The Art of Editing #2

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Continuity editing, lesson #2

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  • Usually the characters in one frame look left and in the following frame look right. Where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions together, the viewer assumes that they are looking at each other which is why media has its own communication with the audience.” http://mediablogs.keshacademy.com/reiseasblog/2012/11/01/preliminary-research/
  • The Art of Editing #2

    1. 1. CLASS 2 THE ART OF EDITING CONTINUITY EDITING SHANNON WALSH / SM2002 / SPRING 2014 SCHOOL OF CREAT IVE MEDIA, CIT Y UNIVERSIT Y HONG KONG
    2. 2. HISTORY OF EDITING II INNOVATION & EXPERIMENTATION
    3. 3. THE KULESHOV EFFECT Film is editing.
    4. 4. THEORY OF MONTAGE: SERGEI EISENSTEIN • Metric montage • Rhythmic montage • Tonal montage • Over tonal montage • Intellectual montage
    5. 5. “ODESSA STEPS” SEQUENCE The power of the cut, rhythm, juxtaposition, parallel action and montage.
    6. 6. EXPERIMENTS IN CINEMA: DZIGA VERTOV “The Man with the Movie Camera” (1929) • Vertov reminds viewers that cinema is not reality • Special effects and fantasy • Playful clash of reality and illusion • Visual associations http://youtu.be/Iey9YIbra2U
    7. 7. EXPERIMENTS IN CINEMA: LUIS BUNUEL “Un Chien Andalou” 17min,(1929) • Destroys meaning, shock • Surrealism, expressionism, psychoanalysis • Visual discontinuity: continuity editing, but discontinuity in the story plot and character goal http://youtu.be/_DZ1x-xBtUM
    8. 8. EXPERIMENTS IN CINEMA: SOUND TIME PLACE M, Fritz Lang (1931)
    9. 9. Modern Times Chaplin (1936)
    10. 10. BASIC TRANSITIONS The basic 4 edits: • Cut • Dissolve • Wipe • Fade
    11. 11. ACTION CONTINUITY: ASSIGNMENT #1 In the first assignment you will learn techniques of action continuity. 1. Match on action 2. Shot/Reverse-shot 3. 180 degree rule
    12. 12. ACTION CONTINUITY: MATCH ON ACTION “Match on Action” is when you cut to a new camera angle at the same point in time without breaking the flow of the previous shot.
    13. 13. ACTION CONTINUITY: SHOT/REVERSE SHOT “Two shots edited together that alternate the characters, typically in a conversation situation.”
    14. 14. ACTION CONTINUITY: SHOT/REVERSE SHOT
    15. 15. ACTION CONTINUITY: SHOT/REVERSE SHOT
    16. 16. EXAMPLES SHOT/REVERSE SHOT Editor Thelma Shoonmaker on Raging Bull (1980): http://www.youtube.com/watch?v=6enMrxbpI-w Dirty Harry (1971) “Do you feel lucky?” Unlike most shot reverse shots this isn’t over the shoulder. http://www.youtube.com/watch?v=8Xjr2hnOHiM
    17. 17. ACTION CONTINUITY: 180 DEGREE RULE
    18. 18. 180 DEGREE RULE
    19. 19. ACTION CONTINUITY:
    20. 20. ACTION CONTINUITY: IMAGE SIZE FOR CUTTING
    21. 21. LONG TO MEDIUM SHOT
    22. 22. MEDIUM TO CLOSE-UP
    23. 23. THE RULE OF 6: WALTER MURCH 1) Emotion 2) Story 3) Rhythm 4) Eye‐trace 5) Two‐dimensional plane of screen 6) Three‐dimensional space of action For Murch, an ideal cut, • • • • • • Is true to the emotion of the moment; Advances the story; Is rhythmically interesting and “right”; Acknowledges the “eye-trace”; Respects “planarity”; Respects the three-dimensions continuity of the actual space. But, he says, emotion “is the thing that you should try to preserve at all costs.” Murch, W. In the blink of an eye: A perspective on film editing. SilmanJames Press, 1995, pp. 17-20 51% 23% 10% 7% 5% 4%

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