Editing
Merging of individual shots.
We
can't see the editing physically. It is invisible Art. Editing starts from the
first frame to the last frame.
Screening time is controlled by editing. While doing the editing follow the
script and don't dominate the director. Film editing is part of the process of
filmmaking. It involves the selection and combining of shots into sequences, and
ultimately creating a finished motion picture. It is an art of storytelling.
Editing defines temporal element that has relation to time.
Editing is a way to form a narrative temporarily.
Editing is about time. Editing creates the tension.
Editing is about retaining and joining the best possible moments.
Cut is
equal to our Eye Blink. Equal to closing our eyes.
Aesthetics of Editing
Editor's cut
There
are several editing stages and the editor's cut is the first. An editor's cut
(sometimes referred to as the "Assembly edit" or "Rough cut") is normally the
first pass of what the final film will be when it reaches picture lock.
Director's cut
When
shooting is finished, the director can then turn his full attention to
collaborating with the editor and further refining the cut of the film. This is
the time that is set aside where the film editor's first cut is molded to fit
the director's vision. The director and the editor go over the entire movie with
scenes and shots are re-ordered, removed, shortened and otherwise tweaked.
Variations
L-Cut
An L-cut is when video and audio are edited asynchronously. For example, the
sound of approaching cars in an interior shot alerts the viewer that the next
scene will most likely involve traffic or take place outside.
Jump Cut
A jump cut is a cut, within the setting and time frame of a scene, where
continuity is visibly broken. Though a mistake in many cases, it can also be
used for dramatic effect. It is not to be confused with a cut used where a
dissolve or wipe would be (perhaps more) appropriate.
Cutaway
A cutaway is when footage extraneous to a scene is overlaid, visually
interrupting the narrative but perhaps displaying some important action taking
place simultaneously, or an action referenced in dialogue. Audio cutaways are
much less common, as they do not achieve the same effect.
Cross Cut
A cross cut is similar to a cut used in dialogue, but where the subjects are not
necessarily in the same setting (or even time frame). It establishes the same
intimate relation as a dialogue cut.
Match Cut
A match cut, like the cross cut, links together two scenes that visually or
otherwise resemble each other.
Cutting on Action
Cutting on action refers to a cut that links together two compositionally
similar scenes. For example, the imminent pulling of a gun trigger may, prior to
the gunshot, cut to a champagne cork firing off.
Fast cutting
Fast cutting is a film editing technique which refers to several consecutive
shots of a brief duration (e.g. 3 seconds or less). It can be used to convey a
lot of information very quickly, or to imply either energy or chaos.
Cross-cutting
Cross-cutting is an editing technique most often used in films to establish
action occurring at the same time in two different locations. In a cross-cut,
the camera will cut away from one action to another action, which can suggest
the simultaneity of these two actions but this is not always the case.
Cutaway
In film, a cutaway is the interruption of a continuously filmed action by
inserting a view of something else. It is usually, although not always, followed
by a cut back to the first shot, when the cutaway avoids a jump cut.
Match cut
A match cut is a cut in film editing between either two different objects, two
different spaces, or two different compositions in which an object in the two
shots graphically match, often helping to establish a strong continuity of
action and linking the two shots metaphorically.
Insert
In film, an insert is a shot of part of a scene as filmed from a different angle
and/or focal length from the master shot. Inserts cover action already covered
in the master shot, but emphasize a different aspect of that action due to the
different framing.
Cutting on action
Cutting on action or matching on action refers to a film editing technique where
the editor cuts from one shot to another view that matches the first shot's
action. Although the two shots may have actually been shot hours apart from each
other, cutting on action gives the impression of continuous time when watching
the edited film.
Dissolve
A dissolve transition between two still images. In film editing, a dissolve is a
gradual transition from one image to another. In film, this effect is created by
controlled double exposure from frame to frame; transitioning from the end of
one clip to the beginning of another. The cut and the dissolve are used
differently.
Wipe
It is often acknowledged that using a wipe, rather than a simple cut or dissolve
is a stylistic choice that inherently makes the audience more "aware" of the
film as a film, rather than a story.
Bridging Shot
The connection of one scene to another through the use of a
shot that shows a change in
time or location.
Flip over
The camera spins 180 degrees to introduce the new scene.
Reverse Motion
The movie is played backwards.
Superimposition
Two or
more shots are visible on top of each other by multiple exposure of the film.
180 Degree Rule
The
180° rule is a basic guideline in film making that states that two characters
(or other elements) in the same scene should always have the same left/right
relationship to each other. If the camera passes over the imaginary axis
connecting the two subjects, it is called crossing the line.
The
new shot, from the opposite side, is known as a reverse angle.
30 degree rule
The 30° rule is a basic film editing guideline that states the camera should
move at least 30° between shots of the same subject. The rule aims to emphasize
the motivation for the cut by giving a substantially different view of the
action.
Continuity editing
Continuity editing is the predominant style of editing in narrative cinema. The
purpose of continuity editing is to smooth over the inherent discontinuity of
the editing process and to establish a logical coherence between shots.
Seven "rules of cutting" that a good editor should follow:
Rule 1
Never
make a cut without a positive reason.
Rule 2
When
undecided about the exact frame to cut on, cut long rather than short.
Rule 3
Whenever possible cut 'in movement'
Rule 4
The
'fresh' is preferable to the 'stale'.
Rule 5
All
scenes should begin and end with continuing action.
Rule 6
Cut
for proper values rather than proper 'matches'.
Rule 7
There
are six main criteria for evaluating a cut or deciding where to cut.
Emotion - 51%
Story
- 23%
Rhythm
- 10%
Eye-trace - 7%
Two-dimensional plane of the screen - 5%
Three-dimensional space of action - 4%
Methods of montage
Metric
where
the editing follows a specific number of frames (based purely on the physical
nature of time), cutting to the next shot no matter what is happening within the
image. This montage is used to elicit the most basal and emotional of reactions
in the audience.
Rhythmic
includes cutting based on time, but using the visual composition of the shots --
along with a change in the speed of the metric cuts -- to induce more complex
meanings than what is possible with metric montage. Once sound was introduced,
rhythmic montage also included audial elements (music, dialogue, sounds).
Tonal
A
tonal montage uses the emotional meaning of the shots -- not just manipulating
the temporal length of the cuts or its rhythmical characteristics -- to elicit a
reaction from the audience even more complex than from the metric or rhythmic
montage. For example, a sleeping baby would emote calmness and relaxation.
Overtonal / Associational
The
overtonal montage is the cumulation of metric, rhythmic, and tonal montage to
synthesize its effect on the audience for an even more abstract and complicated
effect.
Creating the story
The first stage for the producer and editor is to know what is the story they
are trying to tell. The story is the skeleton of the edit and helps organise the
edit into chapters and topics much as in writing.
Rhythm and Pacing
Rhythm and pacing are very important within edits because if we are editing a
news story then it must be very fast with shots not lasting more than around 3
seconds.
Montage sequence
A montage sequence consists of a series of short shots that are edited into a
sequence to condense narrative. It is usually used to advance the story as a
whole (often to suggest the passage of time), rather than to create symbolic
meaning.
Offline Editing
Offline editing is the post-production process in which raw footage is copied
and edited, without affecting the camera original film or tape. Once a programme
has been completed in offline, the original media will be conformed, or
on-lined, in the online editing stage. The offline editing process is
quicker in Adobe Premiere, Final Cut Pro, Avid, Sony Vegas and Lightworks.
Notes
30 degree rule
180 degree rule
Average Shot Length
Continuity Editing
Conventions and Cliches
Cross
Cut or Parallel Cut
Cutting on Action
Cutting on Movement
Cutaway Shot
Dissolve
Diegetic Sound
Discontinuous Editing
Emotional Continuity
Fast Cutting
Flashback
Freeze
and Freeze Releasing
Hip Hop Montage
Insert
Intercut
Kuleshov Effect
Lag
Match on Action
Match Cut
Montage
Morphing
Neutral Shots
Non-Diegetic Sound
Offline Editing
Online Editing
Patch
Out Shooting
Physical Continuity
Reverse Telecine
Rhythm and Pacing
Rough
Cut
Rush Print
Safety
Shots
Sequence Shot
Slow Cutting
Sound
Flow Over Cut
Soviet
Montage Theory
Stop
Block Shots
Stay
Stock
Shots
Telecine
Temporal Discontinuity
Time
Code
Time
Pace and Rhythm of Editing
Trimming
Wipe
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