Introduction toIntroduction toContinuity EditingContinuity Editing..
Preliminary TaskPreliminary Task..The Task:Continuity task involving filming and editing a characteropening a door, cross...
Filming and EditingFilming and EditingTechniquesTechniques
Shot typesShot types Watch http://www.youtube.com/watch?Watch http://www.youtube.com/watch?v=3VS2iNhz180 to revise shot t...
Continuity EditingContinuity Editing The predominant style of editing inThe predominant style of editing innarrative cine...
The Grammar of EditingThe Grammar of Editing When watching television programmesWhen watching television programmesand fi...
The RulesThe Rules The 180The 180° rule° rule Match-on-actionMatch-on-action Shot/ reverse shotShot/ reverse shot The ...
The 180The 180° Rule° Rule states that two characters (or otherstates that two characters (or otherelements) in the same ...
Match-on-actionMatch-on-action Cutting from one shot to another view thatCutting from one shot to another view thatmatche...
Shot/ reverse shotShot/ reverse shot one character is shown looking (often off-one character is shown looking (often off-...
Eyeline matchEyeline match It is based on the premise that the audience willIt is based on the premise that the audience ...
““That’s the way to do it…”That’s the way to do it…”•• You will find the more thought andYou will find the more thought an...
Discontinuity EditingDiscontinuity Editing Of course, rules are there to be broken!Of course, rules are there to be broke...
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Prelimtask

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Prelimtask

  1. 1. Introduction toIntroduction toContinuity EditingContinuity Editing..
  2. 2. Preliminary TaskPreliminary Task..The Task:Continuity task involving filming and editing a characteropening a door, crossing a room and sitting down in a chairopposite another character, with whom she/he thenexchanges a couple of lines of dialogue. This task shoulddemonstrate match on action, shot/reverse shot and the180-degree rule.
  3. 3. Filming and EditingFilming and EditingTechniquesTechniques
  4. 4. Shot typesShot types Watch http://www.youtube.com/watch?Watch http://www.youtube.com/watch?v=3VS2iNhz180 to revise shot types.v=3VS2iNhz180 to revise shot types.
  5. 5. Continuity EditingContinuity Editing The predominant style of editing inThe predominant style of editing innarrative cinema and television.narrative cinema and television. The purpose of continuity editing is toThe purpose of continuity editing is tosmooth over the inherent discontinuity ofsmooth over the inherent discontinuity ofthe editing process and to establish athe editing process and to establish alogical coherence between shots, focusinglogical coherence between shots, focusingon time (temporal continuity) and spaceon time (temporal continuity) and space(spatial continuity).(spatial continuity).
  6. 6. The Grammar of EditingThe Grammar of Editing When watching television programmesWhen watching television programmesand films, we often take for granted thatand films, we often take for granted thatwe can follow the action without anywe can follow the action without anyconfusion, even though it is extremelyconfusion, even though it is extremelyunlikely that the footage has beenunlikely that the footage has beenrecorded continuously.recorded continuously. In order to achieve this, editor must stickIn order to achieve this, editor must stickto the grammar of editing.to the grammar of editing.
  7. 7. The RulesThe Rules The 180The 180° rule° rule Match-on-actionMatch-on-action Shot/ reverse shotShot/ reverse shot The eyeline matchThe eyeline match
  8. 8. The 180The 180° Rule° Rule states that two characters (or otherstates that two characters (or otherelements) in the same scene shouldelements) in the same scene shouldalways have the same left/rightalways have the same left/rightrelationship to each other.relationship to each other. Watch:Watch:http://www.youtube.com/watch?http://www.youtube.com/watch?v=HdyyuqmCW14&feature=relatedv=HdyyuqmCW14&feature=related
  9. 9. Match-on-actionMatch-on-action Cutting from one shot to another view thatCutting from one shot to another view thatmatches the first shots action and energy.matches the first shots action and energy. Gives the impression of continuous time whenGives the impression of continuous time whenwatching the edited film.watching the edited film. By having a subject begin an action in one shotBy having a subject begin an action in one shotand carry it through to completion in the next,and carry it through to completion in the next,the editor creates a visual bridge which distractsthe editor creates a visual bridge which distractsthe viewer from noticing the cut or noticing anythe viewer from noticing the cut or noticing anyslight continuity error between the two shots.slight continuity error between the two shots.
  10. 10. Shot/ reverse shotShot/ reverse shot one character is shown looking (often off-one character is shown looking (often off-screen) at another character, and then thescreen) at another character, and then theother character is shown looking "back" atother character is shown looking "back" atthe first character.the first character. Since the characters are shown facing inSince the characters are shown facing inopposite directions, the vieweropposite directions, the viewerunconsciously assumes that they areunconsciously assumes that they arelooking at each other.looking at each other.
  11. 11. Eyeline matchEyeline match It is based on the premise that the audience willIt is based on the premise that the audience willwant to see what the character on-screen iswant to see what the character on-screen isseeing.seeing. The eyeline match begins with a characterThe eyeline match begins with a characterlooking at something off-screen, there will thenlooking at something off-screen, there will thenbe a cut to the object or person at which he isbe a cut to the object or person at which he islooking.looking. For example, a man is looking off-screen to hisFor example, a man is looking off-screen to hisleft, and then the film cuts to a television that heleft, and then the film cuts to a television that heis watching.is watching.
  12. 12. ““That’s the way to do it…”That’s the way to do it…”•• You will find the more thought andYou will find the more thought andplanning you put into your work the betterplanning you put into your work the betterit will be. You should never do somethingit will be. You should never do somethingjust for a technical exercise.just for a technical exercise.www.youtube.com/watch?v=TtljKx31MJgwww.youtube.com/watch?v=TtljKx31MJg
  13. 13. Discontinuity EditingDiscontinuity Editing Of course, rules are there to be broken!Of course, rules are there to be broken! Only break the rules if there is a goodOnly break the rules if there is a goodreason for doing do so! These include in areason for doing do so! These include in amontage or to create confusion andmontage or to create confusion anddisorientation.disorientation. BUT only break rules when you areBUT only break rules when you areconfident on how to stick to them – so notconfident on how to stick to them – so notin this piece of coursework!in this piece of coursework!

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