small, then you can get an external drive, and put the

raw footage on this external drive.

b) Space for your applications to run smoothly

Save your editing application on your local harddrive, not on an external harddrive.After the application is installed, it will need free space on the local drive to

function properly.

Adobe Premiere: At least 5GB of free space after installation

Windows: 5GB free space to function properly

Total free space for applications: 10GB

c) Render Space

Also, while you are editing, your computer creates raw video files in the background

that allow you to playback the edits you are making. Without this, you cannot edit

your footage properly. I.e. you will need to make space available for these files as

well.




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If you have 20 to 30GBs of footage, then we suggest you make 5 to 10GBs available

for the render files.

These files need to be on your local harddrive and not on your external drive, as the

connection to the drive will be too slow for realtime playback.

d) Total Space

Consequently, in total, you require:

FOOTAGE: say, 35GB (On your external harddrive if you have one)

Free space for Applications: 10GB (Local Harddrive)

Free space for Rendering: 10GB (Local Harddrive)

TOTAL (estimate): 55GB

5. APPLICATION (SOFTWARE)

This document specifically gives guidance with regard to Adobe Premiere Pro. But

the principals can also be applied to Final Cut Pro for Mac. Both these applicationsare very simple to use, even though they are professional editing applications.

You can download a free 30-day trial version of Adobe Premiere Pro from their

website at the following address:

http://www.adobe.com/downloads/

Note that these files are over 1 GB in size. Alternatively you can collect a copy from

Shofar Headquarters. Please do not expect of your volunteers to download the

application themselves, but have it ready for them to collect from your office.

NB: This version is a fully working version, but only valid for 30 days, after which you

have to purchase a license. You will have to plan well and be disciplined to finish

your video within the 30-day trial period.




3

BEFORE YOU START – PREPARING YOUR COMPUTER

1. SETTING THE SCRATCH DISK

As mentioned in the section above, your computer will create render files to help

you playback the edits that you make. This can easily use up all your harddisk space,and take you by surprise half way through your edit! Therefore it is important that

you create space for this before you start editing, See above.

These files must be on your local harddrive, or on a drive that is inside your

computer, that is connected straight to your motherboard. The connection with an

external drive will be too slow to handle this real-time processing. ONLY your

captured footage can be moved to an external drive. (Your applications must also be

installed on your local drive, and not on the external drive.)

Where your computer captures your footage and where it creates the render files,

are usually called the ‘Scratch Disk’.

You can set the scratch disk, as follows:

Go to Menu > Edit > Preferences > Scratch Disks

Now click on ‘Browse’ as seen below and set the location for capturing and

render/preview files.




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- Captured Video and Audio:

You will first need to capture your footage straight to your local harddrive. If

you don’t have enough space on your local harddrive then you must capture a

few clips and then move them over to your external harddrive and delete the

files from your local harddrive.

You cannot capture straight to the external harddrive as the connection is

not fast enough and you will find that it ‘Drops Frames.’ That is physically

what happens. I.e. it looses some of the footage, because the computer can’t

process the data fast enough as it plays back the footage while capturing.

- Render or Preview Files:

Set all the other options: Preview, Cache and DVD Encoding files to save to

your local harddrive. You will not move these files. They must remain on your

local drive as explained above.

- I.e. you will set your scratch disk to save to all the same locations.

2. CAPTURINGTo increase the speed of editing and help you find the shots you want quickly and

easily, we suggest that you use Adobe Premiere’s ‘Log and Capture’ feature. This will

allow you to first look through the footage on the tapes, mark the shots that you

like, and then tell the computer to automatically capture those shots that you

marked, as separate clips.

Instead of capturing each tape in one full go, as one file, the ‘Log and Capture’

method will cause the logged clips to appear as individual clips in your footage list.

Then you can refer to these files easily and quickly... without having to scan through

long captured takes each time you are looking for a new shot.




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You can also sort the Adobe Viewer in such a way that each captured clip shows as a

thumbnail. The thumbnail will then appear as the first frame of that captured clip,

and in so doing allow you to quickly see what each clip is about.

Because of the thumbnail feature, do not log different scenes altogether. Log each

shot, or maybe, each scene, separately. The purpose of this will become clear whenyou start editing. When you edit, you will be able to identify the shots you want based

on that first frame that it shows in the captured list of clips. Thus, you will save time

by not having to scan through all your footage each time you look for a shot.

Follow these steps:

1. First connect your camera to the computer and set it to ‘VCR’ mode.

2. Insert the first tape.

3. In Premiere Pro, go to File > Capture (or press F5) …see screenshot below

4. Log the clips. (See instructions below)




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- Ensure that you can control the camera from the Capture window’s control

buttons by clicking ‘play’ or ‘stop’ on the computer screen. If not, you will

have to look at the ‘Settings’ tab to ensure Premiere Pro recognizes your

type of camera and that it can indeed control it remotely.

- Now, to log your clips, play the tape and watch the footage. Click ‘Set In’ at

the start of a shot or scene, and click ‘Set Out’ at the end of that shot or

scene.

- You can also achieve this by hitting on your keyboard the “i"-button for ‘In’

and “o”-button for ‘Out’.

o NB: Don’t capture different scenes together. As far as possible, set a

new In- and Out-point for each shot that you like, or at least for each

scene.

o This may take time. But this is arguably one of the most important

tasks of your edit that will in the end allow you to find the good shots

quickly and efficiently. If you don’t do it this way, and you capture the

whole tape as one, you will have to scan through the whole tape eachtime you are looking for the next shot, instead of going straight to the

clip you want.

- Once you have set both the In and Out Points, click on ‘Log Clip’ and give it a

name in the small window that appears.

- Continue in this manner until you reach the end of the tape.

- NOW, close the capture window.

- Go to: File > Batch Capture (or press F6)

- This will now capture all the logged clips automatically and you don’t have to

touch the camera once. Go make a cup of coffee, enjoy a game of touchies,

and when you come back, each shot will be captured as a separate video

clip.




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3. ORGANIZING AND IMPORTING YOUR FILES

The last thing to do before you start is to organize all your files, and know where you

save them.

a) ORGANIZE

In Windows Explorer, create organized folders for the following: (This is now eitheron your local drive, or on your external drive, if you don’t have enough space.)

1. FOOTAGE (The files you captured from the video tapes)

2. MUSIC (Any music files you want to use)

3. PHOTOS (If you plan to combine photos into your edit, copy them here first,

before you start editing them into your project.)

4. OTHER (For any other designs or text that you might create)

b) SETUP THE PROJECT

Open Adobe Premiere and “Save As…” your Adobe Premiere project as follows with

the word ‘Edit’ at the end.

“My Project Name Edit” (This is standard industry practice.)

Save your project on your LOCAL HARDDRIVE. If your footage is also on your local

drive, then save your project in the same location as your footage.

c) IMPORT

Now IMPORT these files into your saved Adobe Premiere Project.

Go to File > Import; or

Drag the files from Windows Explorer straight in to the ‘Project’ workspace at the

top left.




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Also create organized folders (or ‘Bins’) inside this workspace for ‘Footage’, ‘Music’,

‘Sequences’ etc.

Remember, this is all about speed and efficiency. The quicker you can find what you

are looking for the quicker you will edit and the easier you will get to the best shot

possible. Hence, a better product in the end.




9

THE EDITING WORFLOW

1. THE WORKSPACE

Your files are now inside the ‘Project’ workspace in the top left window.

To view the thumbnails we talked about above, click on the small icons below the

‘Project’ workspace to switch between ‘List View’ and ‘Thumbnail’ view.

2. THE VIEWER

You will use the viewer to easily cut away most of the unwanted parts of the clips,

before you drag them to the timeline.1. Double-click a clip in the Project workspace. It will appear inside the

‘Viewer’.

2. Press space-bar or click the play button below the viewer to play the clip.

3. On your keyboard, hit the “i" button where you want to start the clip, and hit

the “o” button next to it where you want the clip to end.

4. Click in the middle of the viewer and drag that clip either to the ‘Canvas’ to

the right, or the ‘Timeline’ below and drop the footage.

5. You will follow this process for each shot that you want to add to the

timeline.

3. THE TIMELINE

The Timeline is a ‘Sequence’.

1. Create different sequences as your project progresses.

PROJECT

WORKSPACE

VIEWER CANVAS

TIMELINE




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2. You will start off with a ‘Rough Cut 1’. When you finish that one, and don’t

like it, don’t delete it, but ‘Duplicate’ it and create a ‘Rough Cut 2’ sequence.

(To duplicate a sequence, go to your Project workspace, right-click on the

sequence you want to duplicate and select ‘Duplicate’ from the menu

provided. Just rename that new sequence.)

3. When you get to Rough Cut 4 or 5, and you like it, then call the next one,maybe ‘Final 1’ and start finishing off each cut nicely and add the dissolves

and music fades where necessary.




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CREATIVE CONSIDERATIONS

Hollywood makes a lot of movies each year, but we all know that only a few are

really good. This is because it is really hard to make good films.

The technical requirements above are as important to prepare you for a good editing

experience, as are the following creative considerations.

The bedrock or foundation of any film, is the story. Not the music, not the effects,

not the acting. All the rest just help to amplify or accentuate the story. If either of

these elements draw attention to itself, it means that the focus is not on the story,

but on the effect.

The following essay, Content is King, aims to communicate a basic understanding of

good story telling and good audiovisual communication.

Thereafter, we provide practical guidelines to implement these principles.




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1. ESSAY: CONTENT IS KING

by Ben Ludikver: Jun_08

Content is king: A phrase that has become a slogan in the age of technology, whereevery second person has a digital camera and produces cuts that (usually) are

distributed via the internet.

In this document I would like to share some insight I have been blessed enough togain around content production. The main ideas I will attempt to underline in their

importance are a) Difference between Content and packaging(editing), b) Planning,

c) Storytelling, d) Quality first, then quantity, e) Purpose and most importantly d)spiritual/prophetic guidance.

So;

What is good content?

a fast paced highly edited cut/clip can sometimes deceive the viewer as being “worth the

watch”, but afterwards, when we ask ourselves what purpose the clip I just watched achieve,

these clips fail to impress.

Unfortunately good content can also be badly presented, but in the case of this years

missions videos, we will do our best to make sure this does not happen, by getting asinvolved as possible in your editing process. It’s crucial though, that we see thedifference between content and packaging. Packaging (or EDITING as we know it tobe) happens only AFTER the raw material has been accumulated, and is oftenlimited by a lack of proper planning which results in little good footage to edit.

I would like to define (good) content, for our

purposes, as a product of (good) planning.You see, imparting the heart of your mission to the church is most effectively

achieved by telling a story. This is what Jesus did. He imparted spiritual truthsinto people’s hearts by telling them powerful stories. A couple of characteristics

of Jesus’ stories that are specifically relevant to our discussion are, for instanceJesus habit of ‘under-explaining’ the stories. Jesus retains the mystery in his stories.

He often leaves information out; crucial information which I assume many scholarsand theologians have broken their heads about! Now I’d like to define (good)storytelling by Jesus’ example:

Contentisking




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Storytelling is the art of making decisions aboutincluding or excluding certain details concerningsomething an event.

Getting back to our situation, I would like to propose a shift in our approach togathering the basic building blocks of our story: the footage. We have been largely

going into the missions field armed with a camera like a loose canon and shootingwildly and largely, unstrategically. Firstly I have to state that the more footage you

have the more options you will have; but only to a certain degree. I would MUCHprefer 2 hours of good footage to 5 hours of bad footage. 2 hours of good andrelevant footage makes for a much greater scope of choice than 5 hours of randomfootage (and will take considerably shorter to edit!). And this is where the story

happens, where the choices are made: Am I going to show this, and how much of it?Yet we need to start making creative and inspired choices from the word GO in order to get the highest quality of raw footage to work with.

At this stage I would like to focus on the importance of the work of the Holy Spirit.Exodus 31 gives us an amazing insight into God’s desire to be involved into what weare busy with:

3And I have filled him with the spirit of God, in wisdom, and

in understanding, and in knowledge, and in all manner of workmanship,

4To devise cunning works, to work in gold,

and in silver, and in brass,5

And in cutting of stones, to setthem, and in carving of timber, to work in all manner of workmanship.

Furthermore Proverbs 16 (as well as confirming what I said about preferring a little bitof good footage to a lot of bad footage) continues this theme:

8Better is a little with righteousness than great revenues

without right.9

A man's heart deviseth his way: but theLORD directeth his steps.

So, in fact, less can be more, and we need to seek God’s guidance from our pre-production decisions through to the clip being showed in church.

Ultimately we want to trust God to reveal, in which

ever way He sees it fit, to us not only the purpose of the clip we will present to the church, but the heart of the outreach, which we trust God to impart into thechurch upon our return. We should be extremelyattentive to find this purpose, especially inintercession.

And God has given us minds, so lets think about ittoo:




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Is the clip’s ultimate goal to show how much fun we had on missions? Is the clipthere to show what we did everyday? Is it there to give an idea of what the place we

went to is like? Is it meant to give the church a feeling of what God did in our heartsas we went out?

These are all questions we need to ask ourselves, and trust God to give us a specific

strategy. This strategy can be influenced by our intercession before meetings, our personal prayers and thoughts and feelings, but ultimately the ideal will be to haveagreement on what God is telling us about the specific mission. Strategies may differ from team to team, but certain principles will apply in general, like for instance “thevideo should be about what God is doing, not about us”.

In the end what you should ideally have before you go away on missions is a

document/script with certain keywords, key-WORDS from God, and ideas aboutcertain things that you could shoot that will tie in with these ideas. The document caninclude what you will be shooting, how you envision it being used in your final clip

and why. Another good idea will be to include what things you are NOT going tofocus on (like endless traveling footage). I am going to include a questionnaire that Iwould like you all to fill out and send back to me asap. I will give feedback on these

and we can brainstorm around whatever ideas you have got, refining your strategy.Sharpening your sword, so to speak!

The Media department would love to join with you inseeing God’s kingdom communicated throughaudiovisual presentations. YESSS!!!




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Now let’s try and apply these principles by asking the following questions:

2. WHAT IS THE PURPOSE OF THIS FILM?

Remember from the Word of God, that David gave as much credit to those who

stayed behind as to those who went to war. We want the church members who are

part of this one body, to share in the journey of those who went into the field. Exposethem to God’s people in other cultures, and inspire them to stay involved and

perhaps go there themselves.

But be honest now, a 3minute video cannot achieve this satisfactorily. I.e. We will

have to look for creative ways to communicate the experience of the trip, something

that will help the viewer to remember the video. That will remind him of what he saw.

Look below the surface. Look for the small things that people in our own community

can relate to. E.g. see point 3 below.

3. WHAT IS MY STORY?

Ask yourself, ‘How did this experience change me?’ Or ‘What perceptions changed in

me through taking this journey?’

The obvious story would be to show a dark country, the missions team arriving, and

ending with a changed and enlightened country. We can agree, that this is hardly

what happens.

Did you go to India? How did my perception change of food? The viewer will

automatically identify with the concepts of overcoming one’s boundaries and pre-

conceived ideas. OR, consider the colorful clothing. OR the dirty streets.

Did you go to Namibia? How did you experience the slow moving, vast open spaces?

Will you now change your daily schedule and slow down your life? Do less, and whatyou do, do it more efficiently?

Did you go to Europe? How did you experience the efficiency of the transport system

as compared to ours? Is it all a smooth ride, even though everything is so efficient?

4. SELECTING SHOTS

Because one did not shoot with a precise story in mind, defining your story is as

much a discovering process as it is planned.

First get the feel of what footage you have. Scan through it a few times.

Look for similar shots. Similar moods. Build-up a memory in your mind of shots that

go together.

Drop a few possibilities on the timeline. Put them together. Does it work? Do you see

a progression of events, i.e. a story? If not, loose it, and start again.

Don’t be hasty in the beginning. Each time you find something that doesn’t work, you

limit your options and you are slowly but surely moving towards an end result. But if

you don’t know what doesn’t work, you won’t know if there were better ways of

putting your story together.




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The start is very much trial-and-error, but once you are heading in a direction you

will go further and further.

5. THE ROUGH CUT

In the beginning you are only looking for story. Discipline yourself not to try and getthe timing right, or the length of cuts. Just drop ideas on the timeline.

First find the story and develop that. Get feedback on this before you continue to

focus on each shot and the music and the style of your edit.

Because, if the essence of your storyline changes, then each precious second and

minute spent on getting the timing right, or getting it on the beat of the music, is

lost.

This way one will save A LOT OF TIME.

6. WHAT IS THE LENGTH OF THIS FILM?

For Missions Videos: Maximum 3 minutes.

Remember, if you wish to make a ‘Remembrance DVD’ for your fellow missionaries,

then that is something else. In such a video you will show a lot more scenes of your

friends having fun and basic shots that won’t be of value to the viewer in church.

7. LENGTH OF A CUT

It is said that the average length of a shot, angle, or cut, on an MTV music video, is

0.7 seconds.

This may seem outrageous, but it is true.

Our society is very well educated with regards to film and video. We perceive very

quickly what a certain scene or shot wants to communicate to us.

E.g. When we show a man walking over the street, we barely need a second to

communicate that information. Or a hand stealing an apple. Or a women in despair.

Or a person rejoicing. A split second is all that is needed. If it lingers too long… it

can easily loose it’s impact. Not always of course, but generally speaking.

After you have completed your Rough Cut, even a few Rough Cuts, and you havechosen one that you are happy with, try using the following technique to ensure your

shots are the right length and that they communicate exactly what they should in

the least possible amount of time.

a) REALTIME EDITING TECHNIQUE:

When making a cut between one shot and another, try the following technique:

On the timeline, play the clip in real time. Keep your finger ready on the

spacebar…look at it closely… feel it… Then, ass soon as you feel that you’ve ‘got-

it’, hit space bar. I.e. as soon as you feel that you ‘get’ what that shot wanted to

communicate, then cut it. That means, that subconsciously, at that point in time,

you understand and grasp emotionally what that shot wanted to communicate. Cut itright there, throw the rest away and do the same with the following shot.




If your shots linger too long, then your audience slow gets tired and uninterested

throughout the duration of your film. Keep them focused and engaged. Give them

just enough to follow.

This will also help you to shorten the video significantly and not to tire youraudience. The viewer will keep focus, because his mind won’t wander off to

something else, because you are showing him only what he needs.

Then look at the video as a whole, and throw away everything that communicates

redundantly. Communicate what you want to say with as few as possible shots.

Remember, your video will communicate best, if there is nothing left that you can

cut away. Ruthlessly cut away.

8. MUSIC

If you can use music from the country that you visited do that. But more importantly,

consider your story. The story dictates what you want need. Don’t let the music

overwhelm, allow it to subtly accentuate what you want to communicate.

NB: Please steer clear of mainstream worship music. Rather use classical,

instrumental, film soundtrack music.

9. AMBIENT SOUNDS

Don’t strip all the local recorded sounds from the scenes. Just soften them, to be

heard under the music. This brings out the realness of the visuals. Where

appropriate, even soften the music and amplify the ambient sounds.

10. EFFECTSIf any effect draws attention to itself, so that the viewer says, ‘Wow! That was a cool

effect,’ then it means that ‘effect’ failed in its purpose to accentuate the story . If

the viewer sees and focuses on the quality of the effect, it means they are not

focusing on the story and they are distracted. You’ve lost the viewer and you have to

work hard at getting him again emotionally involved in the story, and not the style of

the presentation.

11. FEEDBACK

Get as much feedback as possible from people that are good at editing. Please ask

your Shofar representative who will provide the necessary feedback for your video.

Thank you for studying this document. Happy editing. Shofar Media.

guidelines | missions video editing | apr2010_01

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