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EDITING
Order of Shots
• The meaning of a clip can change depending on the order the shots are cut
together.
• Putting two shots together can suggest a connection or emphasise contrast
(juxtaposition).
• Screen time is also part of this – which character do we see most, or which
character do we see the perspective of most, i.e. point of view shots. This
tells us which characters are most important in a scene or at a particular
point in the narrative.
Continuity
• Cutting shots to tell a story with narrative continuity.
• Helping the viewer make sense of the action by implying spatial
relationships and ensuring smooth flow from shot to shot.
• Creates realism- edit is invisible so action appears real rather than
constructed.
ContinuityTechniques
• Establishing shot (establishes the space in which action is to happen)
• The 180º rule (ensures that the same space is described in each shot)
• Shot/reverse shot
• Eyeline match (e.g. character looks off-screen, next shot shows us what
they see)
• Match on action (character begins to move in one shot, we see continuation
of the same movement in the next shot)
Transitions
• The process of cutting from one shot to another usually involves a simple
straight cut. However there are other means of transition available to a film
editor such as fade to black, dissolve/cross fade.
Duration of Shot
• The duration of a shot will usually reflect the narrative context.
• Generally speaking short shot duration conveys action and urgency (say in a
chase sequence).
• Long shot duration creates a slower pace and conveys intensity and
intimacy within the narrative, it allows us to focus upon facial expression
and other aspects of mise en scene which would otherwise be missed.

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EDITING SHOTS SEQUENCE CONTINUITY TECHNIQUES TRANSITIONS DURATION

  • 2. Order of Shots • The meaning of a clip can change depending on the order the shots are cut together. • Putting two shots together can suggest a connection or emphasise contrast (juxtaposition). • Screen time is also part of this – which character do we see most, or which character do we see the perspective of most, i.e. point of view shots. This tells us which characters are most important in a scene or at a particular point in the narrative.
  • 3. Continuity • Cutting shots to tell a story with narrative continuity. • Helping the viewer make sense of the action by implying spatial relationships and ensuring smooth flow from shot to shot. • Creates realism- edit is invisible so action appears real rather than constructed.
  • 4. ContinuityTechniques • Establishing shot (establishes the space in which action is to happen) • The 180º rule (ensures that the same space is described in each shot) • Shot/reverse shot • Eyeline match (e.g. character looks off-screen, next shot shows us what they see) • Match on action (character begins to move in one shot, we see continuation of the same movement in the next shot)
  • 5. Transitions • The process of cutting from one shot to another usually involves a simple straight cut. However there are other means of transition available to a film editor such as fade to black, dissolve/cross fade.
  • 6. Duration of Shot • The duration of a shot will usually reflect the narrative context. • Generally speaking short shot duration conveys action and urgency (say in a chase sequence). • Long shot duration creates a slower pace and conveys intensity and intimacy within the narrative, it allows us to focus upon facial expression and other aspects of mise en scene which would otherwise be missed.