Last updated 10 months ago
Videos for the Monthly Video Contest - CONCEPT MOVIE TRAILER are now on YouTube. The video with the most "likes" and faculty points wins $200!
Start SHARING via social networks your favorite videos and ask them to "like" your favorites - the more success from this contest the larger the cash prize will get!!! The contest begins NOW!
The amount of "likes" will be counted up until Monday January 21st at 5:00pm. However many "likes" your video has at 5:00pm on Jan 21st - that is how many additional points the submission will get in addition to the faculty awarded points. Good luck!
Click here to see the list of videos.
Each month students at Video Symphony compete in a monthly video contest with a cash prize. Winners are determined by YOU, the YouTube viewer as well as Faculty of Video Symphony. Each "like" a video receives earns the video 1-point. In addition, faculty judges may award up to a total of 150 points per video. The video with the most points (Faculty Points + "likes" on YouTube = Total Points) wins a cash prize and has their video will also be featured at the live streaming monthly Video Symphony Pizza & Post Web Show featuring special entertainment industry guests and celebrities.
Last updated 11 months ago
A career in the entertainment industry is fully within your reach. If you have ever wished you could be a part of the high-tech, exciting world of TV and film editing, you can make it happen by enrolling in a certificate program at Video Symphony. You will learn how to edit short films, commercials, and music videos using a wide range of industry-standard software, including Avid, Final Cut Pro, and Adobe Premiere. You don’t need to wonder any longer how to break into the entertainment industry—this is how you do it. Keep reading to learn more about the different editing platforms you will master at Video Symphony.
Avid Avid Media Composer is an industry leader for television and film editing professionals. Its non-linear platform allows you to easily jump between sections of your project so you can edit on the fly. You can work with any type of media, whether digital, analog, or file-based media. Avid allows you to interface seamlessly with whatever operating system you prefer. For incredible visual effects, stunning titles, and studio-quality soundtracks, Avid has everything you need.
Final Cut Pro Final Cut Pro is Apple’s answer to Avid’s Media Composer. It features Magnetic Timeline, which lets you assemble shots easily by automatically eliminating any black gaps you may have missed between shots. Multi-camera projects are no problem with the Multicam Clip feature, syncing up to 64 different angles at once. This powerful program is an essential part of your education at film editing school.
Adobe Premiere Adobe Premiere is another professional quality film editing software program that you will master during your time at Video Symphony. Premiere features an intuitive and streamlined interface to make your work that much quicker and easier. Adobe listened to its users and has come out with more than 50 new features to make this program more enjoyable and fluid to use.
Video Symphony will help you master these editing platforms and the other skills you need to succeed in a career in post-production. Contact us at (818) 557-7200 to find out more about our TV and Film Editing certificate program. Your new career is waiting for you!
Last updated 11 months ago
Renowned sound editor and Video Symphony instructor Vickie Sampson says she was born in a trim bin. “And If anyone knows what that is, it will tell how old you are,” she quips.
For 10 years, her VS students have enjoyed the benefit of learning from a sound professional whose body of work consists of 159 titles, including such iconic films as “On Golden Pond,” “Ordinary People” and “Star Wars: Return of the Jedi.”
Sampson, in turn, learned her craft from her mother, the esteemed Kay Rose.
Rose was the first woman ever to win an Oscar for sound editing, garnering it in 1984 for “The River,” directed by Mark Rydell. In 2002, Rose was honored by filmmakers George Lucas and Steven Spielberg at the USC School of Cinema-Television with the Kay Rose Endowed Chair in the Art of Music Editing.
“She was a consummate storyteller using sound,” Sampson says.
“The River,” which starred Mel Gibson and Sissy Spacek, was just one of the movies that served as a training ground for Sampson, who worked on films with her mom for 20 years.
Sampson recalled that, for “The River,” she watched her mother intricately create the film’s beginning rain scenes with strategic sound effects and very careful mixing. “She taught me not to just put sound in for sound’s sake but that it has to be organic to the story,” says Sampson, whose sound editing specialties include production dialogue and ADR.
Some of Sampson's memories of editing with Rose include other famous industry figures, such as her mom’s best friend, editor Verna Fields (“Jaws”) and director George Brandt (“Coal Miner’s Daughter”).
“We all worked in the back in Verna’s pool house with the dog lying over our feet as we tried to maneuver the Moviola,” reminisces Sampson about the three of them editing. “We all did everything back then.”
Sampson’s stories are as numerous as her sound editing credits, which include the Kevin James feature “Here Comes the Boom” and “Sex and the City I and II,” “Scream 4,” “Pirates of the Caribbean: Curse of the Black Pearl,” “Old Dogs,” “Wild Hogs,” “Hot Tub Time Machine,” “Speed,” “Donnie Darko,” “The Rose” and “New York, New York.”
It was while working on “Speed,” she looped all the dialogue between the actors in the infamous bus scenes. On “Star Wars: Return of the Jedi,” she looped all the English actors in London.
“People forgive bad images but they never forgive bad sound,” Sampson says. “If you don’t have a good experience hearing the dialogue then you don’t have a good experience watching the movie.”
Consequently, the veteran editor has never taken the director’s production dialogue lightly. She teaches students to protect that production value furiously.
“You can be the most pro tools savvy expert but if you don’t know what to do with the sounds that you’re editing, you’re no good at all,” she says. “It’s about you thinking ‘What is the story about? How can I put the sounds to the story?’ Nobody’s going to a movie to hear the sound effects. We go to learn something about ourselves.”
She says good sound editing involves fighting for real estate on a soundtrack that includes music, sound effects and Foley.
“Finding and choosing the right sound with the right image has to be done with thought and care. All those choices take time,” Sampson explains. “We have to make the audience feel what we want them to feel at any given frame of the sound.”
And she says it has to be learned by doing. “You can’t just do it academically,” says Sampson. “You have to be in the trenches and every film has its own set of problems to solve.”
While the trim bin that Sampson recalls from her youth may have gone out of favor with sound editors long ago, Sampson wouldn’t trade her days learning to sound edit the old-fashioned way or the huge role that sound editing has played in her life for anything. And yet she says she still has many goals in the world of storytelling to achieve.
Also a respected a writer and director, she recently directed a national PSA for Women In Film for the Down Syndrome Research and Treatment Foundation, and hopes to direct more.
“I’m still trying to make my mark,” quips the veteran editor.
See Victoria's IMDB Profile here.
About Last Night (2014) (post-production) [dialogue editor]
Odd Brodsky (2013) (post-production) [supervising sound editor]
Cut! (????) (post-production) [supervising sound editor]
Don't Change the Subject (2012) (completed) [sound editor]
Greed (2012/II) (completed) [supervising ADR & dialogue editor]
Rich Girl Problems (2012) (completed) [dialogue editor]
Single and Ready to Mingle (2012) (completed) [sound editor]
SUX2BME (2012) (completed) [supervising ADR editor]
Here Comes the Boom (2012) [dialogue editor]
A Final Gift (2012) [dialogue editor] [supervising sound editor]
41 (2012/II) [supervising sound editor]
Game Change (2012) (TV) [dialogue editor]
"Deadtime Stories: Grave Secrets (#1.1)" (2012) TV Episode [dialogue editor]
Immortals (2011) [dialogue editor] ?... aka "Immortals 3D" - USA (3-D version)
The Girls in the Band (2011) [supervising sound editor]
Scream 4 (2011) [supervising ADR editor] ?... aka "Scre4m" - USA (promotional title) ?... aka "Scream 4: Next Generation" - Japan (English title) (imdb display title)
Love Songs of a Third Grade Teacher (2011) [supervising sound editor]
The Lift (2011/II) [supervising sound editor]
The Fighter (2010) [ADR editor] (as Victoria Sampson) [dialogue editor] (as Victoria Sampson)
My Soul to Take (2010) [supervising ADR editor] ?... aka "My Soul to Take 3D" - USA (3-D version) ?... aka "Wes Craven's The Ripper" - Japan (English title) (DVD title)
Step Up 3D (2010) [ADR editor] ?... aka "Step Up 3" - Australia (DVD title), International (English title) (DVD title), USA (working title)
Sex and the City 2 (2010) [supervising dialogue editor]
Hot Tub Time Machine (2010) [dialogue supervisor] (as Victoria Sampson)
Unschooled: Save Our Future (2010) [sound editor]
Whiskey Neat (2009) [supervising sound editor]