as art video production editing

Upload: marcatkinson

Post on 30-May-2018

218 views

Category:

Documents


0 download

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