as art video production editing
TRANSCRIPT
-
8/14/2019 As Art Video Production Editing
1/19
AS Art VideoProduction
Editing
-
8/14/2019 As Art Video Production Editing
2/19
Film editing developed from the 1920s ascameras became lighter and filmmakersexperimented with framing and camera
movement. It has become the most discussedfilm technique. An ordinary Hollywood filmtypically contains between 1000 and 2000shots; and action based movie can have 3000or more. Editing shapes the organization of filmand how it affects us as spectators.
-
8/14/2019 As Art Video Production Editing
3/19
WHAT IS EDITING?
The co-ordination of one shot with the next.
The elimination of unwanted footage
The joining of shots together
-
8/14/2019 As Art Video Production Editing
4/19
JOINS
On Film stock these are achieved in the lab during
postproduction or through software in digital editing.
Joins can be:
A Fade-out darkens the end of a shot to black A Fade-in lightens a shot from black
A Dissolve superimposes the end of the first shot
and beginning of the second shot
A Wipe Shot 1 replaces shot 2 by means of a
boundary line moving across the screen.
-
8/14/2019 As Art Video Production Editing
5/19
THE CUT
A Cut Mostly Cuts appear invisible an instantaneous changefrom one scene or view to another.
Experimental filmmakers like Michael Snow or Andy Warholoften did not cut film at all, but used the whole length of film.
E.G. Alfred Hitchcocks THE BIRDS (CH13) Melanie is isolated within the frame through cutting and we followher POV to the gas station outside.
Most sequences are shot with one camera and are therefore shotmultiple times
Therefore shots have to be planned to be pieced together in theediting.
-
8/14/2019 As Art Video Production Editing
6/19
DIMENSIONS OF FILMEDITING/ Editing offers the filmmaker four basic areas
of choice.
Graphic relations between shot A and Shot B
Rhythmic relations between shot A and B
Spatial relations between Shot A and B
Temporal relations between shot A and B
-
8/14/2019 As Art Video Production Editing
7/19
1.Graphic relations betweenshot A and Shot B Shots can be considered and appreciated purely for their graphical
relations and composition. Editing any two shots permits theinteraction, through similarity and difference, of the purely pictorialqualities of those two shots. . Every shot provides possibilities forpurely graphic editing, and every cut creates some sort of graphic
relationship between two shots. Graphics maybe edited to achieve smooth continuity or abrupt
contrast. Similarity between shots = Graphic Match e.g. Alien Discontinuity between shots = For graphic abrasions or to contrast
characters. Shots can clash also through changes of colour andlighting (light to dark, red to blue) e.g. The Birds Contrast in thedirection of Melanies look to the direction of the flame. Contrastbetween movement and stasis.
-
8/14/2019 As Art Video Production Editing
8/19
Rhythmic Relations betweenshot A and Shot B. Editing allows the filmmaker to determine the duration of each
shot. By adjusting the length of each shot in relation to each cut.The editor controls the rhythmic potential of editing. Althoughrhythm is also created from movement within the frame, soundand music, mise-en-scene etc, it is primarily created through
editing. Accent short cuts or changes to stress a moment, long pauses
to accentuated and action or scene Beat - Use of shot length to create a discernible rhythm. A
metrical beat can be created through placing several shots of the
same length together. Tempo action can be slowed down by gradually decreasing the
length of the shots or sped up by increasing it. E.G. THE BIRDS
-
8/14/2019 As Art Video Production Editing
9/19
Spatial Relations betweenshot A and B Editing allows the filmmaker to move
instantaneously from one shot to another. Thesespatial locations can be linked through similarity,difference or development in movement or narrative.
Spatial Continuity/Co-existence - E.G. The Birdscreates spatial relation and continuity between theCaf and the Gas station/outside world.
Spatial relations - Lev Kuleshov, The kuleshovEffect 1920s experimented with our assumptions
by showing a n audience shots of a neutral actorsface intercut with various other shots; soup, naturescenes a dead women a baby. The audiencereported changes in the actors face.
-
8/14/2019 As Art Video Production Editing
10/19
Temporal Relations BetweenShot A and B Like other film techniques, editing can control the
time of the action denoted in the film. Through the
order of the presentation of events
Continuous 1,2,3 The Birds Reversed.
Flashbacks e.g. Apocalypse Now
http://www.youtube.com/watch?v=bU0DxJVWhGw Flashforwards Easy Rider CH 26, CH 29
Films can also move backwards and forwards in
time as in Pulp Fiction
http://www.youtube.com/watch?v=bU0DxJVWhGwhttp://www.youtube.com/watch?v=bU0DxJVWhGwhttp://www.youtube.com/watch?v=bU0DxJVWhGwhttp://www.youtube.com/watch?v=bU0DxJVWhGw -
8/14/2019 As Art Video Production Editing
11/19
Elliptical editing (Concise)
presents an action in such a way that it consumes less time onthe screen than it does in the story.
Punctuation - An action such as climbing stays can be cut so thatit doesnt have to occur in real time. A punctuation shot can beused such as a fade, flash of white to move the action on. These
punctuations suggest to the viewer that time has on. Empty Frames - The actor moves out of frame at the bottom of
the stairs. Cut to top of the stairs and actor moving into frame. Cutaway Man walking upstairs cut to a brief scene outside and
then back to the man at the top of the stairs. http://www.youtube.com/watch?v=ONMSe_zhq70
http://www.youtube.com/watch?v=ONMSe_zhq70http://www.youtube.com/watch?v=ONMSe_zhq70 -
8/14/2019 As Art Video Production Editing
12/19
Expansive Editing
- Moments of time or events can be extended
or repeated to accentuate an image or of time
passed. The Russian filmmakers of the
1920s made frequent use of temporalexpansion through such overlapping editing.
In Strike and October and Ivan the Terrible
scenes are extended to accentuate moments.
-
8/14/2019 As Art Video Production Editing
13/19
Repetition
Repetition Occasionally filmmakers will
repeat an action more than once to
accentuate a moment. Martial arts films often
repeat a move and from different angles toaccentuate it.
-
8/14/2019 As Art Video Production Editing
14/19
CONTINUITY EDITING/
Most filmmakers use the dominant film editing style
called continuity editing which allows stories to be
told clearly and coherently. Narrative continuity.
Filmmakers begin to make cuts from 1900 Creates a smooth flow from shot to shot
Figures are balanced and symmetrically deployed in the
frame.
Lighting tonality remains constant
Long-shots are left longer on the screen than medium
shots, medium shots longer than close-ups.
-
8/14/2019 As Art Video Production Editing
15/19
The 180 Degree system
In the continuity style the space of a scene is constructed alongwhat is called the axis of action/center line/180 line. The camerascannot move beyond this 180 degree semicircle.
The 180 degree system ensures that relative positions in theframe remain consistent.
Consistent eyeline matches Consistent screen direction Characters must move in the same
direction so as not to disorientate the viewer. e.g. A western where two characters face each other in a
showdown if filmed from the other side of the axis line. Space isdelineated clearly. The characters are positioned clearly inrelation to each other and the setting
http://www.youtube.com/watch?v=HdyyuqmCW14
http://www.youtube.com/watch?v=HdyyuqmCW14http://www.youtube.com/watch?v=HdyyuqmCW14 -
8/14/2019 As Art Video Production Editing
16/19
EXAMPLE: The opening ofJohn Hustons The Maltese
Falcon. Shot-reverse-shot Eyeline Match shot of person looking followed by a shot of
what they are looking at. Creates a strong spatial continuity (Likeoff-screen sound)
Re-establishing shot adjustment of camera position forcharacter movement/action
Establishment/breakdown/re-establishment Match-on-action Person standing up from 1 angle cut to the
same action from a different angle)(Remember films shot with 1camera). Creates a great sense of spatial continuity.
All of this creates continuity our minds fill in the gaps and join thesequences together.
The Axis of action can be moved according to the movements ofthe actors.
-
8/14/2019 As Art Video Production Editing
17/19
CROSSCUTTING/
Crosscutting gives us an unrestricted knowledge of causal, temporal, orspatial information by alternating shots from one line of action in one placewith shots of other events in other places.
First developed by D.W. Griffith Example from Fritz Langs M Chapter 8/9 Crosscutting builds up suspense
Ties together the different lines of action temporal simultaneity Presents narrative actions occurring in several locales at once. Continuity editing reinforces habitual expectations and therefore becomes a
powerful device for the spectator. These conventions can also therefore becounteracted. By the 1930s continuity editing was the standard approach toediting.
Films are cut much faster today. In the period between 1930 and 1960 -300-500 shots
Today over 1200 shots Perhaps the influence of Television. Faster cuttingis easier to follow on smaller screens
-
8/14/2019 As Art Video Production Editing
18/19
The Montage Sequence/
In order to cover large periods of time in a
story. Many cuts are used temporally to
suggest time passing this is often called a
montage sequence. E>G. Silence of theLambs.
http://www.youtube.com/watch?v=_Rpu7DDs2SI
There are many alternatives to the continuitystyle which we will look at next week.
http://www.youtube.com/watch?v=_Rpu7DDs2SIhttp://www.youtube.com/watch?v=_Rpu7DDs2SI -
8/14/2019 As Art Video Production Editing
19/19
Key Terms
JOINS THE CUT Graphic relations between shot A and Shot B (Graphic match graphic
mismatch) Rhythmic relations between shot A and B (Accent, beat, Tempo) Spatial relations between Shot A and B (Spatial Continuity or
discontinuity) Temporal relations between shot A and B (Continuous, reversed,
flashback, flash-forward, elliptical Empty Frame, cutaways Expansive Editing Repetition Continuity Editing
The 180 Degree System Crosscutting Montage