The document discusses several editing techniques and principles used in filmmaking, including: 1. Montage, which juxtaposes several shots to form a single image. 2. Jump cuts, which create a discontinuity or acceleration effect by cutting to later action in a scene. 3. The 180 degree rule, which if crossed will cause a jump cut and ruin continuity unless doing a 360 degree pan. 4. Maintaining continuity by ordering shots in a logical sequence. 5. Traditional film splicing using scissors and tape or a splicing machine. 6. The eye-line match technique, which matches a character's eye line or point of view to an object.

1. 4.
The Different Types of Edit Techniques
and Principles Used Today

2. EDITTECHNIQUES
Point of view shot
180o
Rule

3. Seamless
Definition:
Smooth and without seams or obvious joins. Having no awkward transitions, interruptions, or
indications of disparity
Seamless Flower Pattern
Seamless Video Sequence

4. Montage
Definition :
A method of film editing involving the juxtaposition or partial superimposition of several shots
to form a single image
The first montage occurs during the Independence Day show, as Bing Crosby sings "Song of
Freedom".
The 50 second montage combines several single screen sequences of workers in an aircraft
factory and various military units in motion (troops marching, planes flying, tanks driving) with
multiple split screens, with up to six images in one shot.
SOURCE :
www.youtube.com/watch?v=og7OGLyafhc

5. Jump–Cut:
Definition :
Eisenstein believed that film montage could create ideas or have an impact beyond the
A cut to later action from one filmed scene to the next, creating an effect of discontinuity or that
individual images. Two or more images edited together create a "tertium quid" (third thing)
acceleration. makes the whole greater than the sum of its individual parts.
Eisenstein's greatest demonstration of the power of montage comes in the "Odessa Steps"
sequence of his 1925 film Battleship Potemkin. On the simplest level, montage allows Eisenstein
to manipulate the audience's perception of time by stretching out the crowd's flight down the
steps for seven minutes, several times longer than it would take in real time:
SOURCE:
http://www.youtube.com/embed/1KUVwKp6MDI?version=3&rel=1&fs=1
&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent

6. 180° Rule:
Definition :
An invisible semi circle which if you cross on set, will cause a jump shot and ruin continuity.
The only way you can break this rule is if you are doing a 360 degree pan.
SOURCE:
www.youtube.com/watch?v=y4wX_dmh8_g

7. CONTINUITY
1. people jumping from a car
2. the car on fire
3. an explosion
1-2-3 - In the 1-2-3 sequence shown the shots suggest that people are jumping from a car
seconds before it catches fire and explodes.
3-2-1 - A 3-2-1 order suggests that there is an explosion and then the car bursts into flames;
and, as a result, the people have to jump out.
2-3-1 - In a 2-3-1 sequence people jump from the car after a fire causes an explosion.
2-1-3 - If the sequence is changed to 2-1-3, it appears that as a result of a fire passengers
jump out of the car just in time to escape a devastating explosion.
SOURCE : www.youtube.com/watch?v=8xauSCz1mEk

8. FILM SPLICING
Traditionally, film is edited by cutting sections of the film and
rearranging or discarding them. The process is very straightforward and
mechanical.
In theory a film could be edited with a pair of scissors and some
splicing tape, although in reality a splicing machine is the only practical
solution. A splicing machine allows film footage to be lined up and held
in place while it is cut or spliced together.

9. Eye-line Match
As the name suggests, Eye-line Match matches
objects to the eye-line of the character. In
Figure 2 we see 4 shots, in which Anna is
looking at a painting. In frame 1 we see her
looking towards the screen right (her left), and
the next frame, frame 2, we see the painting.
These 2 shots construct the space so the
audience interprets the painting to be sitting at
her left. In frame 3 we see a close-up of the
girl's face as she notices something in the
painting in frame 4. Notice how in frame 3 she
is still looking at the screen right (her left), and
this is what maintains the continuity within the
space.