Research Task:
Seamless:
- Seamless editing is where you seem to know what you are doing with your editing, but the more and more you get deeply involved with the project you get less aware of what is happening.
Continuity:
- Continuity Editing Definition:
A system of cutting used to maintain continuous and clear narrative action by following a set of rules.
The Rules:
Establishing shot Shot / reverse shot 180 º rule 30 º rule Crosscutting Match on Action Eyeline Match Re-establishing shot.
The Benefits:
The narrative has structure The shot sequences flow seamlessly into each other It’s easy to watch the film
A system of cutting used to maintain continuous and clear narrative action by following a set of rules.
The Rules:
Establishing shot Shot / reverse shot 180 º rule 30 º rule Crosscutting Match on Action Eyeline Match Re-establishing shot.
The Benefits:
The narrative has structure The shot sequences flow seamlessly into each other It’s easy to watch the film
Jump Cutting:
- A jump cut is a transition between two shots which appears to "jump" due to the way the shots are framed in relation to each other. Jump cuts are usually caused by framing which is quite similar, such as these two:
- When the first shot above cuts instantly to the next, the effect is not pleasing. The framing is not different enough to be a new shot — the transition instead appears to be a mistake in editing.
- Note: Like all rules of framing, the jump cut rule can be broken. Jump cuts can add impact and tension in the right place. As always, learn how to use the rule before you learn how to break it.
- There are two ways to avoid a jump cut:
- Zoom instead of cutting
- Make the framing of the two shots completely different.
- The following sequence of shots is preferable to the example above:
- Note: Like all rules of framing, the jump cut rule can be broken. Jump cuts can add impact and tension in the right place. As always, learn how to use the rule before you learn how to break it.
- There are two ways to avoid a jump cut:
- Zoom instead of cutting
- Make the framing of the two shots completely different.
- The following sequence of shots is preferable to the example above:
- As you can see, this sequence uses three of the standard shot types (wide shot, mid-shot and MCU). This is a helpful way to avoid jump cuts — you can safely cut between most standard shot types.
Cutting between people:
- The jump cut effect is even more disconcerting when it happens between two different subjects. For example, if a shot of one person is followed by a shot of a different person in the same position, it looks like the first person has transformed into the second one. When cutting between different people, pay attention to looking room and other positioning elements.
- For example:
If both people are facing the camera, you have a jump shot.
If one person is facing left and the other is facing right (with appropriate looking room), it looks like two people talking to each other.
- For example:
If both people are facing the camera, you have a jump shot.
If one person is facing left and the other is facing right (with appropriate looking room), it looks like two people talking to each other.
Parallel Editing:
- Parallel editing (also known as cross-cutting), is a film editing technique of continuity editing that establishes the relationship between two subjects by cutting from one to the other. One of the most important effects of the parallel edit (but not a necessary one) is that of simultaneousness, suggesting that two events occur at the same time. By employing this sequence of alternating focus, the filmmaker is able to place subjects in relation to one another, allowing complex and subtle relationships to establish themselves by way of cinematic proximity.
- Parallel editing is essential to nearly every race and chase scene in modern movies. The idea is to build up tension between two subjects while relating them to one another, which I think this clip from the Matrix Reloaded does well. First, we see the initial, basic action of the sequence, but have no frame of reference for Neo's action. Then comes a quick cut to a completely different location (in this case, not even technically in the same realm) that implies Morpheus and Link's relation to Neo's action. They make a quick comment on his action, a clear indication of the link between the two scenes. The next cut is clear parallel editing: the city, Neo flying as fast as he can through it, then a cut to the new action sequence of Trinity's fall from the building. This rapid cutting, from the city, to Neo, to Trinity, all weigh on the viewer's mind to infer their relation to each other, and because of their quick succession, we assume that these actions are all occuring simultaneously. The feeling of simultaneous action grows as the cuts become more frequent and close in on our two main lines of action: cut to Neo's flight, back to Trinity falling, back to Neo flying, then closer as the bullet is fired at Trinity, another cut closer to Neo's face, then a clear close-up of the bullet entering Trinity's chest and her reaction. Then, our two lines of action come together in the final few shots of the clip, confirming our assumptions that all the action was occuring simultaneously. Neo saves Trinity just in time, and he carries her off above the city, away from danger.
- Parallel editing is essential to nearly every race and chase scene in modern movies. The idea is to build up tension between two subjects while relating them to one another, which I think this clip from the Matrix Reloaded does well. First, we see the initial, basic action of the sequence, but have no frame of reference for Neo's action. Then comes a quick cut to a completely different location (in this case, not even technically in the same realm) that implies Morpheus and Link's relation to Neo's action. They make a quick comment on his action, a clear indication of the link between the two scenes. The next cut is clear parallel editing: the city, Neo flying as fast as he can through it, then a cut to the new action sequence of Trinity's fall from the building. This rapid cutting, from the city, to Neo, to Trinity, all weigh on the viewer's mind to infer their relation to each other, and because of their quick succession, we assume that these actions are all occuring simultaneously. The feeling of simultaneous action grows as the cuts become more frequent and close in on our two main lines of action: cut to Neo's flight, back to Trinity falling, back to Neo flying, then closer as the bullet is fired at Trinity, another cut closer to Neo's face, then a clear close-up of the bullet entering Trinity's chest and her reaction. Then, our two lines of action come together in the final few shots of the clip, confirming our assumptions that all the action was occuring simultaneously. Neo saves Trinity just in time, and he carries her off above the city, away from danger.
180 Degree Rule:
- 180 º rule Definition: The angle between any two consecutive shots should not exceed 180 º, in order to maintain spatial relationships between people and objects in any given sequence of shots.
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.
Transitions:
Video Transition: The “Fade”
- Two key transitions are fade-up from black and fade to black. Fading in from a single color, such as black, conveys a sense of “beginning.” And nothing says “the end” like a fade to black. (Fades can be used with other colors, too).
Video Transition: The “Cut”
The most common transition is the “cut.” This is simply one video clip changing instantly to the next shot.
Cuts are the best way to keep the action or momentum moving along at a good pace.
Straight cuts are not only simple, but they create smaller overall file sizes, which are an advantage for web videos. (In other words, adding transitions create larger video files, and on the Internet, smaller files are desirable).
- Two key transitions are fade-up from black and fade to black. Fading in from a single color, such as black, conveys a sense of “beginning.” And nothing says “the end” like a fade to black. (Fades can be used with other colors, too).
Video Transition: The “Cut”
The most common transition is the “cut.” This is simply one video clip changing instantly to the next shot.
Cuts are the best way to keep the action or momentum moving along at a good pace.
Straight cuts are not only simple, but they create smaller overall file sizes, which are an advantage for web videos. (In other words, adding transitions create larger video files, and on the Internet, smaller files are desirable).
Establishing Shots:
- Establishing shot Definition:
A long shot or extreme long shot, usually with loose framing, that shows the spatial relations between the important figures, objects and setting in a scene.
A long shot or extreme long shot, usually with loose framing, that shows the spatial relations between the important figures, objects and setting in a scene.
Point of View Shot:
- A Point Of View shot is a simple shot of what the character (or object) sees. We as the audience get a glimpse of what the character is looking at. This POV shot falls under the family of Reverse Cuts and is a great tool to engage the audience to see from the character’s eyes.
Shot Reverse Shot:
- Shot-reverse-shot It may not be filmed in the correct order but will be edited together afterwards. Must ensure that the right amount of shots are filmed to make the ‘shot-reverse-shot’ sequence work
Editing Rhythm:
- The perceived rate and regularity of sounds, series of shots, and movements within the shots. Rhythmic factors include beat (or pulse), accent (or stress), and tempo (or pace). Rhythm is one of the essential features of a film, for it decisively contributes to its mood and overall impression on the spectator. It is also one of the most complex to analyze, since it is achieved through the combination of mise-en-scene, cinematography, sound and editing. Indeed, rhythm can be understood as the final balance all of the elements of a film.
Cross Cutting to Sound Track:
- A method of editing in which the point of view (p.o.v.) switches alternately from events at one location to those of another related action. The action is ususlly simultaneous and used to create a dynamic tension as in the chase scene in D.W. Griffith's A Girl and Her Trust.