Chapter 8 editing
Terms in this set (28)
basic building block of film editing, two values, 1) what is within the shot itself 2) determined by how the shot is situated in relation to other shots (product of editing)
before literally by hand cut and paste frames together, ability to join shots and produce a meaning that does not exist in either one of the individually.
a device for presenting or Reawakening the Memory of the camera, a character, the audience-or all three-in which the action cuts from the narrative present to a past event, which may not have already appeared in movie either directly or through inference.
A device for presenting the anticipation of the camera, a character, the audience— or all three—in which the action cuts from the narrative present to a future time, one in which, for example, the omniscient camera reveals directly or a character imagines, from his or her point of view, what is going to happen.
1. In France, the word for editing, from the verb monter, "to assemble or put together." 2. In the former Soviet Union in the 1920s, the various forms of editing that expressed ideas developed by theorists and filmmakers such as Sergei Eisenstein. 3. In Hollywood, beginning in the 1930s, a sequence of shots, often with superimpositions and optical effects, showing a condensed series of events.
show how middle image changes entire meaning. smiling then to girl in bikini is different than looking at baby. point of view editing so we can see his/her reaction
the pace or duration of the shot, controls the length of time you can look at each shot and absorb information. accents stress or lack of it.
length we see the shot
Continuity editing ensures the flow from shot to shot; creates a rhythm based on the relationship between cinematic space and cinematic time; creates filmic unity (beginning, middle, and end); and establishes and resolves a problem. In short, continuity editing tells a story as clearly and coherently as possible.
-ensures what happens of screen makes as much sense as possible
-screen direction is consisted with shot
-graphic, spatial, and temporal relations are maintained from shot to shot
breaks the rile of continuity editing by seeking to achieve transitions between shots that are not smooth, continuous, or coherent. abrupt shifts between shots, mismatches in location of characters, direction or speed of movement.
long shot, that covers the character and action in one continuous take. proceeds to coving the scene with whatever shots might need to finish scene.
depends on 3 factors working together in any single shot 1)scene must move along a hypothetical line that keeps the action on a single side of the camera 2) the camera must shoot consistently on one side 3) everyone on the production set must understand and adhere to this system. ex. character 1 on the left, character b on the right
consisting of parallel editing (crosscutting) between shots of different characters, usually in a conversation or confrontation. When used in continuity editing, the shots are typically framed over each character's shoulder to preserve screen direction.
character a looking right, character b looking to left
angle of shooting is opposite to that in a preceding shot or to dolly or zoom out to include more people or actions.
A cut that preserves continuity between two shots. Several kinds of match cuts exist, including the eye-line match cut, the graphic match cut, and the match-on-action cut.
shows us the continuation of a character or objects motion through space without actually showing us the entire action. fairly routine.
graphic match cut
similarity between shots A and B is in the shape and form of what we see. shape, color, texture provide continuity.
joins shot A, in which a person looks at someone offscreen, and shot B, gaze looking back
parallel editing (cross-cutting)
cutting together of two or more lines of action that occur simultaneously at different locations
editing of two or more actions that take place at different locations and/or different times but give the impression of one scene. present time and future/past time
process of editing different shots together in such a way that the resulting sequence makes us aware of the perspective or point of view of a particular character or group of characters. most frequently, starts with an objective shot of a character looking toward something offscreen and then cuts to a shot of the object, person, or action that the character is suppose to be looking at
sudden, illogical, often disoriented ellipse between two shots caused by the absence of a portion of the film that would have provided continuity.
fade in and fade out
scene open or close slowly. Transitional devices in which a shot fades in from a black field on black-and white film or from a color field on color film, or fades out to a black field (or a color field). break in time, place, or action.
transitional device in which shot B, superimposed, gradually appears over shot A and begins to replace it midway through the process.
a transitional device between shots in which shot B wipes across shot A either vertically or horizontally to replace it.
Optical wipe effect in which the wipe line is a circle; named after the iris of a camera. The iris-in begins with a small circle, which expands to a partial or full image; the iris-out begins with a large circle, which contracts to a smaller circle or total blackness. An iris shot is a technique frequently used in silent film in which a black circle closes to end a scene
stop frame or hold frame, a still image within a movie, created by repetitive printing. stops time and function, like an exclamation point.
produces effect that is similar to parallel editing in its ability to tell two or more stories at the same time. literally split screen.
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