Quiz 3 Flashcards
Transitions
Cut Dissolve Fade Wipe Generated effects
Editing
The process of organizing, selecting, and arranging shots in a particular order.
Our Time
Objective and Subjective Time
Story world’s time
Narrative Time
Objective Time
Measured quantitatively (seconds, minutes, hours) An objective fact (based on a known measuring system)
Subjective Time
Measured qualitatively (long, short, fast, slow) A sense of passage/duration
Narrative Time (diegetic time)
The story world’s own objective and subjective times.
Describes the time span implied by the “story”
Scene
An uninterrupted series of related shots within a specific location
Sequence
An uninterrupted series of related scenes
Ellipsis of time
A form of time manipulation that leaves out portions of a narrative by employing various editing techniques such as cuts, dissolves, fades, etc.
The Illusion of Real-Time
The practice of assembling a sequence of successive shots in such an order that both objective time (ours) within diegesis appear to be in sync
Continuity
A continuous sense of events as we move from shot to shot.
Different kinds of continuity
Time Space Motion Sound Content
Continuity Editing
A style of editing concerned with a continuous sense of events as we move from shot to shot
Ellipsis is not…
Opposed to continuity! But Ellipsis IS opposed to the illusion of real-time.
Ellipsis can take place without necessarily a break in continuity occurring (true or false)
True
Dissolve
Sense of time passing
Establishing and Re-Establishing Shots
Extreme wide shot
Match on action
Invisible cut
Shot/Reverse Shot
Ex: Jeffery to Father back to Jefferys Reaction
Shot/Reverse shot also includes
Eye-line match
Graphic Match
Scissors probably cut Ear and then shot change to scissors cutting Do Not Cross sign.
Shooting for continuity
Need actual material
Coverage (same scene from different angles)
Master shot
Wider distance, get action all the way in one take, pick specific shots later
Insert Shot
Takes place within Master Shot
Cutaway Shot
Doesn’t take place within Master Shot
30 degree rule
Don’t do a shot change that is less than 30 degrees
Don’t have to move 30 degrees if you change distance
Way to overcome 30 degree rule
Axial Cut
Axial Cut
Cutting to different distances along the z-axis, but use sparingly for dramatic/intensifying effect.
180 degree rule
Crossing the 180 degree line can cause confusing breaks in spatial continuity
Reason to ignore the 180 degree rule
You can cross the line in a shot change if the shot re-establishes spatial relationships
Also for conceptual/narrative purposes
Beware of cutting
To open frames that don’t obey the 180 degree rule
