Rhythm in Editing Masterclass
Duration : 1 session / 8 hours per session
Maximum class size: 6 to 8 people
05 Aug 2016
(MDA Submissions by 14 July 2016 )
Cost: S$ 350 per person before GST.
This course is supported for 90% subsidy under the MDA Talent Assistance Scheme through Six Degrees Asia . In addition media freelancers can apply for a S$ 7.50 per hour training allowance.
Availability and amount of subsidies and grants are subjec to MDA and Six Degrees.More information about application procedures and terms here.
Location : AV8 Media /Any facility with projection facilities and edit workstations
Target Audience: Video Editors,Directors and anyone with an interest in visual
storytelling and the moving picture.
As there will be hands on exercises involving editing a short video,an ability to
use editing software like Final Cut Pro 7/Final Cut Pro X,iMovie or Adobe Premiere Pro would be needed. Editing workstations will be provided,or attendees can choose to bring their own laptops for editing
In recent years ,the cost of equipment and software for video editing has
decreased dramatically,with powerful video tools now available to practically
While the tools have become cheaper and easier to use,the skill involved in
editing remains something that must be learned through experience. Having an understanding of the aesthetics of editing is what truly makes a good editor.
In this master class, experienced editor and instructor Gek Li San discusses one of the most important parts of editing - RHYTHM.
The rhythms created by the picture editor are the movements and transitions
between frames, which best tell the story or shift emotional energy between
actors, and make emotional and rhythmic connections with the audience.
Faced with hundreds of hours of raw footage, a film editor must craft the pieces into a coherent whole. Rhythm is a fundamental tool of the film editor: when a filmmaker adjusts the length of shots in relation to one another, he or she affects the entire pace, structure, and mood of the film.|
Film editors often just say the whole process is intuitive and they cut when it
'feels right'. But what is it in the edit rhythm that creates a certain mood, or
emotional energy? How does a film connect with its audience? What is it that
holds our attention and triggers our response to the images and sounds moving before us ?
In this master class ,Li San tackles these questions ,using popular film scenesas visual tools to explain various editing conventions and stylistic choices
Among the topics Li San will discuss during the class are
• Rhythmic Intuition
• Timing and pacing
• Tension,Release and Synchronisation
• Physical Rhythm
• Emotional Rhythm
• Event Rhythm
Using examples of films from the 1930s to the 2000s,Li San will dissect the
rhythm of the edits in each film to give attendees a new perspective of the
power of editing rhythm,and it's affect on the overall feel of the film .
She will also use film theories from two renowed film editing theorists ,Karen
Pearlman and Maya Deren to analyse the films.
Participants will also have a hands on session where they can apply some of
the concepts learned.
The idea is to challenge them with a new way of thinking about story telling
and their newly acquired rhythm theory.
There will then be a review and discussion of the various interpretations of their edited footage.
Li San will also lead discussions with the audience and take questions about
editing decisions ,her own experiences in editing for a range of productions and her own editing philosophy
Participants will leave the class having learnt not just about the art of editing
but also with an increased knowledge of film history.
For existing video editors it is also an opportunity to rethink and reflect on their
existing editing style and philosophy. They will also be better prepared to
handle a wider range of projects. For new video editors it gives them a good gorunding on the philosphy of the edit and will help them to make stronger editing decisions.
About the Instructor
Gek Li San has been actively involved in the Singapore’s TV and film scene
since 1993. Her work ranges from TV documentaries, reality shows, infotainment to trailers for both local and international channels. She has also edited many short and feature films for Singapore filmmakers.
These include Two short films directed by Tan Pin Pin
REMEMBER | A dance featuring a cast of words inspired by a thesaurus
YANGTZE SCRIBBLER | A set of graffiti is found at Yangtze Cinema
Her Feature Length Work includes
Remember Chek Jawa
A feature documentary film directed by Eric Lim
A feature film directed by Wee Li Lin
INNOCENT, (a short documentary) directed and edited by her won the Special
Jury Prize and Special Achievement Prize at Singapore International Film
Festival 2004. It was also screened at the Yamagata Documentary Festival,
along with many other internationally acclaimed documentaries.
Li San has also been invited to be film mentor and judge for different
filmmaking events in Singapore over the past few years.
In 2011, Li San delved into a new area of art creation. of art-making. She was
given funding from NAC's Art Creation Fund for a dance film installation with
two other collaborators of different disciplines. Li San was also commissioned
to create a dance film for Singapore Arts Festival 2012.
Her website ,http://singaporeditor.wordpress.com and Facebook Group
Sgeditors contain many useful resources for filmmakers and editors
Her trailer for the SFC Location Singapore campaign can be seen here.