research different edits

This is the research that found by Melissa about the different edits:
THE DIFFERENT TYPES OF EDITING
Terms in editing can be confusing to a new author, especially because the terms are often used interchangeably and may have different meanings within the industry. However, here are the most widely accepted terms and their meanings. When hiring an editor, always speak to him or her about exactly what the editing includes.

COPYEDITING
Copyediting, commonly called line editing, is a light form of editing that applies a professional polish to a book. The editor reviews your work, fixing any mechanical errors in spelling, grammar, and punctuation. Copyediting is the least-expensive version of editing.
Some professionals divide copyediting and line editing into two separate edits, copyediting being the lighter, grammar-only edit, and line editing being a more intense look at each sentence’s meaning. Always clarify with your editor what is included in his or her copyedit to be sure.

LINE EDITING
Line editing is often used interchangeably with the term copyediting. However, when it is distinguished from copyediting, it refers to a unique edit that falls between copyediting and developmental editing in intensity. In line editing, the editor looks at your book line by line and analyses each sentence. The editor considers word choice and the power and meaning of a sentence. The editor considers syntax and whether a sentence needs to be trimmed or tightened. Line editing helps to makes your prose sing.

MECHANICAL EDITING
Mechanical editing refers to the application of a particular style, such as The Chicago Manual of Style or Associated Press (AP) Style. The editor looks at punctuation, capitalization, spelling, abbreviations, and any other style rules. Mechanical editing is sometimes included in copyediting.

SUBSTANTIVE EDITING
Substantive editing considers a work’s organization and presentation. It involves tightening and clarifying at a chapter, scene, paragraph, and sentence level. Unlike developmental editing, which covers the big-picture issues and deep-level restructuring, substantive editing deals with the actual prose. Substantive editing is sometimes referred to as line editing and can also be confused with developmental editing. Always check with your editor and put in writing what his or her services cover, regardless of the term used.

DEVELOPMENTAL EDITING
The developmental editor looks deeply at the organization and strength of a book. Think big picture. The editor considers everything from pacing to characters, point of view, tense, plot, subplots, and dialogue. Weak links are exposed and questioned. The editor scrutinizes order, flow, and consistency. He asks questions such as: Is this the right number of chapters? Are the chapters and paragraphs in the right order? Are there any places in the book where the pacing lags? Is there a hole in the information or story presented? Are the characters likable? Developmental editing considers all the aspects of a manuscript that make the book readable and enjoyable. Because of the extensive nature of this form of editing, it is more time intensive and costly. However, it is worth the investment if you are serious about succeeding as an author.

The information from: https://www.archwaypublishing.com/Resources/Editing-and-Design/The-Different-Types-of-Editing.aspx

Different Types of Edits

Types of Edits

Manuscript Critique —> Comprehensive Edit (Line Edit) —> Copyedit —> Proofread

Manuscript Critique
The manuscript critique is a general assessment of your manuscript. It’s a bird’s-eye view of your entire story. Your editor looks at your manuscript as a whole and provides actionable advice on how to improve your story—in the form of an editorial memo.

Here’s what you may find within an editorial memo:An examination of your narrative voice and ways to enhance it

• Specific advice on how to improve the plot to keep your readers engaged
• Feedback on where you’re missing opportunities to develop your characters

Comprehensive Edit/Line Edit

While a manuscript critique is an entry-level type of edit that can help clarify your story, a comprehensive edit (which includes a line edit) is the most in-depth edit offered.

It addresses structural issues, similar to a critique, but here the editor is also doing a line edit.

A line edit addresses your writing style and language use at the sentence and paragraph level. The purpose of a line edit is not to comb your manuscript for errors—rather, a line edit focuses on the way you use language to communicate your story to the reader. Is your language clear, fluid, and pleasurable to read? Does it convey a sense of atmosphere, emotion, and tone? Do the words you’ve chosen convey a precise meaning, or are you using broad generalizations and clichés?

A line edit may get you to say, “With a few strokes of the pen on each line, [my editor] made it one million percent better. I couldn’t believe that such tight, measured prose was lurking inside my overwrought sentences, and frankly I had no idea how in the hell she did it.”

Copyedit 

Many authors misunderstand the difference between a line edit and a copyedit. There are similarities between the two: both pay detailed attention to your use of language and involve a mark-up on the pages of your manuscript. But make no mistake, these are two completely different processes, handled by professionals with different skill sets, and should occur at very different times during the editing process.

The goal of a copyedit is to address flaws on a technical level—to make sure the writing that appears on the page is in accordance with industry standards.

A copyedit:

• Corrects spelling, grammar, punctuation, and syntax
• Ensures consistency in spelling, hyphenation, numerals, fonts, and capitalization
• Tracks macro concerns like internal consistency.

There will be some overlap between the work of a line editor and a copyeditor. Most line editors will point out technical errors or logical inconsistencies when they jump out, because they’re trying to make your writing better, and editors tend to be perfectionists.

So, to make a sweeping and totally reductive generalization, the job of an editor is to help you tell a better story, and the job of a copyeditor is to make sure the grammar on every page is correct. 

Proofread

In publishing, proofreading happens after the manuscript has been typeset. A final copy of the manuscript, or proof, is then examined by a professional proofreader.

The proofreader corrects awkward word or page breaks and may do some light copyediting.

Professional proofreading is required by traditional publishers as a quality assurance measure. Many self-publishing authors who have had their manuscript professionally copyedited tend to skip the proofread. If you’re on a budget, you might try to proofread your own work, since there won’t be as many errors to contend with at that stage.

In sum, working with a professional editor is both a challenge and a joy. It forces you to face the ho-hum aspects of your manuscript and turn them into a hell-yeah! But, most of all, the work you do with an editor will help you become a better writer in the long run. You’ll hone your skills and will carry those lessons with you to future books.  

Information from: http://www.ingramspark.com/blog/different-types-of-edits

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Watch and review noir film - Sin City

Today, I watched the first series of Sin City. And I would like to write a review for this.

Sin City, also known as Frank Miller's Sin City, is a 2005 American neo-noir crime film. It is written by Frank Miller, produced and directed by Robert Rodriguez. It is based on Miller's graphic novel of the same name. It is really famous because there are many very famous actors and actress joined in.

This film is based on the first, third, and fourth books in Miller's original comic series. The Hard Goodbye is about a man who embarks on a brutal rampage in search of his one - time sweetheart's killer, killing anyone, even the police, that gets in his way of finding and killing her murderer. The Big Fat Kill focuses on an everyman getting caught in a street war between a group of prostitutes and a group of mercenaries, the police and the mob. That Yellow Bastard follows an aging police officer who protects a young woman from a grotesquely disfigured serial killer. The intro and outro of the film are based on the short story "The Customer is Always Right" which is collected in Booze, Broads & Bullets, the sixth book in the comic series.

The first thing about this film that really impresses me is the opening. Here is the opening:

First, it uses the establishing shot to show the city, it is dark, the colour is mainly black and white. When it arranges for the title - Sin City, it adds colour: red, which means danger, anger and blood. And the colour appears just like the blood that dyes the title. This shows that the city is dangerous and always have crime. I like this opening is because of the characters: it uses the characters look in comics and then adding the actors or actress name that who act this character. These comic looks give the narrative of each character in the film. Also, one another interesting thing is that the characters are in black and white, but the actors or actress name are in red. All the names are in the same size and colour, but when it changes to the names of directors, at the start it changes, not only the font but also the colour (the colour of the writer Frank Millers is in white). But as soon as the next person, the colour and the font style of the name change back to the same as the actors and actress.

Another thing that really makes me feel interesting is the colour. In this film, the main colour of it is similar to the film that in classic film noir era (the 1940s to 1950s) - black and white. But it highlights some specific objects by adding the colour.

For example, in part 1 That Yellow Bastard, the skin colour of the character Roark Junior is yellow.

Here, the yellow skin colour of Roark Junior is really conspicuous

This makes him really specific when the others are all in black and white. Also, it tells us that this guy is the Yellow Bastard. In addition, yellow means greedy, sexy, and bad things, this tells us that he is the villain in this narrative. Also, when the police officer John Hartigan killed Junior and walked away with Nacy Callahan, the blood of Junior is not red - it is yellow.This shows that he killed the Yellow Bastard. 

Another example of colour is this woman:

Her red dress is really specific here. And red refers to danger, love, and blood, this may tell us that she might die. The red dress also shows her sexiness, which means she is really attractive. I think she has the femme fatale style.

I think in this film, the use of colour is very unique. Since they rendered most of the film in black and white while retaining or adding colour for selected objects.

Exploration of Camera

Explore camera

HOW ISO, SHUTTER SPEED AND APERTURE WORK TOGETHER

Let's look at this diagram to learn a little more about how 3 of these elements work together to create a picture.

image courtesy of my-photo-school.com 

An example would be of you are creating a more shallow depth of field then you are allowing more light to come into you picture. You will have to either adjust the shutter speed or ISO to compensate for the change in light.

I used my mini SLR camera to find that the results of changing ISO, Aperture and Shutter Speed are the same.They all lead the light brighter or darker.

There are some images that I took when I went to Xing zhong shopping centre with my mom at night.

Also I explored the change of different Shutter Speed when I went to park with my cousin. There are some pictures of my cousin.

It is the picture with high Shutter Speed.

I found lower Shutter Speed would lead less light go through the len. However, high Shutter Speed allow more light to go through the len.

It is with low Shutter Speed.

script of opening

This is the script that was written by me for the opening. Melissa and I still not think about the dialogue yet, but the other things have done. But this may not be the final script, as we may make some change:

FADE IN:

EXT. KILLER STREET – NIGHT

In the East of Los Angeles, there is a historical street which not many people would like to walk on, especially at night. It used to be the killer sites. That’s why it is called “Killer Street”. There is only one street light so that this is quite dark and hardly to see at night.

GEORGE, a killer which had recently become famous, was wearing a big black coat and using a black scarf to cover half of his face, walking on this old and dark street.

 

EXTREME CLOSE UP – GEORGE’S EYES

The light illustrated George’s eyes. Although he seemed to be calm, his eyes still showed that he was going to kill somebody.

 

CUT TO:

(Memory)

EXT. GEORGE’S ORIGINAL HOUSE – DAY

In the west of New York, at the corner of White Street, George’s original house was there.

GODFATHER, used to be a killer, later became George’s foster father. When he was still a killer, he got a mission which was to kill George’s father. He choose the time when George’s mother, AMY, the younger sister of Godfather, was taking George to school.

 

CUT BACK TO:

EXT. KILLER STREET – NIGHT

George was walking on this old, dark street.

 

CUT TO:

(Memory)

INT. GEORGE’S ORIGINAL HOUSE – DAY

When Godfather assassinated George’s father, suddenly, Amy came back to home to fetch the book which George forgot to bring. Godfather killed her accidently, with a shock expression on his face.

 

CUT BACK TO:

EXT. KILLER STREET – NIGHT

George was walking on this old, dark street.

 

CUT TO:

(Memory)

INT. GEORGE’S ORIGINAL HOUSE – DAY

Godfather adopted George after he killed his parents. Also, after this mission, he dropped his job and brought George to a new house.

DISSOLCE TO:

EXT. GODFATHER’S NEW HOUSE – EVENING

This new house is in Los Angeles, it is at the corner of the Milton Street, where very close to the Killer Street.

 

CUT BACK TO:

EXT. KILLER STREET – NIGHT

George was walking on this old, dark street.

 

CUT TO:

(Memory)

INT. AN ABANDON WAREHOUSE – DAY

On the left hand side of the Killer Street, there was an abandon warehouse.

George started secretly to learn how to kill people with Godfather’s old fellow, JOHN.

 

DISSOLVE TO:

INT. GODFATHER’S NEW HOUSE – NIGHT

When George was 14, one of Godfather’s enemies broke into the house and wanted to kidnapped him. But George shot him down.

 

CUT BACK TO:

EXT. KILLER STREET – NIGHT

George was walking on this old, dark street.

 

CUT TO:

(Memory)

INT. GODFATHER’S NEW HOUSE – BASEMENT – NIGHT

After Godfather knew that George was learning the skill of killing secretly, he started teaching him in the basement of his house.

 

CUT BACK TO:

EXT. GODFATHER’S NEW HOUSE – DOOR – NIGHT

George went out the Killer Street, and he walked towards to the door.

 

CUT TO:

(Memory)

INT. GODFATHER’S NEW HOUSE – BASEMENT – DAY

When George was 20, once training, Godfather told him that now his ability of being a killer is as well as him.

 

CUT BACK TO:

EXT. GODFATHER’S NEW HOUSE – DOOR – NIGHT

George picked up the gun from his big black coat, which has been already prepared for a long time. He loaded his gun and hold it with left hand, his right hand took the door knob and opened it slowly.

 

FADE INTO BLACK

 

Exploration of music in noir

When I have a look on Youtube about the music in noir style film, I find that there are plenty of pieces of Jazz music. That is Jazz noir music. Here is one of the Jazz noir music that I have found on Youtube:

The instruments that have used in this pieces that I can hear are the piano, the saxophone and the drums. I know that saxophone is a really important instrument in Jazz music. Its tone is low and it lasts quite long I think in this pieces. I think this non-diegetic sound is more likely to use when the character was in the bar or chat with the others. 

But, Jazz music is not the main music to the classic era of film noir. It is more likely to use as a source music, which is the stuff that comes off jukeboxes, radios etc. in the scene.

Most of the music in film noir is modernistic orchestral music. But here, I just can find the modern noir songs. So here I give one of the songs:

Plot over view

Today, me and Melissa have talked about our plot of final project - filming an opening. We think we will film about revenge. This idea is from Cynthia, and we think it is great to film in noir style.

The title of the film is ''Knowing that you can't do it''.

·The story is about a man sets out on a journey of revenge that he knows is doomed to die. The whole process of filming is that the man from the start to the destination, interspersed with memories, at the end of the plot, the man took out a gun, calmly pushed to open the door.

·And here I also want to write some about the film:

·The Godfather was a killer when he was young. One of his duties was to kill the man's father(this man is the main character), and he accidentally killed the man's mother by mistake in the execution. And the male owner's mother is godfather's biological sister, and she has not known her brother is a killer. Out of guilt for his younger sister, and because he had broken the rules about not killing women and children, the Godfather adopted the man and dropped his job. (When the Godfather assassinated, he chose his sister to take him to school. He didn't know that his sister had come back to fetch the book which her son had left behind.

·After Godfather has dropped his job, because of his fame and hard work, he gradually became a big shot. In that time, he is raising the man. He wanted the man to lead to a normal life, but the man seemed to be ill-natured at heart. One time the enemy broke into the house to try to kidnap the man when he was only 14 years old. The man shot down the enemy and cleaned up the scene calmly before the godfather came back. The Godfather found that the man had been secretly learning the martial art and the skill of killing with one of his old fellow, so he finally gave up and let the man take over the mantle and become a killer.

·In fact, the man has already known that the Godfather was the murderer of his parents' death. In that day, he also went home by hiding himself in his mother's trunk, since he didn't want to go to school. And he had seen everything. Yet for more than a decade he has said nothing, and perfectly concealed his hatred. At last, at the age of 20, he finally has the same ability as his master, the Godfather. This means that the man is as well as the Godfather. So now, he began to delay his revenge for 11 years.

·He knew this trip would never come back, and if succeeded, he would kill himself after killing the Godfather for returning his foster care. If, after all, the Godfather is still better than him, he will attack the Godfather as killing himself and they will both die.

Research lighting in film

This is the research that written by Melissa:

There are some information from internet :

Soft front light / hot backlight

A popular technique in film lighting is to use a soft (diffuse) light source from the front and a stronger, more directional light from the  back, so that your subject has a hot edge. The soft frontal light is known as the fill light; the light at the back is known, unsurprisingly. As the backlight.

We can also arrange the lights to leave darkness between the area illustrated by the backlight and the area illustrated by fill light, just depending on how moody you want the shot to be. It is very hard to control, although the moodiest films tend to avoid leaving dark shadows on the faces of female talent.

If you want a different look, backlight can also be soft, but it should still be hotter than the fill.

And we should light our film or video shot by shot. I mean that when you relocate the camera to shoot a different angle, the light must be move as well to ensure the subject is always lit correct. I think it is very important, because audiences will feel involved in your film or video when you did light your film or video shot by shot.

Mixing color temperatures

Using different color temperatures can be used to great effect. This simply means using lights of different color in the same shot.

This was used to great effect by James Cameron in the steel mill scene of “Terminator2”, in which he used blue and orange light ( consistent with moonlight and molten steel respectively ).

The only caveat with this is. that you must determine the relationship between the two different color before filming, because it is not really possible, for example, to make the blue bluer without also making the orange bluer ( i.e.less orange )

Examples

1.Putting real film lights outside windows instead of relying on natural light - always worth it

Tips : Filmmaking is all about designing a look from scratch and then executing it on the shoot itself, which means that control is everything in filmmaking.

2. No color in your shots must ever be an accident

3. A beautiful blue can be achieved with HMI lights and a digital camera set to tungsten balance

4. A beautiful “Matrix” - style green can be achieve by shooting with regular florescent lights with the camera set to tungsten balance

5.Soft pools of light on actors’ faces can produce a very interesting look

There are three light sources in the shot: hot light from the back, dim soft light over the whole scene and a brighter soft pool of light in the top half of the singer’s face.

This shows how the most interesting discoveries in filmmaking are made while you’re actually shooting something, but it will only happen if you keep an open mind and are not too stressed.

6.Daylight-balanced light in the background with tungsten—light from the front, with the camera set on tungsten balance

The still below uses exactly the same technique, with a different subject ( a porcelain rose )

7.Backlight vs. no backlight

There two frames are taken from my first film: the first has no backlight and the second was shot with backlight ( a daylight-balanced Kino Flo):

Tips : The effect of backlight is clear: it increases contrast, reduces “muddiness” and enhances perceived sharpness.

Information form : http://www.lavideofilmmaker.com/filmmaking/film-lighting-tips.html