The document discusses the purpose and techniques of editing in film. It explains that editing can emphasize characters, control the information received by the audience, and influence engagement. Examples are given of how editing differs between genres like horror and action films. Propaganda films are mentioned as another example of how editing can manipulate perception. Specific editing techniques from early films like parallel editing and jump cuts are analyzed. The high-level purpose of editing and some foundational editing techniques are covered.
The history of editing is vast, from the Lumiére brothers, D.W Griffiths and lots more! This contains important figures in editing, important key terms and vast clips and detailed information.
The document discusses the history and evolution of film editing from its origins with the Lumiere Brothers' Cinematographe in 1895. It covers key developments like Edwin Porter using unrelated footage to tell new stories in 1901. D.W. Griffith introduced continuity editing and close-ups in 1908. Techniques developed through directors like Eisenstein, Griffith's 1915 film The Birth of a Nation, and the introduction of sound. Editing has allowed films to manipulate time and space to keep audiences engaged through techniques such as cuts, transitions, camera angles, and narrative structure.
The Lumière brothers were early French pioneers of filmmaking. In 1895, they held the first public screening of projected motion pictures in Paris, showing 10 short films including their first film "Workers Leaving the Lumière Factory." D.W. Griffith was an influential American film director in the early 20th century, known for pioneering new editing techniques and directing seminal films like The Birth of a Nation. Sergei Eisenstein was a pioneering Soviet film director and theorist known for his silent films including Strike, Battleship Potemkin, and October, which used montage to convey meaning. David Fincher is an acclaimed American filmmaker known for dark, stylish thrillers like Seven, Fight Club, and
The document provides instructions for creating a mini documentary about a pioneering film editor. It lists influential editors from Edwin S. Porter to Walter Murch and Thelma Schoonmaker. The suggested structure is to cover the editor's most famous works, influential techniques, key films edited, how they have influenced other films, and to analyze a clip using concepts like narrative, rhythm, and storytelling. The response chooses to analyze Thelma Schoonmaker's work on Martin Scorsese films like Raging Bull, Goodfellas, and The Aviator. It discusses her techniques of shaping performances, use of music, and avoiding fast cutting to sustain narrative.
Film and video editing techniques template 2014 v2Chris Bailey
This document discusses various aspects of early film production and editing techniques. It begins by asking questions about pioneers of filmmaking in the late 19th and early 20th centuries like Thomas Edison and the Lumiere Brothers. It then provides examples of early film productions and screenings. The document discusses characteristics of early films like static shots, poor lighting and framing. It also lists some examples of early film editing techniques and the effects of the limitations of early film. Finally, it discusses different relationships in film editing related to graphics, rhythm, time and space.
The document discusses the history and techniques of film and video editing. It begins with early pioneers like Edison and explores developments in the silent film era under directors like D.W. Griffith. Key techniques discussed include shot variation, narrative techniques like parallel editing, and the transition to sound film. The document also contrasts analog and digital editing workflows and how techniques have evolved with technology over time.
This is a brief exposition on the history, nature and basic processes in filmmaking. This can be used in Humanities classes on the topic--the art of motion picture or film.
The history of editing is vast, from the Lumiére brothers, D.W Griffiths and lots more! This contains important figures in editing, important key terms and vast clips and detailed information.
The document discusses the history and evolution of film editing from its origins with the Lumiere Brothers' Cinematographe in 1895. It covers key developments like Edwin Porter using unrelated footage to tell new stories in 1901. D.W. Griffith introduced continuity editing and close-ups in 1908. Techniques developed through directors like Eisenstein, Griffith's 1915 film The Birth of a Nation, and the introduction of sound. Editing has allowed films to manipulate time and space to keep audiences engaged through techniques such as cuts, transitions, camera angles, and narrative structure.
The Lumière brothers were early French pioneers of filmmaking. In 1895, they held the first public screening of projected motion pictures in Paris, showing 10 short films including their first film "Workers Leaving the Lumière Factory." D.W. Griffith was an influential American film director in the early 20th century, known for pioneering new editing techniques and directing seminal films like The Birth of a Nation. Sergei Eisenstein was a pioneering Soviet film director and theorist known for his silent films including Strike, Battleship Potemkin, and October, which used montage to convey meaning. David Fincher is an acclaimed American filmmaker known for dark, stylish thrillers like Seven, Fight Club, and
The document provides instructions for creating a mini documentary about a pioneering film editor. It lists influential editors from Edwin S. Porter to Walter Murch and Thelma Schoonmaker. The suggested structure is to cover the editor's most famous works, influential techniques, key films edited, how they have influenced other films, and to analyze a clip using concepts like narrative, rhythm, and storytelling. The response chooses to analyze Thelma Schoonmaker's work on Martin Scorsese films like Raging Bull, Goodfellas, and The Aviator. It discusses her techniques of shaping performances, use of music, and avoiding fast cutting to sustain narrative.
Film and video editing techniques template 2014 v2Chris Bailey
This document discusses various aspects of early film production and editing techniques. It begins by asking questions about pioneers of filmmaking in the late 19th and early 20th centuries like Thomas Edison and the Lumiere Brothers. It then provides examples of early film productions and screenings. The document discusses characteristics of early films like static shots, poor lighting and framing. It also lists some examples of early film editing techniques and the effects of the limitations of early film. Finally, it discusses different relationships in film editing related to graphics, rhythm, time and space.
The document discusses the history and techniques of film and video editing. It begins with early pioneers like Edison and explores developments in the silent film era under directors like D.W. Griffith. Key techniques discussed include shot variation, narrative techniques like parallel editing, and the transition to sound film. The document also contrasts analog and digital editing workflows and how techniques have evolved with technology over time.
This is a brief exposition on the history, nature and basic processes in filmmaking. This can be used in Humanities classes on the topic--the art of motion picture or film.
Motion pictures are a series of images projected rapidly to create the illusion of motion. They are a popular form of entertainment that can also be used to educate. Many types of motion pictures exist, but the most common are feature films, animated films, and documentaries. Creating a motion picture involves numerous roles such as producers, directors, cast, crew, and editors who all work together to bring the film from an idea to the final product.
This document provides an overview of continuity editing techniques in film. It discusses match on action cuts, shot/reverse shot editing, and the 180-degree rule. It also covers basic transitions like cuts, dissolves, and wipes. Experiments in early cinema from directors like Dziga Vertov and Luis Bunuel are mentioned. Walter Murch's "Rule of 6" priorities for ideal cuts are outlined, with emotion cited as the most important factor. Examples are given of techniques like shot/reverse shot from films like Raging Bull and Dirty Harry.
The document discusses various techniques used in film editing to manipulate tempo, timing, and narrative sequencing. It provides examples of how editing can rapidly cut between shots, use different shot transitions like fades or cuts, condense or expand time through montages, and draw attention to specific details with close-ups or shot reverse shots. Pioneer filmmaker Alfred Hitchcock was an early innovator of editing techniques in his films like Psycho.
The document discusses the roles of production designer, props designer, actor, and script supervisor for a film trailer called "Ransom", and provides examples of how the author believes they could fulfill these roles by contributing props, locations, and interpreting emotions to engage the audience. Photos are included of potential filming locations and props like chairs, torn shirts, and bags that could add tension, suspense, and context to the actor's portrayal of anger, frustration, and depression.
This week we look at some of the basic concepts that developed the language and grammar of film editing. We spend a bit of time talking about Sergei Eisenstein and his theories around editing, and some of the innovations and experiments that were happening in the early period of film history.
The second half of the lecture we learn about technical aspects of Continuity Editing.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
The document discusses single camera techniques used in film and television productions. It explains that a single camera production involves filming various shots and angles from one camera by moving or resetting it between takes, rather than filming with multiple cameras simultaneously. This allows for more creative freedom but requires actors to do multiple takes. Some advantages are lower costs, more control over locations and shots, and flexibility in filming order. Disadvantages include less realistic reactions, repetition in getting shots, and longer production time. Specific examples then analyze how single camera techniques effectively served the creative visions in shows like The Haunting of Hill House and films like Trainspotting and Requiem for a Dream.
The document summarizes typical conventions used in gang/crime films in areas like titling, camera techniques, framing, editing, sound, and actor positioning. It then discusses how the student's own media production did or did not follow these conventions, such as using simple titling, close-ups to show smoking, and filming in urban areas, while also challenging some conventions by having a non-white main character.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
The document discusses single camera techniques used in film and television productions. It begins with an introduction to single camera productions and how they differ from multi-camera productions. It then provides examples of classic and modern sitcoms that used single camera techniques. The document outlines advantages like lower costs, more creative control over locations and shots, and flexibility. Disadvantages include less realistic reactions, repetition in filming, and longer production time. Specific examples are then discussed, including episodes from The Haunting of Hill House and Trainspotting that effectively used single camera techniques to immerse viewers and maintain a fast pace. The music video for "Mad World" is also summarized, highlighting its use of aerial shots and a single continuous take to match the song
The document discusses various techniques of film editing including:
1) Classical cutting which involves editing for dramatic intensity through carefully selecting shots to shift the viewer's perspective.
2) Thematic montage which stresses associations of ideas through parallel editing of different scenes.
3) Eisenstein's concept of montage where editing captures dialectical conflicts through opposing visuals, sounds, and actions. He used this in Battleship Potemkin's famous "Odessa Steps" scene.
4) Surrealist films like Un Chien Andalou which use random, abstract imagery in montage with no narrative logic.
This document discusses various editing techniques used to manipulate tempo, time, and meaning in films. It explores how shot length, transitions, timing, and sequencing can speed up or slow down pacing. Specific techniques like collage, shot reverse shot, and establishing shots are examined. Examples from films like The Shining, Fight Club, and Lord of the Rings are provided to illustrate editing principles in action.
This document discusses key concepts in film editing, including its early development, pioneers like Edwin Porter and Lev Kuleshov, and techniques established by D.W. Griffith. It explains that early films showed static shots but that editing innovations allowed cutting between different shots to imply continuity of time and location. The Kuleshov experiment demonstrated how editing can alter audience perception by changing the context around a central shot. Continuity editing uses techniques like matching eyelines and actions to seamlessly tie shots together and allow audiences to follow complex narratives. The document also outlines common shot transitions and how editing can control a film's pacing through elements like shot duration and rhythm.
Music Video Production Assignment Form 2019DavidLee1474
The document provides information and ideas for a music video assignment. It discusses 5 potential songs to base the video on, including "The Sound of Silence" by Simon and Garfunkel. It also outlines various filming techniques that could be used, such as camera movements, close-ups, and establishing shots. Potential locations, restrictions, and opportunities for the project are considered. The document concludes with details on the chosen song, "The Sound of Silence," including background on the artists and analysis of the song's meaning and style.
This document provides an overview of the traditional animation process, including:
- Storyboards are created to plan the plot and imagery before design and timing are determined.
- Animators draw individual frames by hand to bring the story to life. Clean up and inbetweening adds detail and transitions.
- Backgrounds are painted to set the scene as characters are animated.
- Traditional animation can incorporate computers and video to assist but the frames are still drawn individually.
The document provides information on various animation techniques such as persistence of vision, stop frame animation, and frame rates. It discusses pioneers of animation such as Joseph Plateau, Thomas Edison, and the Lumiere Brothers. Developers like Willis O'Brien, Ray Harryhausen, and Jan Švankmajer are mentioned. Contemporary animators and studios highlighted include the Brothers Quay, Tim Burton, and Aardman Animations. Finally, the document outlines different genres and forms of animation within television, cinema, advertising, and music videos.
Social Realism focuses on bringing attention to the hardships of the working class. Films in the genre typically use actual locations for filming and realistic plots that viewers can relate to or feel empathy for. Other conventions include the use of handheld cameras to immerse viewers, as well as depicting regional identities through accents or dialects. Example films mentioned are 8 Mile, This is England, and The Wrestler.
The document discusses the conventions that will be followed in a zombie horror film project. It will follow the classic narrative structure of a group of survivors trying to reach safety, as seen in films like Dawn of the Dead. Mise-en-scene elements like low-key lighting, modern costumes, and dirty/bloody makeup for survivors and zombies will be used. Camerawork will employ common horror techniques like close-ups, establishing shots, and handheld shots. Sound will include tense non-diegetic music and rushed dialogue from survivors with zombie moans. Editing will use continuity to maintain audience interest within the constraints of a trailer format.
The document discusses editing photographs for a magazine. The author cropped backgrounds from photos, adjusted brightness, contrast and added color tints in Photoshop. Images featured in the magazine will have a dark or blue style. One photo was duplicated to show a mirror image. Effects were added to photos to fit the magazine's theme and standards.
This document contains a personal profile and details for Ashleigh Darlington, including her contact information, education history, and work experience. It summarizes that she recently completed a two-year creative media studies course at Salford City College where she gained skills in filmmaking, teamwork, research, time management and communication. It also lists her work placements at a primary school and charity shop where she assisted teachers, organized activities, and helped process donations. The document provides references from two of her teachers at Salford City College.
The student created a magazine for a school project. They conducted research by analyzing existing magazines, distributing a questionnaire, and editing photos for their own magazine. Their final product included a logo, front cover, contents page, and double page feature spread. Based on feedback, they would improve their target audience definition and take more photos. Overall, their PowerPoint research and double page spread were strongest elements, while time management and initially lacking interview ideas were weaknesses.
Motion pictures are a series of images projected rapidly to create the illusion of motion. They are a popular form of entertainment that can also be used to educate. Many types of motion pictures exist, but the most common are feature films, animated films, and documentaries. Creating a motion picture involves numerous roles such as producers, directors, cast, crew, and editors who all work together to bring the film from an idea to the final product.
This document provides an overview of continuity editing techniques in film. It discusses match on action cuts, shot/reverse shot editing, and the 180-degree rule. It also covers basic transitions like cuts, dissolves, and wipes. Experiments in early cinema from directors like Dziga Vertov and Luis Bunuel are mentioned. Walter Murch's "Rule of 6" priorities for ideal cuts are outlined, with emotion cited as the most important factor. Examples are given of techniques like shot/reverse shot from films like Raging Bull and Dirty Harry.
The document discusses various techniques used in film editing to manipulate tempo, timing, and narrative sequencing. It provides examples of how editing can rapidly cut between shots, use different shot transitions like fades or cuts, condense or expand time through montages, and draw attention to specific details with close-ups or shot reverse shots. Pioneer filmmaker Alfred Hitchcock was an early innovator of editing techniques in his films like Psycho.
The document discusses the roles of production designer, props designer, actor, and script supervisor for a film trailer called "Ransom", and provides examples of how the author believes they could fulfill these roles by contributing props, locations, and interpreting emotions to engage the audience. Photos are included of potential filming locations and props like chairs, torn shirts, and bags that could add tension, suspense, and context to the actor's portrayal of anger, frustration, and depression.
This week we look at some of the basic concepts that developed the language and grammar of film editing. We spend a bit of time talking about Sergei Eisenstein and his theories around editing, and some of the innovations and experiments that were happening in the early period of film history.
The second half of the lecture we learn about technical aspects of Continuity Editing.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
The document discusses single camera techniques used in film and television productions. It explains that a single camera production involves filming various shots and angles from one camera by moving or resetting it between takes, rather than filming with multiple cameras simultaneously. This allows for more creative freedom but requires actors to do multiple takes. Some advantages are lower costs, more control over locations and shots, and flexibility in filming order. Disadvantages include less realistic reactions, repetition in getting shots, and longer production time. Specific examples then analyze how single camera techniques effectively served the creative visions in shows like The Haunting of Hill House and films like Trainspotting and Requiem for a Dream.
The document summarizes typical conventions used in gang/crime films in areas like titling, camera techniques, framing, editing, sound, and actor positioning. It then discusses how the student's own media production did or did not follow these conventions, such as using simple titling, close-ups to show smoking, and filming in urban areas, while also challenging some conventions by having a non-white main character.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
The document discusses single camera techniques used in film and television productions. It begins with an introduction to single camera productions and how they differ from multi-camera productions. It then provides examples of classic and modern sitcoms that used single camera techniques. The document outlines advantages like lower costs, more creative control over locations and shots, and flexibility. Disadvantages include less realistic reactions, repetition in filming, and longer production time. Specific examples are then discussed, including episodes from The Haunting of Hill House and Trainspotting that effectively used single camera techniques to immerse viewers and maintain a fast pace. The music video for "Mad World" is also summarized, highlighting its use of aerial shots and a single continuous take to match the song
The document discusses various techniques of film editing including:
1) Classical cutting which involves editing for dramatic intensity through carefully selecting shots to shift the viewer's perspective.
2) Thematic montage which stresses associations of ideas through parallel editing of different scenes.
3) Eisenstein's concept of montage where editing captures dialectical conflicts through opposing visuals, sounds, and actions. He used this in Battleship Potemkin's famous "Odessa Steps" scene.
4) Surrealist films like Un Chien Andalou which use random, abstract imagery in montage with no narrative logic.
This document discusses various editing techniques used to manipulate tempo, time, and meaning in films. It explores how shot length, transitions, timing, and sequencing can speed up or slow down pacing. Specific techniques like collage, shot reverse shot, and establishing shots are examined. Examples from films like The Shining, Fight Club, and Lord of the Rings are provided to illustrate editing principles in action.
This document discusses key concepts in film editing, including its early development, pioneers like Edwin Porter and Lev Kuleshov, and techniques established by D.W. Griffith. It explains that early films showed static shots but that editing innovations allowed cutting between different shots to imply continuity of time and location. The Kuleshov experiment demonstrated how editing can alter audience perception by changing the context around a central shot. Continuity editing uses techniques like matching eyelines and actions to seamlessly tie shots together and allow audiences to follow complex narratives. The document also outlines common shot transitions and how editing can control a film's pacing through elements like shot duration and rhythm.
Music Video Production Assignment Form 2019DavidLee1474
The document provides information and ideas for a music video assignment. It discusses 5 potential songs to base the video on, including "The Sound of Silence" by Simon and Garfunkel. It also outlines various filming techniques that could be used, such as camera movements, close-ups, and establishing shots. Potential locations, restrictions, and opportunities for the project are considered. The document concludes with details on the chosen song, "The Sound of Silence," including background on the artists and analysis of the song's meaning and style.
This document provides an overview of the traditional animation process, including:
- Storyboards are created to plan the plot and imagery before design and timing are determined.
- Animators draw individual frames by hand to bring the story to life. Clean up and inbetweening adds detail and transitions.
- Backgrounds are painted to set the scene as characters are animated.
- Traditional animation can incorporate computers and video to assist but the frames are still drawn individually.
The document provides information on various animation techniques such as persistence of vision, stop frame animation, and frame rates. It discusses pioneers of animation such as Joseph Plateau, Thomas Edison, and the Lumiere Brothers. Developers like Willis O'Brien, Ray Harryhausen, and Jan Švankmajer are mentioned. Contemporary animators and studios highlighted include the Brothers Quay, Tim Burton, and Aardman Animations. Finally, the document outlines different genres and forms of animation within television, cinema, advertising, and music videos.
Social Realism focuses on bringing attention to the hardships of the working class. Films in the genre typically use actual locations for filming and realistic plots that viewers can relate to or feel empathy for. Other conventions include the use of handheld cameras to immerse viewers, as well as depicting regional identities through accents or dialects. Example films mentioned are 8 Mile, This is England, and The Wrestler.
The document discusses the conventions that will be followed in a zombie horror film project. It will follow the classic narrative structure of a group of survivors trying to reach safety, as seen in films like Dawn of the Dead. Mise-en-scene elements like low-key lighting, modern costumes, and dirty/bloody makeup for survivors and zombies will be used. Camerawork will employ common horror techniques like close-ups, establishing shots, and handheld shots. Sound will include tense non-diegetic music and rushed dialogue from survivors with zombie moans. Editing will use continuity to maintain audience interest within the constraints of a trailer format.
The document discusses editing photographs for a magazine. The author cropped backgrounds from photos, adjusted brightness, contrast and added color tints in Photoshop. Images featured in the magazine will have a dark or blue style. One photo was duplicated to show a mirror image. Effects were added to photos to fit the magazine's theme and standards.
This document contains a personal profile and details for Ashleigh Darlington, including her contact information, education history, and work experience. It summarizes that she recently completed a two-year creative media studies course at Salford City College where she gained skills in filmmaking, teamwork, research, time management and communication. It also lists her work placements at a primary school and charity shop where she assisted teachers, organized activities, and helped process donations. The document provides references from two of her teachers at Salford City College.
The student created a magazine for a school project. They conducted research by analyzing existing magazines, distributing a questionnaire, and editing photos for their own magazine. Their final product included a logo, front cover, contents page, and double page feature spread. Based on feedback, they would improve their target audience definition and take more photos. Overall, their PowerPoint research and double page spread were strongest elements, while time management and initially lacking interview ideas were weaknesses.
Timeline Planning Schedule for Editing and FilmingJackBolton1
The document outlines the filming schedule for a student film project shot at Waterloo Station and then Oxshott Station. It details the times allotted for different shots including establishing shots, dialogue scenes, and a chase scene. It also provides the editing schedule which allocates periods over 3 weeks to select footage, add effects, stabilize shots, and check the final cut.
The document analyzes the editing techniques used in three music videos:
1. Lady Gaga's "Applause" uses surreal techniques like subliminal flashing images and body modifications to portray Gaga's abstract and outrageous persona.
2. Clean Bandit's "Extraordinary" employs simple techniques like slow motion and matching shots to focus on the music and artists.
3. Nico & Vinz's "Am I Wrong" tells a narrative through captions, color tints, transitions and slow motion to evoke nostalgia and convey the song's meaning.
This document discusses different types of lighting and sound techniques used in filmmaking. It describes various lighting setups like ambient light, back light, and color gels that can be used to illuminate scenes or distort lighting for artistic purposes. It also discusses sound bridging, parallel/contrapointal sound, diegetic sound from within the scene, and non-diegetic sound added during editing. The document provides definitions and examples of these various cinematic lighting and sound techniques.
The key light is the most important light in a 3-point lighting setup and is used to highlight the main subject. The fill light is also part of the 3-point setup and lessens shadows created by the key light. The back light illuminates the subject from behind to create separation from the background.
This document provides an overview of how film editing has evolved over time. It discusses early editing in the 1800s involving single shot films. The development of continuity editing is covered, along with Soviet montage editing pioneers like Lev Kuleshov and Sergei Eisenstein. The document also outlines the transition to sound editing and the development of alternative editing styles like jump cuts during the French New Wave. Finally, it briefly summarizes modern digital non-linear editing systems compared to historical linear editing tools.
Editing booklet gcse a level film studies revision homework distance lerning ...Ian Moreno-Melgar
This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
The booklet is separated into the aspects of editing that are defined in the specifications of the GCSE and A-Level Film Studies courses from Eduqas/WJEC. The guide then explores ideas relating to pace, transitions, cuts, editing with sound, how editing creates relationships as well as information about visual effects, special effects and CGI in general.
Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
Written by an experienced teacher, examiner and CPD presenter with extensive experience in writing guides for film studies, I guarantee that this resource will prove to be an invaluable tool for you and your students and worth every penny.
Film editing involves selecting and assembling different shots and scenes to tell a story. Early films had only one shot while pioneers like Edwin Porter began using multiple shots and cutting between them. Techniques like continuity editing and montage editing were developed to enhance narrative structure and emotion. Advances in technology allowed for innovations like sound editing and non-linear digital editing systems.
The document provides a detailed overview of the early development and purposes of film editing from the late 19th century through the 20th century. It discusses pioneers like the Lumiere Brothers, Robert Paul, Georges Melies, and Edwin Porter and how they established foundational techniques like continuity, jump cuts, and the use of different shot types. The document also examines the work of Russian filmmakers like Lev Kuleshov and Sergei Eisenstein who developed techniques like montage. Finally, it analyzes conventions and techniques of modern editing like seamless cuts, parallel editing, transitions, cutaways, point-of-view shots, and editing rhythm.
This document provides learning outcomes and activities related to understanding film editing. It begins with discussing the pioneers of early filmmaking in the late 19th and early 20th centuries like the Lumiere Brothers, Edison, and Porter. Key developments they made included inventing motion picture cameras and projectors, as well as pioneering narrative storytelling techniques. The document then discusses characteristics of early film productions, such as single shot scenes and reliance on natural lighting. It also covers purposes and techniques of modern editing like seamless cuts, continuity, and parallel editing to tell stories and manipulate time/space. Activities include analyzing example films and creating a timeline of editing developments.
Learning outcome 1 - Understand the development and principles and editingCharlotte Jean
Auguste and Louis Lumière developed one of the first motion picture cameras called the cinématographe in 1895 in France. While their early films consisted of single, unedited shots due to limitations in technology, directors that followed experimented with editing techniques. D.W. Griffith pioneered editing techniques like cutting and splicing film strips to assemble shots in a particular order for his films. Sergei Eisenstein further advanced the use of montage, or intentional sequencing of shots, to convey meaning. Modern directors like David Fincher can edit digitally, allowing for advanced effects, easy re-shooting, and non-linear editing.
The document discusses the development and principles of film editing. It explains that early films had very long takes with few cuts, but editors like Robert Paul started adding more shots and cuts to tell more complex stories. Continuity editing became popular, with rules like the 180-degree rule to make scenes seem seamless. Editing techniques continued developing, with innovations like montage to manipulate time and emotion. French New Wave broke conventions, using jump cuts. Pioneers like Ridley Scott and Peter Jackson expertly used editing, sound, and visual effects to immerse audiences in scenes.
The document provides an overview of the history and process of making motion pictures. It discusses the key inventions and innovators that advanced motion picture technology in the late 19th century, including the Kinetoscope, Vitascope, and Cinematographe. It then describes the various roles involved in motion picture production, from screenwriters and directors to cinematographers, film editors, sound designers, composers, and actors. Finally, it outlines the three main stages of filmmaking: pre-production, production, and post-production.
The document provides an overview of the history and development of motion pictures. It discusses key inventions in early cinema by pioneers like the Lumiere brothers and Edison. It also outlines the different types of films including features, animated films, documentaries and experimental films. Additionally, it describes the various roles involved in filmmaking such as producers, directors, screenwriters, cinematographers, film editors, sound designers, composers and actors. Finally, it summarizes the main stages of filmmaking: pre-production, production, and post-production.
This document provides an overview of the development of film editing from its origins in the late 19th century to modern practices. It discusses early films that had no editing and were single continuous shots. It then outlines the key developments in editing including in-camera editing, the introduction of narrative structure, use of transitions, parallel editing, montage techniques, and continuity editing. The document also discusses how digital editing has changed the process and allowed for new techniques. Overall, it examines how editing has evolved over time to create meaning, develop storytelling, and engage viewers.
This document discusses key figures and principles in the development of film editing. It introduces Edwin Porter, who pioneered the use of cuts in 1903. Alfred Hitchcock is discussed as a director known for suspense techniques like POV shots. Principles of editing covered include in-camera editing, multiple points of view, the 180-degree rule, manipulation of time and space, cutaways, montage, and Pudovkin's 5 principles of editing. Examples are provided to illustrate editing techniques.
The document discusses the principles of film editing, including its history and various techniques. It notes that editing has evolved from simply recording events in sequence to intentionally selecting and combining shots. Key techniques mentioned include cuts, dissolves, match cuts, wipes, montages, and parallel editing. The document also provides examples of how editing is used in the film "The Challenge" to make certain scenes more engaging or conceal actions. It highlights Richard Halsey as a favorite editor, particularly for his work on the film "Beaches."
Editing evolved from simply filming scenes sequentially to intentionally arranging and cutting shots to tell a story. Early editors physically spliced film together, but techniques developed like continuity editing used by D.W. Griffith in "The Birth of a Nation" to advance emotions through varied camera angles. Soviet filmmakers also pioneered montage editing to manipulate audiences' reactions by how shots were assembled. Later, innovations allowed for sound in film and non-linear digital editing simplified the process.
The document discusses various editing techniques used in filmmaking such as shot reverse shots, cutaways, continuity, and the 180 degree rule. It provides examples of how different directors and films have employed techniques like changing shot length, transitions, timing, and narrative sequencing to manipulate the pace and storytelling. Overall, the document examines how editing is used to draw viewers' attention, create tension, and effectively communicate meaning through the sequencing and style of visuals.
1. The document discusses editing techniques used in filmmaking to tell a story through sequenced shots rather than a single continuous shot. It explains how editing relies on the psychological concept of "gestalt" where the audience mentally fills in missing information between shots.
2. Various editing techniques are defined, like cuts, fades, dissolves, and jump cuts. The frequency and pace of cutting affects the perceived speed of a scene. Slow, minimal editing can create tension, while rapid cutting can reflect a disoriented mental state.
3. Manipulating time through selective inclusion of shots and extended pacing (elliptical editing) helps tell a story concisely while still conveying necessary information through implied missing content.
Film editing has evolved significantly from early films consisting of single static shots to complex techniques used today. Early editing established continuity by cutting between shots, while montage editing used techniques like jump cuts and superimposition. Soviet montage editing, pioneered by Eisenstein, used rapid cutting to imply meanings not literally shown. Hollywood developed continuity editing to seamlessly advance narratives. The French New Wave introduced long takes and existential themes. Sound editing began with The Jazz Singer, and technology advanced from flatbeds and Moviolas to non-linear digital systems.
Editing involves preparing and adapting footage to suit the filmmaker's desired needs and create a cohesive final product. It is essential for giving a film structure and joining scenes to tell a story. Early editing required physically cutting and splicing film, which was time-consuming. The Lumière brothers invented the Cinématographe camera and projector and held the first public film screening. D.W. Griffith pioneered techniques like continuity editing and helped establish feature-length films. Modern digital editing allows nonlinear access to footage for increased flexibility.
Editing styles and techniques have developed greatly over the years from the pioneering work of early directors. The Lumiere brothers produced the first storytelling sequences with moving images and established techniques like long shots. D.W. Griffith advanced narrative and camera techniques but was also controversial for negatively depicting minorities. Sergei Eisenstein invented montage, significantly furthering editing. David Fincher is known for his dark, stylish thrillers utilizing suspenseful sequences and extended scenes. Modern directors employ techniques from all these innovators while also developing new approaches.
Edwin Porter and D.W. Griffith made significant contributions to the development of film editing. Porter directed early short films for Edison and pioneered techniques like cross-cutting and close-ups in films like "The Great Train Robbery." This helped establish editing techniques. Griffith further advanced techniques at Biograph, inventing parallel editing and developing continuity editing. He directed hundreds of films establishing conventions. Scorsese also pioneered techniques like flashbulb editing in "Raging Bull" and use of voiceover and expressionist techniques in "Taxi Driver" to portray psychological states. These directors helped establish editing as key to storytelling and engaging audiences.
Similar to Paul,rev,marley & hamdi group work presentation (20)
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Presentation of history and development editinghamdi_jama
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1. 1.Describe the purpose
of editing
The purpose of editing is to show four different aspects of a film/clip that can
emphasize the characters, the information the audience receives engaging
them into the film in several different ways that include how much the
audience should know about the narrative, characters and events at any given
time.
For example in relation to genre specifically horror the camera may role
much longer and there will most likely be very low tempo sound where as in
an action film there will be a lot of quick clips of explosions and loud music
playing in the background as the suspense builds.
Also another example that falls under propaganda film is football highlights,
by that I mean that if Arsenal played against West Ham and Arsenal
dominated the game and had a lot more possession and shots, the football
highlights may show the game and make it look like it was an even match by
putting even chances for both teams, however really it was no where near an
even match.
S
2. How is this a propaganda film?
(editing transitions, how are they put together to create propaganda).
Triumph of the will – 1930 directed by
LeniRiefensenstahl
1. Music sets the mood of happiness while it shows the opening
title
1. Text is shown first with how Germans were treated harshly and
their suffering. This is an attempt to further extend the harsh
punishments of the Germans to the viewers to the audience.
1. Up lifting music played, sometimes the type of patriotism,
showing peoples cheerful faces through close-ups.
1. They show high angle shots of the crowd to emphasize how
they are ants beneath Hitler's feat, also they use low angle shots
to accentuate Hitler’s dominance above them.
1. Parallel editing switches between Hitler and the crowd which
symbolizes Hitler as the superior leader as he is shown the
majority of the time.
3. City Of God opening shots and
what they show the audience
In the opening clip of City Of God you can see the different use of shots and
editing techniques that provide the audience with different information about
specific characters and what they may like later on in the film. For example a
specific shot shows the antagonist at a canted angle while he is laughing with a gun
in his hand, this shows the audience that he may be crazy and people around him
should be careful.
Different shots and editing
techniques can show the audience
different things about a character
for example in this shot you can
tell that the protagonist is in a bad
situation. From this shot I can tell
that the focus was on him, but also
of the group of gangsters In the
background and by the positioning
of the character you can tell this
as you can see a lot.
5. David Llewelyn Wark "D. W." Griffith (January 22, 1875 – July 23, 1948) was a
premier pioneering American film director, best known as the director of the epic 1915
film “The Birth Of A Nation” and the subsequent film “Intolerance” (1916)
But Griffiths films were extremely controversial for the positive depiction of racism
& segregation. In Griffiths films he used advanced camera and narrative techniques,
and its immense popularity set the stage for the dominance of the feature-length film
in the United States.
6. Lev Kuleshov
S Kuleshov may well be the very first film “theorist”
as he was a leader in Soviet montage theory —
developing his theories of editing.
S He created what has come to be known as the
Kuleshov Experiment. In this now-famous editing
exercise, shots of an actor were intercut with
various meaningful images a casket, a bowl of soup,
and so on…
S He also demonstrated the technical, aesthetic, and
ideological potentials of montage.
Here in kuleshov
experiment he showed
that the manipulation of a
clip through editing could
allow the audience to
believe that editing
changes viewers'
interpretations of images.
http://www.youtube.com/wat
ch?v=-s7aJHnS7gE
7. Eisenstein is possibly noted as the
“father of montage”
Eisenstein was a pioneer in the use of
montage, a specific use of film
editing.
Eisenstein believed that editing could
be used for more than just expounding
a scene or moment, through a
"linkage" of related images.
Believing that an idea should be
derived from the juxtaposition of two
independent shots, bringing an
element of collage into film. He
developed what he called "methods of
montage“.
Eisenstein felt the "collision" of shots
could be used to manipulate the
emotions of the audience and create
film metaphors
8. Early Filmmakers Use Of Editing
Jump-Cutting
•Arthur Marvin a famous filmmaker for leading many technical and narrative developments
in the earliest days of cinema. It occurs when an object is filmed, then while the camera is
off, the object is moved out of sight of the camera, then the camera is turned back on. The
film is watched, it seems to the viewer that the object disappears.
•nephew Daniel Marvin, perished in the sinking of the Titanic 1912 .
•the earliest known film to feature Arthur Conan Doyle's detective character Sherlock
Holmes
An adaption of
http://www.youtube.com/watch?v=-eO3EbFG0ak an all time
thrilling survival
game series
called Resident
Through this technique he manipulates Evil or
and transforms reality Biohazard better
known in Japan.
through cinematography. (Shawn Roberts)
RESIDENT EVIL AFTERLIFE
http://www.youtube.com/watch?v=
ycXgJ2lDT7s
9. Early Filmmakers Use Of Editing
Parallel Editing
Also known as cross cutting, parallel editing gained prominence with Edwin S. Porter in his
acclaimed movie The Great Train Robbery (1903). In this early picture, cross cutting is used to
show what occurs in two different places but not much else. Though Porter didn't use the
technique to its full potential, he was responsible for introducing the concept to the American
film industry, allowing others to build upon it. ( commence clip at 1.42)
http://www.youtube.com/watch?v=Bc7wWOmEGGY INCEPTION
D:Christopher Nolan
produced by Emma
Thomas & edited by Lee
Smith
http://www.youtube.com/w
atch?v=i6XkEEzjVFA
Why Use It?
Think of visual interest. The
To add interest and excitement to first version is only exciting at
an otherwise boring scene. its conclusion. This second
Parallel editing is often applied to version is suspenseful
create suspense. throughout, especially with the
music.
12. Seamless
Definition:
Smooth and without seams or obvious joins. Having no awkward transitions, interruptions,
or indications of disparity
Seamless Flower Pattern
Seamless Video Sequence
S
13. Montage
Definition :
A method of film editing involving the juxtaposition or partial superimposition of
severalshotsto 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
14. 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.
Continuity is a big part of filmmaking. If you're shooting a short film or
interview, it's important to set the scene and establish your characters in space
and time in order for the viewer to follow the action. One of the most basic
continuity rulesis the 180 Degree Rule.
When you shoot a scene with actors
imagine a line extending out between them.
You can move your camera anywhere
along that line, as long as you don't cross
over the line to the other side.
SOURCE:
www.youtube.com/watch?v=y4wX_dmh8_g
15. 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=8xauSCz1m
16. 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.
17. 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.
18. Transitions
Fade from and to Black
Description:Fade from black: image gradually appears from a black screen. Fade to black: image gradually
disappears to a black screen.
Purposes: Begin and end a video, transition between segments or scenes, signify major change in time or
location.
Dip to Black
Description: Quick fade to black and then back to video.
Purposes: Go to or from a commercial break, quick transition between segments or scenes, transition between
footage and full screen graphics.
Dissolve
Description:A transition between shots where one image is gradually mixed with another until the second
image is full screen.
Purposes: Enhance emotions, soften changes between shots, accentuate rhythm of pacing, enhance artistry of
action, smooth jump cuts.
Wipe
Description: A transition between shots that uses movement across the screen. Traditional wipes include
changing the image with a move from right or left, up or down, or diagonally. Effects wipes include spins, flips,
and animated moves.
Purposes: Obvious transition between scenes, segments or graphics; add energy and action, increase pacing.
Super
Description: Mixing two images together.
Purposes: Show two views of subject at the same time, suggest that main subject is thinking about the other.
Freeze
20. Software
What is a ‘software’?
Software means computer instructions or data.
It is also described as operating information
used by computers. Many digital videos use
specific software's to maintain the quality.
What are ‘video editing software's?
They are applications software's that handles
the post-production editing of digital video
sequences in a non-linear computer.
21. Linear
S Advancement Digital Technology
S Linear
S The process of selecting, arranging, and modifying the
images and sound recorded is called linear video editing.
S The moviola for instance is a device that allows a film
editor to view a film while editing. It was the first machine
for motion picture editing when it was invented by Iwan
Serrurier in 1924.
S This equipment is used in linear editing and requires the
cutting and splicing the film tape.
S 2-inch quadruplex videotape – This is a heavy videotape
that many editors carried around.
http://www.youtube.com/watch?v=8Fd_T4l
S Source:
2qaQ
22. Non-linear – The
Advancement of editing
Non-linear technology
In digital video editing, non-linear editing is a method that allows you to access
any frame in a digital video clips regardless of sequence in the clip
The introduction of non-linear editing with computers in the early 1990s was
nothing short of revolutionary.
Digital Video editing is non linear with non-Linear equipment you can:
• You can reorder the footage and make changes at any time without any
major problem
• You can go back and change an edit easily
• You can make fine adjustments
• You can create digital transitions and effects easily and quickly
S
Editor's Notes
Some words you may want to memorise
In this part of the presentation, I will be talking about the how digital editing technology and techniques have developed over time.
Software is a general term for the various kinds of programs used to operate computers and related devices.j
In the 1930s, both sound and colour were introduced to films. DzigaVertov’s The Man With A Movie Camera is an early documentary designed to show how films are made and work, especially in regards to the Soviet principle of montage. The Soviets developed the idea of a dialectical montage: a constant collision of one shot with another shot to create a totally new meaning. For example, a shot of a neutral expression that cuts to a shot of food makes the viewer perceive hunger, whereas the same neutral expression cutting to a shot of a funeral makes the viewer perceive sadness
In the 1990s, non-linear editing computers became available and opened a whole new world of editing power and flexibility. Non-linear editing is the most natural approach when all assets are available as files on video servers or hard disks rather than recordings on reels or tapes, while linear editing is related to the need to sequentially view a film or read a tape to edit it.Talk about Hollywood ‘seamless editing’