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docs/slides/00-title.md

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+<!-- .slide: style=" text-align: center !important;"  -->
+
+<br/>
+
+<h2 class="title">
+    <span class="title-accent">//</span> 
+    Video Editing Basics
+</h2>
+<br/>
+
+**Joao Figueiredo**
+
+LCD Porto
+
+<BR />
+
+<div class="title-version">
+June 2025, LCD Porto
+<!--VERSION-->
+</div>

docs/slides/01-me-me-me.md

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+<!-- .slide: style=" text-align: center !important;"  -->
+
+## Me, me, me!
+
+# Joao figueiredo
+
+Father of three, cat porter, dog walker, ops tech manager and infinitely curious, mainly for programming, web technologies and electronics.
+
+### coordinator @ LCD Porto
+
+Operational Technology Manager @ Mota-Engil

docs/slides/02-lcd.md

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+<!-- .slide: style=" text-align: center !important;"  -->
+
+# LCD Porto
+
+LCD Porto is a community of makers, hackers, and tinkerers in Porto, Portugal. We focus on sharing knowledge and skills in various fields, including electronics, programming, and web technologies.
+
+It's a space where creativity meets technology, fostering innovation and collaboration among its members.
+
+* * *
+
+A project of Audiência Zero, a non-profit association dedicated to promoting education, knowledge sharing, , community engagement, social innovation, and civic participation.

docs/slides/10-outline.md

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+# Outline
+
+Theory: 5 Key Rules
+
+1. Continuity Editing
+1. 180‑Degree Rule
+1. J‑ & L‑Cuts
+1. Pacing & Rhythm
+1. Clean Audio
+
+Note:
+- Briefly introduce the 5 key rules of video editing.
+- Explain that these rules will be covered in detail in the following slides.
+- Ask participants why they opted to attend this workshop 
+- Ask what kind of video editing they are interested in

docs/slides/15-software.md

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+## But first....
+
+# Required Software
+This workshop will use the following software:
+- **Kdenlive**: Video editor that is user-friendly and powerful.
+- **Audacity**: Audio editor for cleaning up and enhancing audio tracks.
+
+<br/><br/>
+Open source software rules!

docs/slides/20-continuity.md

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+
+# Continuity Editing
+
+> Make each cut feel like uninterrupted time & space. The audience should forget the camera exists.
+
+Note:
+Reinforce that continuity is about psychological comfort; when it's invisible the viewer stays focused on story, not technique.
+
+--
+
+Continuity Editing
+#### 1. Match on Action
+
+A cut during continuous physical movement (e.g., a door opening) hides the edit.
+
+* Cut at peak motion so momentum sells the splice.
+* Action should overlap a few frames across both shots for seamless flow.
+
+Note:
+Demonstrate with a two‑camera sample: actor sits, use a clap for sync and cut mid‑sit.
+
+--
+
+Continuity Editing
+#### 2. Eyeline Match
+
+Maintain where a subject looks so the viewer can orient spatial relationships.
+
+* Shot A: interviewer asks, eyes \~10° left of lens.
+* Shot B: guest answers, eyes \~10° right of lens.
+
+Note:
+Ask the class what happens if we flip shot B horizontally; show the resulting confusion.
+
+--
+
+Continuity Editing
+#### 3. Screen Direction
+
+Keep left‑to‑right (↔) travel consistent unless you show an explicit reversal.
+
+* Insert a neutral axis shot before reversing direction.
+* Works in tandem with the 180‑degree rule to anchor geography.
+
+Note:
+Draw arrows on the whiteboard; relate to driving footage where the car suddenly appears to go backwards if screen direction flips.
+
+--
+
+Continuity Editing
+#### Continuity Checklist
+
+| Area             | Watch For                         |
+|---               |--- |
+| Action           | Movement overlap, no jump stutter |
+| Eyeline          | Correct sight‑lines across axis   |
+| Direction        | Consistent L↔R travel             |
+| Props & Wardrobe | No sudden changes                 |
+| Lighting         | No time‑of‑day jumps              |
+
+Note:
+Encourage participants to toggle clip visibility in Kdenlive and watch each cut back‑to‑back before exporting the final cut.

docs/slides/30-180-degree.md

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+### 180‑Degree Rule
+
+> The camera must stay on one side of an imaginary line (the **axis of action**) so that left and right remain consistent for the viewer.
+
+> This is not The Matrix, you are not one of the Wachowskis.
+
+Note:
+Introduce the idea of spatial grammar; viewers build a mental map within seconds. Violating it breaks immersion.
+
+
+--
+180‑Degree Rule
+<img src="images/30-180-degree/180-degree-rule.png" alt="Illustration of the action axis with safe camera positions" />
+
+--
+
+180‑Degree Rule
+#### The Axis of Action
+
+* Subject A always screen‑left, Subject B screen‑right.
+* Any camera placed within the 180° arc keeps this orientation.
+
+Note:
+Point to coloured semicircle on slide—explain that this is the camera's “safe zone.”
+
+--
+
+#### What Happens If You Cross?
+
+* Subjects swap screen sides → confusion.
+* Eyelines no longer match → broken eye contact.
+* Movement direction reverses (car appears to turn around).
+
+Note:
+Play a 5‑second clip of a conversation where one shot accidentally crosses; ask the room what feels “wrong.”
+
+--
+
+#### Three Ways to Cross Cleanly
+
+1. **Neutral (on‑line) shot** – cut to a shot that sits directly on the axis, then to the new side.
+2. **Visible camera move** – dolly/pan across the line within a single shot.
+3. **Subject movement** – have the actor walk across the axis; cut once they’ve settled on the other side.
+
+Note:
+Emphasise that each method gives the audience a visual “ticket” allowing the flip.
+
+--
+
+#### Breaking the Rule — Deliberately
+
+> Rules are guidelines; break them with intent.
+
+* Fight chaos, dream logic, psychological disorientation.
+* Use colour or lighting cues to anchor geography even when L/R flips.
+
+Note:
+Show quick montage from "The Bourne Ultimatum" to illustrate purposeful disorientation.

docs/slides/40-jl-cuts.md

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+
+### J & L Cuts – The Invisible Glue
+
+| Name      | What viewer hears first      | Emotional effect         |
+| --------- | ---------------------------- | ------------------------ |
+| **J‑Cut** | Audio from **next** scene    | Curiosity / anticipation |
+| **L‑Cut** | Audio from **current** scene | Continuity / warmth      |
+
+Note:
+Use this title slide to remind participants that picture need not dictate structure—audio is often the real storyteller.
+
+--
+
+#### 1. Anatomy of a J‑Cut
+
+```
+Picture  AAAAA|BBBBB
+Audio    BBBBB
+Timeline «———  J ——»
+```
+
+* The viewer *hears* Scene B before *seeing* it.
+* Creates a soft entry; ideal when dialog leads audiences into a new space.
+
+Note:
+Walk the room through the ASCII timeline: top row picture, bottom row audio. Point out the “hook” that pulls us forward.
+
+--
+
+#### 2. Anatomy of an L‑Cut
+
+```
+Picture  AAAAA|BBBBB
+Audio    AAAAA
+Timeline «———  L ——»
+```
+
+* Scene A’s sound lingers under Scene B visuals.
+* Masks jump‑cuts, preserves emotional resonance.
+
+Note:
+Contrast with a hard cut: play a harsh dialog‑to‑B‑roll cut, then the same with an L‑cut to prove smoothness.
+
+--
+
+#### 3. When to Use J/L Cuts
+
+* **Interviews** – hide camera angle switches, smooth answers over B‑roll.
+* **Narrative** – carry a scream or laugh across a reaction shot.
+* **Documentary** – lead viewers with ambient sound into the next location.
+* **Music videos** – sync lyrical phrases over new imagery.
+
+Note:
+Encourage students to listen for J/L cuts in nightly news pieces—they’re everywhere once you notice.
+
+--
+
+#### 4. Common Pitfalls
+
+| Issue                   | Fix                                |
+| ----------------------- | ---------------------------------- |
+| Echo / double room‑tone | Cross‑fade or room‑tone bed        |
+| Spoken word clash       | Roll‑back offset; respect pauses   |
+| Music key change clash  | Insert a whoosh SFX or buffer clip |
+
+Note:
+Mention Audacity workflow: you can extend a room‑tone bed to cover the overlap cleanly.

docs/slides/50-pacing.md

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+### Pacing & Rhythm
+
+> Editing is choreography: every cut should land on a beat, whether visual or aural.
+
+Note:
+Open by clapping a simple 4‑beat rhythm and asking participants to nod when they *feel* the right moment for the next cut.
+
+--
+
+Pacing & Rhythm
+#### 1. Shot Length & Emotion
+
+| Shot Duration  | Typical Feel                     |
+| -------------- | -------------------------------- |
+| 1–3 s rapid    | Urgency, tension, excitement     |
+| 4–7 s moderate | Conversational, neutral          |
+| 8+ s long      | Contemplative, dramatic, awkward |
+
+Note:
+Show a compilation: music video (fast), dialogue scene (medium), Tarkovsky clip (long). Ask how mood shifts with duration.
+
+--
+
+Pacing & Rhythm
+#### 2. Cut on Action Peaks
+
+* Slice during *movement apex* (hand lands on table, door slams shut).
+* The motion masks the splice—viewer’s eye follows flow, not the edit.
+
+--
+
+Pacing & Rhythm
+#### 3. Cut on Dialog Beats
+
+* Trim silences that don’t serve story.
+* Let reaction shots *finish* a spoken sentence; avoid stepping on final syllables.
+
+--
+
+Pacing & Rhythm
+#### 4. Rhythm Devices
+
+| Device              | Purpose                                |
+| ------------------- | -------------------------------------- |
+| **L‑cut music bed** | Glide pace across scenes               |
+| **Speed ramp**      | Heighten flourish (sports, DIY)        |
+| **Montage**         | Compress time and build energy         |
+| **Hold frame**      | Let emotion breathe, signal importance |
+
+Note:
+Mention Kdenlive’s Time Remap effect: right‑click clip → Add Speed Change → keyframe velocity for ramps.

docs/slides/60-audio.md

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+Audio
+### Clean Audio = Believable Video
+
+> Viewers forgive shaky images far sooner than noisy sound.
+
+Note:
+Start by playing two identical clips—one with background hiss, one cleaned—and ask which looks “more professional.”
+
+--
+
+Audio
+#### 1. Capture at the Source
+
+* Use the best mic available; position 15–30 cm from mouth.
+* Monitor with headphones; peaks should stay below –6 dB.
+* Record at least 10 s **room‑tone** in every location.
+
+Note:
+Emphasise that good capture saves hours in post; show how red‑lined peaks distort irreversibly.
+
+--
+
+Audio
+#### 2. Room‑Tone & Noise Control (Audacity)
+
+1. Import clip.
+2. Select clean room‑tone → **Effect ▸ Noise Reduction ▸ Get Profile**.
+3. Select entire track → repeat Noise Reduction (6–12 dB reduction, Sensitivity 6, Frequency Smoothing 3).
+4. Apply **High‑Pass Filter 80 Hz** to remove rumble.
+
+Note:
+Warn that over‑reduction causes “swirly” artefacts—dial Sensitivity down if it sounds robotic.
+
+--
+
+Audio
+#### 3. Equalize & Compress
+
+* Roll off <80 Hz; dip 4 kHz to tame harshness.
+* Compressor: Threshold ‑6 dB, Ratio 3:1, Attack 10 ms, Release 150 ms.
+* Limit peaks to ‑1 dB; aim for dialogue ≈‑12 LUFS.
+
+Note:
+Show LUFS meter in Kdenlive (View ▸ Audio Meter) and explain web loudness target (‑14 LUFS) versus broadcast (‑23 LUFS).
+
+--
+
+Audio
+#### 4. Sync & Layering
+
+* Align tracks via the **hand‑clap spike** in waveforms.
+* Keep voice‑off on dedicated top audio track; ambience/FX below.
+* Add 3‑frame fades at every cut to kill pops.
+
+Note:
+Demo Kdenlive’s *Align Audio to Reference* for quick waveform sync—the same tool used in multicam earlier.
+
+--
+
+Audio
+#### 5. Export Best Quality
+
+* Export **WAV 48 kHz 24‑bit** from Audacity.
+* In Kdenlive Render: AAC 48 kHz, 192 kb/s (YouTube preset is fine).
+* Watch meters during render; ensure no clipping.
+
+Note:
+Clarify that archive masters stay lossless; delivery formats can be lossy.
+
+

docs/slides/99-outro.md

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+<!-- .slide: style=" text-align: center !important;"  -->
+
+# Obrigado!
+
+## Joao Figueiredo
+
+### Coordinator @ LCD Porto
+
+joaofigueiredo@lcdporto.org
+
+
+Thanks to: **ChatGPT o3**