2. • Match
• On
• Action
A match on action, a technique used in film editing, is a cut that connects two different
views of the same action at the same moment in the movement. By carefully matching
the movement across the two shots, filmmakers make it seem that the motion continues
uninterrupted. For a real match on action, the action should begin in the first shot and
end in the second shot.
In the preliminary task we tried to edit a match-on-action, before you can see the girl
approaching to the door and after you find her inside the room, the passage, between the
first shot and the second one, is quite long. This create a problem on the continuity of the
video.
This make the preliminary task seems to be slow and hard to follow. But still
understandable.
3. Shot/Reverse Shot is an editing technique that defined as multiple shots edited together
in a way that alternates characters, typically to show both sides of a conversation
situation. There are multiple ways this can be accomplished, with common examples
being over the shoulder shots, angled shots, left/right alternating shots, and often a
combination of the three.
We used this technique to show the dialogue between the two girls using a simple over
the shoulder shot where, the girl is talking is framed instead you can see only the other
girl’s shoulder.
This gives to the audience the sensation to be in the shot as well.
4. In the opening sequence we used again the match-on-action technique, this time our
scene is in a car park where our character have to get off from the car, so we see before
he opening the car door and then you see a close-up of is feet out of the car. Our skills
of editing, from the preliminary task to this, are definitely improved, the cuts are fast and
this doesn’t disturb the continuity.
5. The 180-degree rule of shooting and editing keeps the camera on one side of the action.
As a matter of convention, the camera stays on one side of the axis of action throughout
a scene; this keeps characters grounded compositionally on a particular side of the
screen or frame, and keeps them looking at one another when only one character is seen
onscreen at a time. The technique allows for an expansion of the frame into the unseen
space offscreen. It is referred to as a rule because the camera, when shooting two
actors, must not cross over the axis of action; if it does, it risks giving the impression that
the actors' positions in the scene have been reversed.
In our opening you can see the 180° rule when the car is going from the parking and then
goes to the disco.
