Editing Flashcards
Editing
- governs relationship between shots
- post-production
- affects structure of material rather than content
- shots affected by context
- additive: strung together chain of images
- subtractive: new shot replaces preceeding
Types of Transitions
- straight cut
- fade-out/fade-in
- dissolve
- wipe
- iris-out/iris-in
Straight Cut
- instantaneous change, abrupt
- most popular
Fade in/out
-gradual In: begins black Out: darkens at end -usually combined -can use other colours
Dissolve
- shots seem to fade in together
- for a brief moment, you can see both
Wipe
- usually used for a comedic effect
- boundary lone moves across the frame
Iris in/out
-circular mask widens for in, becomes small for out
Dimensions of Film Editing
- graphic relations
- rhythmic relations
- spatial relations
- temporal relations
graphic match
- emphasize graphic relations
- takes qualities and puts it in the next shot
- main point of interest roughly constant
flashback
-plot moves back to show events that occurred earlier than ones already shown
flash-forward
-plot moves forward to show future events then moves back to the present
elliptical editing
- eliminates some material
- stream-line story
- less tome onscreen than in story
overlapping editing
- drawing out shot/extend duration
- action end of one shot partly repeated at beginning of next
180 degree rule
- shoot only on 1 side of axis: attributes, direction, position of object in space remain same
- if broken, space will be unnavigable, illegible
- on one side, components + indicators of space will be consistent
180 degree line/axis of action
-imaginary line through action
establishing shot
- long shot establishing space
- broken down to significant portions-breakdown move in shots
re-establishing shot
- can come in middle to remind viewers of what space looks like
- reestablishes the space
shot/reverse-shot editing
- dialogue, exchange
- ppl constitute ends of axis
- cut back + forth
- symmetry
eyeline match
- consistent sightlines
- shows us what the characters are looking at after we see the character looking
match on action
- allows cut to be invisible because we are absorbed in the continuous action
- ensure direction of action is consistent
crosscutting (a.k.a. parallel editing)
- cutting betw. 2 shots in diff. spaces, which suggest they are happening simultaneously
- could involve more that 2 lines of action
- unrestricted narration
jump cut
-2 shots of same subject, differ only slightly
graphic relations
- how they work together or against each other
- lines, shape, tone, composition, movement
- same=smooth transition
- different=jarring
- cuts create graphic relationship betw. shots
accelerated editing
- duration becomes shorter + shorter
- suspense
rhythmic relations
- determines tempo
- brief shots=quick, long take=slow, same duration=steady tempo
temporal relations
- interruption on temporal progression
- may control chronology: affect story-plot relations
Kuleshov Effect
- edited together 3 shots to create creative geography
- men walking together in diff. cities
- spectators assume they’re in the same city
- cutting creates performance
- cutting together portions of space that prompts spectator to assume a spatial that isn’t show onscreen
Continuity Editing
- conventions set
- widely accepted+incredibly prevalent
- given all info needed to orient selves
- minimize disruptive potential of cutting
- emphasize coherence over fragmentation
- continuity over interruption
- ensuring the smooth flow of action from one shot to the next
spatial relations
- create worlds that don’t exist, only in our mind
- we assume spaces are contiguous
Creating Continuity
- graphic similarities between shots:keep look consistent
- regular rhythmic relations between shots: ensure shots are long enough
- the creation of coherent and consistent space
- minimal manipulation of temporal order and duration: signal clearly when manipulations occur
techniques employed in continuity editing
- 180 degree rule
- systematic establishment, break-down, and re-establishment of space
- sightlines (eyeline match)
- shot/reverse shot
- match on action
Discontinuity
- forge graphic, rhythmic, spatial, and/or temporal relations between shots that are not characterized by smoothness and thus render cuts visible rather than invisible.
- Yasujiro Ozu, Jean-Luc Godard, Sergei Eisenstein
- avante-garde
- don’t look consistent
- shots too fast
- break 180 degree rule
- temporal discontinuity
montage
-large process-brief portions of process
