editing
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Editing involves assembling shots in a film to shape its rhythm, pace and narrative. Key techniques include cuts between shots, dissolves where shots blend together, and transitions like fades. Editing styles include parallel editing of simultaneous actions, matching shots for continuity, montage using unrelated shots to imply meaning, and adjusting shot length to control pace. Famous examples like the Odessa Steps sequence in Battleship Potemkin demonstrate how editing can emphasize drama through a rapid, discontinuous style.
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Intro to Film: Editing
The editor's role is to coordinate shots and eliminate unwanted footage to craft a coherent narrative. They select usable takes, trim extra frames before and after each take, and decide how to transition between shots. The editor works closely with the director to ensure scenes edit together smoothly. Different editing styles, like realism versus formalism, determine how obtrusive the edits are and how much meaning is derived from the editing itself versus performance. Transitions like cuts, dissolves and jump cuts signal relationships between shots.
Intro to editing
This document provides an introduction to key concepts in media language and film editing. It defines and discusses various elements of editing including shot order, continuity, transitions, shot duration/pace and rhythm, and special effects. Specific techniques are explained such as establishing shots, the 180 degree rule, shot/reverse shot, eyeline match, and match on action. The meaning and effects of different transitions like fades, dissolves and wipes are also covered. The document emphasizes that editing controls what information is revealed to both characters and the audience.
Editing
Editing involves assembling shots in a way that shapes the rhythm and pace of a film. There are different types of transitions between shots, such as fades, dissolves, and wipes, which can blend or connect two shots. Editing techniques like cross-cutting, montages, and adjusting the length of shots can impact the pace and emphasize changes in mood or action within a film.
Media Language Lesson 3 - editing
This document discusses editing techniques in film, including continuity editing. It defines editing as how one scene changes to the next. Continuity editing uses techniques like the 180-degree rule, shot/reverse shot, eyeline match, and match on action to smoothly transition between shots and imply spatial relationships. Breaking continuity can create a more constructed meaning through juxtaposition. There are also different types of transitions between shots like fades, dissolves, and wipes.
Editing for film
Editing is used to make motion pictures flow coherently between scenes and enhance visual effects. There are typically three stages of editing: rough cut, director's cut, and final cut. Editing techniques like shot reverse shot and the 180-degree rule help generate meaning and keep narratives coherent by facilitating the audience's understanding of characters' perspectives and spatial relationships. Timing, continuity, and invisible editing are important aspects of constructing suspense and maintaining realism in films.
The Principles and purpose of editing & Editing Techniques
Editing is used to continue and illuminate the significance of scenes and stories through techniques that establish mood, pace, and atmosphere. It progresses the narrative by alternating between shots and uses cuts, fades, and dissolves. Editing also aims to catch the audience's attention by varying the pace and using techniques like slow motion. It can highlight important elements and follow the action through different camera angles and shots. Editing illustrates different points of view and conveys genre through individual techniques that capture emotions. The document discusses specific editing techniques like match cuts, flash cutting, cross cutting, and invisible editing.
Editing intro
This document provides an overview of editing and effects in film studies. It discusses key concepts like what editing is and its impact, different editing techniques like cuts, pace, transitions, and effects. Specific techniques covered include dissolves, wipes, fades to black, split screens, on-screen text, and practical effects versus computer-generated imagery. The objectives are to understand the importance of editing, different transition methods, and distinguishing between practical and CGI effects.
Types of editing
This document defines and describes various film editing techniques including:
- Continuity editing which uses establishing shots, the 180 degree rule, and match on action to maintain a clear narrative.
- Montage editing which uses dissolves, fades, and jump cuts to assemble shots.
- Establishing shots which set the scene.
- Shot/reverse shot which alternates between characters in conversation.
- The 180 degree rule which maintains spatial relationships between objects by not crossing the imaginary line.
- Match on action which places different shots of the same action next to each other.
- Transitions like fades and dissolves which join scenes.
- Examples from The Dark Knight Rises and Law
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The editor's role is to coordinate shots and eliminate unwanted footage to craft a coherent narrative. They select usable takes, trim extra frames before and after each take, and decide how to transition between shots. The editor works closely with the director to ensure scenes edit together smoothly. Different editing styles, like realism versus formalism, determine how obtrusive the edits are and how much meaning is derived from the editing itself versus performance. Transitions like cuts, dissolves and jump cuts signal relationships between shots.
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Editing
Editing involves assembling shots in a way that shapes the rhythm and pace of a film. There are different types of transitions between shots, such as fades, dissolves, and wipes, which can blend or connect two shots. Editing techniques like cross-cutting, montages, and adjusting the length of shots can impact the pace and emphasize changes in mood or action within a film.
Media Language Lesson 3 - editing
This document discusses editing techniques in film, including continuity editing. It defines editing as how one scene changes to the next. Continuity editing uses techniques like the 180-degree rule, shot/reverse shot, eyeline match, and match on action to smoothly transition between shots and imply spatial relationships. Breaking continuity can create a more constructed meaning through juxtaposition. There are also different types of transitions between shots like fades, dissolves, and wipes.
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Editing is used to make motion pictures flow coherently between scenes and enhance visual effects. There are typically three stages of editing: rough cut, director's cut, and final cut. Editing techniques like shot reverse shot and the 180-degree rule help generate meaning and keep narratives coherent by facilitating the audience's understanding of characters' perspectives and spatial relationships. Timing, continuity, and invisible editing are important aspects of constructing suspense and maintaining realism in films.
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Editing is used to continue and illuminate the significance of scenes and stories through techniques that establish mood, pace, and atmosphere. It progresses the narrative by alternating between shots and uses cuts, fades, and dissolves. Editing also aims to catch the audience's attention by varying the pace and using techniques like slow motion. It can highlight important elements and follow the action through different camera angles and shots. Editing illustrates different points of view and conveys genre through individual techniques that capture emotions. The document discusses specific editing techniques like match cuts, flash cutting, cross cutting, and invisible editing.
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This document provides an overview of editing and effects in film studies. It discusses key concepts like what editing is and its impact, different editing techniques like cuts, pace, transitions, and effects. Specific techniques covered include dissolves, wipes, fades to black, split screens, on-screen text, and practical effects versus computer-generated imagery. The objectives are to understand the importance of editing, different transition methods, and distinguishing between practical and CGI effects.
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This document defines and describes various film editing techniques including:
- Continuity editing which uses establishing shots, the 180 degree rule, and match on action to maintain a clear narrative.
- Montage editing which uses dissolves, fades, and jump cuts to assemble shots.
- Establishing shots which set the scene.
- Shot/reverse shot which alternates between characters in conversation.
- The 180 degree rule which maintains spatial relationships between objects by not crossing the imaginary line.
- Match on action which places different shots of the same action next to each other.
- Transitions like fades and dissolves which join scenes.
- Examples from The Dark Knight Rises and Law
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1) Film editing is the process of assembling shots into a coherent narrative sequence. A film editor must creatively work with various elements like images, story, dialogue, music, and pacing to construct a cohesive whole.
2) Continuity editing emphasizes clear storytelling and revealing character emotions through techniques like establishing shots, shot/reverse shot, match cuts, and changes in field of view.
3) Soviet montage theory views editing as a way to convey meaning and emotion through the relationship between shots, rather than continuity. It influenced techniques like metric, rhythmic, tonal, and intellectual montage.
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This document provides an introduction to key concepts in media language and film editing. It defines and discusses various elements of editing including shot order and choice, continuity, transitions, shot duration/pace and rhythm, and special effects. Specific techniques are explained such as establishing shots, the 180 degree rule, shot-reverse-shot, eyeline matches, and match on action. The meaning and effects created by different transitions like fades, dissolves, and wipes are also covered. The document stresses that editing controls what information is revealed to both characters and audiences.
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WCC Film 100-CHAPTER #8-EDITING Luther
1) Film editing is the process of assembling shots into a coherent narrative sequence. A film editor must creatively work with various elements like images, story, dialogue, music, and pacing to construct a cohesive whole.
2) Continuity editing emphasizes clear storytelling and revealing character emotions through techniques like establishing shots, shot/reverse shot, match cuts, and changes in field of view.
3) Soviet montage theory views editing as a way to convey meaning and emotion through the relationship between shots, rather than continuity. It influenced techniques like metric, rhythmic, tonal, and intellectual montage.
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This document provides definitions and descriptions of various techniques used in film editing. It discusses different types of cuts like action match cuts, jump cuts and dissolve transitions. It also explains concepts of continuity editing, establishing shots, match on action, cutaways and continuity errors. Parallel editing, montage editing, shot reverse shot cutting and use of slow motion are also summarized. The document serves as a glossary of key film editing terms.
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editing
- 2. Editing • Editing is about putting the shots together that make up the film • Editing shapes the rhythm and pace of the film • How long are the shots? • How have they been put together?
- 3. Shots and cuts 1Shot Shot Cut
- 4. Shots and cuts •Cut: where 2 shots are joined together 1Shot Shot Cut
- 5. TRANSITIONS • FADE IN • FADE OUT • DISSOLVE • WIPE
- 6. DISSOLVE • One shot fades in while another fades out so that for a few seconds, the two are on top of each other and appear to blend Shot Shot
- 7. DISSOLVE
- 8. DISSOLVE Shot 1............. dissolves into................... shot 2
- 9. Fade Out • FADE OUT One shot disappears, often into black or white. • Often used to show a change of time Shot
- 10. Fade In • FADE IN The shot appears gradually often from black or white Shot Shot
- 11. Wipe • One shot is wiped from the screen by another . • Often used to go from one scene to another or from one time to another 1
- 12. Styles and Patterns • Parallel Editing • Matching and Graphic Match • Montage (including Soviet Montage) • Continuity • Elliptical Editing
- 13. Parallel Editing • Editing that alternates between action occurring in different places, usually at the same time. The two actions are therefore linked. • Watch the end sequence of Psycho where we cut between Lila in the house and Sam talking to Norman. What is the effect?
- 14. Matching • Cutting to a shot that somehow ‘matches’ the shot before • Location • Eye Line
- 15. Montage • This is where a whole series of shots are put together, that give an impression of what is happening. • It is also used to show different, apparently unrelated shots that suggest an association.
- 16. Montage • Based on the ‘Kuleshov Effect’ (Lev Kuleshov) or the juxtaposition of images • Direct relationship between the images • What emotions is the woman in the following picture expressing?
- 21. Montage • Other filmmakers did not want the link to be so obvious and wanted the audience to work at pieceing together the action
- 22. Battleship Potemkin • Watch this extract. The sequence is a very famous one set on a flight of step in the Russia town of Odessa. The townspeople are rebelling against the hardships of the Czarist rule but the Czar’s troop arrive to restore order. As we join the action a young woman has just been shot and her baby’s pram teeters on the edge of the steps.
- 23. Activity • Why was it necessary to concentrate when watching this clip? Are you more involved because of this concentration? • How does the editing emphasise the following: • The attitude of the soldiers and their sheer physical force • The vulnerability of the ordinary people • The atmosphere of chaos and confusion
- 24. Montage • Can be thought of as a video collage of a single moment • Psycho Shower Scene • Can be used as a video collage to establish a relationship between images and the passage of time. • Rocky ‘Training Montage’
- 25. Graphic match - Shape Note the match of the images
- 26. Continuity • A system of making cuts in a film whereby the cut maintains the action in the shot. • Space and time are seen to be continuous between shots. • The dominate style in Hollywood (the vast majority of movies you’ve seen use this method throughout the film)
- 27. Elliptical • Shot transitions that omit a portion of an event or action (see jump cuts) • Used to shorten time but also show an incohesive state (character under duress —war, drugs, delusional) • Can also show a larger passage of time…. Fine line between this and montage
- 28. Pace of editing • When shots are short in length, this is fast paced editing. • It can make the audience feel anxious, or add to the speed of the action Shot Shot Shot Shot Shot Shot Shot Shot
- 29. Pace of editing • When the pace of editing is slower, and a shot may continue for a longer period, this may make the scene feel more relaxed • At the beginning of a film the longer shots may be needed to give us information Shot Shot
- 30. Pace of editing • Changing the length of shot changes the pace and this can emphasize a change in the film as well eg a change in mood, or contrast one part of the action with another. Shot Shot Shot Shot Shot
Editor's Notes
- Imagine a film is like a series of strips of paper stuck together. Each piece is a SHOT, a piece of continuous filming. When these shots are “stuck” together this is a CUT
- The way the shots and cuts are arranged gives meaning to the film
- Some shots are joined together by TRANSITIONS. these are different ways that connect together the shots of the fim
- We make a connection between the two
- Man who noticed that when two shot are shown together you try to read them together. A single shot is neutral (no meaning until it is placed in the context of another shot (Eisenstein). Did experience of showing people a photo of a person with a neutral face but next to another image and people read an emotion on the face. Write it on a white board?????
- Soldiers – which parts of their bodies are shown? In the shots what/who are they next to? How does the pace of the editing reflect the movement of the soldier People - Which members of the public are shown? What are they doing? What could they be thinking? What shots are placed next to these shots of the ordinary people. Atmosphere – Are there any part in the sequence where you are unsure what is happening? What types of shot (framing) do we see the most? What types of shot is put next to? What effect does this have? How does the speed of editing affect the way we feel. 31:30
- We never see Marion being stabbed just separate images of the knife and her body