Monday 29 November 2010

EDITING

EDITING

CONTINUITY EDITING
The majority of film sequences are edited so that time seems to flow, uninterrupted , from shot to shot. within a 'continuity editing' sequence, only cuts will be used. continuity editing can also involve 'cross-cutting', where a sequence cuts between two different settings where action is taking place at the same time. there are matches on action and no editing that draws attention to itself. this IS the realm of the 'invisible edit'.

MONTAGE
In montage, different images are assembled to build up an impression. This is often used in the title sequence. the most famous example of this technique is the Odessa steps sequence from battle Battleship Potemkin. this is used increasingly in what is now called 'American Quality Television' and includes most of the shows headlining on Sky, FX, Channel 4 amongst others.

Editing can vary both in pace (how long individual shots stay on the screen for) and in the transitions (or STYLE ) between shots. Transitions describes the way in which one shot replaces the previous one and is the term used by editors and their software.
-----------------------------------------------------------------------------------------------------------------
PACE OF EDITING

CUTTING RATE
Frequent cuts may be used as deliberate interpretations to shock, surprise or emphasize the audience. Generally speaking, the rate that cuts are made increases with the tension in the film.

CUTTING RHYTHM
a cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may be exciting (erratic and unpredictable), lyrical ( in time with the music or with a feeling of rhythm) or staccato ( like sharp, regular cuts). It can create excitement, musical 'alignment' or intense response to the viewer.
-----------------------------------------------------------------------------------------------------------------
TRANSITIONS / STYLES OF EDITING

STRAIGHT CUT
one image is suddenly replaced by another, without visible transition. we are so used to these that we will probably not even notice them. In classic continuity, that is the point- not to be noticed.

CROSS-DISSOLVE
One image dissolves into another, this can be used to make a montage sequence- such as a title sequence- flow smoothly ; it can also be used in continuity editing to show that we have moved forward in time and/or space.

FADE UP
An image gradually fades in.

FADE OUT
An image gradually fades out. Fades to and from black usually means that time has passed

WIPE
One image replaces another without dissolving, with the border between the images moving across or around the screen. This style was previously popular in the 1960's but has not been much used until recent work, mostly cartoon based hollywood mainstream films such as Hellboy and Iron man.

JUMP CUT
this is where a cut is disjointed - often by the change in what the audience sees not changing much- the action appears to judder or just 'jump'. this is used to disconnect the audience.
typically a jump cut is one of the less than 30 degrees and is easy enough to spot as it make the scene literally 'Jump' before your eyes and is used frequently.

MATCHED CUT
In a 'matched cut' a familiar relationship between the shots may make the change seem smooth through:
-continuity of direction
-completed action
-a similar centre of attention in the frame
-a one-step change of shot size (e.g. long to medium)
-a change of angle (conventionally at least 30 degrees)

No comments:

Post a Comment