Editing
montage theory
fragmentary unrelated details can be linked together to create a unified action
realist editing
lengthy take, pann craning tilt tracking instead of cutting. cut after content curve. preserve real time rather that cutting to continity or flashbacks.
sequence shot
long take with no editing. a shot that continue for an unusualy lengthy time before the transition to the next shot.
the cut
most basic tool of editing
intellectual edit
moves the story forward but keeps us thinking about why the two particular moments are juxtaposed, known as formal edit it draws attention to the cut instead of diverting it.
dw griffith
pioneer of classical style and immensly controversial subject matter
intellectual montage
sequence of edits between two vastly different actions creats a meaning beyond any of those actions shown alone
montage sequence
sequence that show a long process in just a few minutes
kuleshov effect
short film intended to show power of editing viewer assumed that the footage of the actor in each example was different, when in fact it was the same shot with diff object
The shot
the basic building block of editing
the 180 degree rule
the camera must remain on one side of an invisible line that cutes thu the middle of a scene; if the camera were to flip, the screen image will flip; thus, confusing the audience
Rough cut
the editors first pass at assembling the shots into a film, before tightening and polishing occurs.
distortion of time
time can be condensed or expanded
elliptical editing
tries to preserve the fluidity of an even without showing all of it. ommisions are done through transistions like dissolves, cuts, jump cuts.
distortion of space
two distinct filming locations can be made to metaphorically occupy the same cinematic space.
classical editing
unobtrusive, cuts for intensity and emotion
Cut dissolve
used for transitioning from one place to another
fade in.out
used to communicate the passage of time.
formalist editing
when filmakers deliberately choose to manipulate shots so that the transitions between them are not smooth or continuous
jump cut
2 sequential shots of the same subject are taken from camera positions that vary only slightly, often look like mistakes but can be done to emphazize an action or emotion
match on action
A continuity cut that splices two different views of the same action together at the same moment in the movement, making it seem to continue uninterrupted.
parallel editing
A technique of cutting back and forth between action occurring in two different locations, which often creates the illusion that they are happening simultaneously. Also called "cross cutting."
eyeline match cut
- A match cut that joins shot A (often POV shot of a character looking offscreen in one direction) and shot B (the person or object that the character Is seeing).
shot/reverse shot
One of the most prevalent and familiar of all editing patterns, consisting of parallel editing (crosscutting) between shots of different characters, usually in a conversation or confrontation. When used in continuity editing, the shots are typically framed over each character's shoulder to preserve screen direction.
What is Editing?
Process of selecting, arranging, and assembling the essential visual and sound elements to tell a unique version of a story.
continuity editing
The 'Classical Hollywood' style of editing; intended to establish a logical coherence of time and space between shots, suggesting that everything in the scene is physically continuous.
graphic match cut
a non-continuity edit in which a following shot is linked to the immediately previous shot purely by a visual image; an object, action, color etc.
sergei eisenstein
believed that nature was a conflict of opposites and that editing brough this out on film
cutting at the peak of the content curve
cuts at the point we have absorbed all we need to know to move on with the understanding of events.
discontinuity editing
cutting before the peak of the content curve, disorienting effect as it cuts before all info necessary to understand shot is given
