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    The Visual Systems ab

    The Evolution of Film Editing Technique

    and its Implications to the Parsing andSummarization of Motion Pictures

    John Mateer Dept of Electronics

    Dept of Theatre, Film & TV(011 44) 1904 433 245 [email protected]

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    The Visual Systems ab

    Overview

    Overview of Shooting Related to EditingEvolution of Grammar and TechniquesRelevance to Automated ParsingBenefits to SummarisationIssues and ObstaclesConclusions

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    The Visual Systems ab

    Shooting in Relation to Editing

    Director controls what is shotSurrogate audience member

    Composition attributes affecting editingSubject PositionFraming

    Lead spaceEye line

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    The Visual Systems ab

    Subject Position within Frame

    1/3rd

    2/3rds

    Camera Left Camera Right

    Saving Private Ryan 1998 Paramount

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    The Visual Systems ab

    Framings

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    The Visual Systems ab

    Lead Space

    Saving Private Ryan 1998 Paramount

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    The Visual Systems ab

    Eye Line

    Saving Private Ryan 1998 Paramount

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    The Visual Systems ab

    Shooting and Editing Scenes

    Scene Structure A clear beginning , middle and endNot a resolution of story but of moment

    Coverage All shots taken to record the sceneEach new shot should advance story What does the audience need to see?

    Processed raw footage called Rushes

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    The Visual Systems ab

    Choosing Shots

    Variation in composition and angles willdetermine how shots cut

    ContinuityIn Setting and SpaceIn Action

    In Camera motionThe Line

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    The Visual Systems ab

    Thomas Crown Affair (1968)

    Clip from the bank manager scene

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    The Visual Systems ab

    Relationship of Time to EditingTime

    Running time physical duration of program Audience time perceived duration

    Story time local duration within program Action time event duration

    Flow of time controlled through beatsIn action, camera movement or transitionsEnable breathing space, emphasis

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    The Visual Systems ab

    Evolution of Film Grammar

    Pre-1900: Birth of Cinema1900-1910: Evolution of Continuity1910-1920: Beginning of Common Language1920-1930: Conceptual Languages Emerge1930-onward: Expansion of established

    grammars, development of new ones

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    The Visual Systems ab

    Pre-1900: Birth of Cinema

    Camera not mobileRequirement of light very highTheatrical Presentation

    Fourth Wall model Audience kept distant

    No transitionsSimply to record a constrained event

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    The Visual Systems ab

    1900-1910: Notion of Time

    Long takesStraight cut transitions emergeNo line but evolution of continuity

    entrance and exits from correct sideaction consistent between adjacent shots

    Initially real time (no ellipsis)Location work just starting

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    The Visual Systems ab

    Yorkshire Egg Collectors (1908)

    Clip of climmers gathering edgefrom cliff faces in Flamborough

    From the Yorkshire Film Archives

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    The Visual Systems ab

    1900-1910: Continuity Evolves

    Linear time but in multiple localesvery beginning of ellipsis

    Variation in framing dictated by location Audiences began to understand nature of

    film and basic continuity

    Novelty drives filmmaking

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    The Visual Systems ab

    The Thieving Hand (1908)

    Clip of the hand being pawned,stealing from the pawn shop

    and the police being summoned

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    The Visual Systems ab

    1900-1910: Continuity EvolvesEarly notion of Line through Eye Line

    Lead space used to guide viewers attentionContinuity of space still inconsistent

    Still fourth wall modelTechnical innovations enhance technique

    Stop motion photography, Multiple exposureVariation in recording frame rates

    Audience sophistication drives innovation

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    The Visual Systems ab

    Princess Nicotine (1908)

    Clip of the stop-motion animation of cigar being created, man in living room

    smoking and tormenting the Princess

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    The Visual Systems ab

    1910-1920: Common LanguageMaster-Scene language established

    Start with Establishing ShotCloser shots to see subjects, action

    Close-ups to see emotion, reactionWider shots for context, reinforcementReturn to Closer shots to reinforce reactionOften Wide end shots to show resolution, exit

    The Line gains acceptance as standard

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    The Visual Systems ab

    1910-1920: Languages Develop

    Parallel Language established Action in multiple locations occurring

    simultaneously cross-cutting

    Experimentation with conventionColour used to indicate time, emotion

    New technology enables moving camerasOptical transitions become common

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    The Visual Systems ab

    The Lonedale Operator (1911)

    Clip of the cross-cut sequence of the woman telegraphing for help

    as the robbers try to break in

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    The Visual Systems ab

    1920-1930: Conceptual Language

    Pudovkin tests Constructive modelMeaning of film can be broader than

    content of individual shots

    Enables conceptual communicationCreates tension, enhances action

    Eisenstein expands this through MontageGraphic, Rhythmic, Picture-Sound and

    Ideological juxtaposition

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    The Visual Systems ab

    Battleship Potemkin (1925)

    Clip of the Odessa Steps sequence

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    The Visual Systems ab

    1930-onward: Grammar ExploredVisual Discontinuity

    Buuel, surrealists challenge perception andexpectation

    Exploit audience understanding of continuityContinuity, Lead Space, Eye Line abusedDevelopment of Graphic Match cuts

    Advent of Jump Cuts to jar viewer If squeamish, look away now!

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    The Visual Systems ab

    Un Chien Andalou (1929)

    Clip of the graphic match betweenthe cloud crossing the moon and the

    ladys eye being sliced

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    The Visual Systems ab

    1930-onward: Grammar ExploredTransition Driven

    Focus audience attention explicitlyNo attempt to hide technique

    Most common in newsreelsContinues in hard sell advertising

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    The Visual Systems ab

    News on the March (1941)

    Clip of the news reel fromCitizen Kane

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    The Visual Systems ab

    1930-onward: Grammar ExploredDissection of Action (Vorkapich)

    Similar to montage but salient shots shownto convey a linear process

    Focuses audience on steps involved, detailWidely used today in conjunction with other

    techniques

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    The Visual Systems ab

    1930-onward: Evolution of SoundInitially based on Theatre model

    Music accompaniment to enhance drama

    Evolved to basic recording of event

    Dialogue, action but all liveMulti-track recording, editing enabled control

    Foley, looping, better synchronisation

    Sound design evolves to control howpicture is interpreted

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    The Visual Systems ab

    Modern FilmmakingDraws on all previous languages

    Exploits audience knowledge and expectationof grammar and genre convention

    There is little that is newRe-invention, re-discovery of technique

    except what technology enablesSnorkel lens, virtual cameras, etc.

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    The Visual Systems ab

    Raging Bull (1980)

    Clip of the Sugar Ray Robinsontitle fight that Lamotta loses

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    The Visual Systems ab

    Automated ParsingCan technique and language be of use?

    Picture and Sound analysis can revealpatterns to potentially classify language

    Parsing certain elements could enable higher-level semantic concepts to be identified

    Determination of grammar could better define search ranges

    The goal is reduce the scale of the domain,splitting it into manageable data sets

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    The Visual Systems ab

    Picture AnalysisRelative motion and subject tracking can

    be extracted via segmentationFace Detection methods can facilitate

    the extraction of Framings and GroupingsNoting orientation of respective head positionscan indicate Eye Line

    Face Recognition can aid with contextText recognition through OCR to add detail

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    The Visual Systems ab

    Picture AnalysisObject pattern matching techniques can

    be applied in stagesLocation or Setting can be established based

    on landmark detection (Eiffel Tower = Paris)More abstract settings can be detected by

    salient features (traffic lights = street)

    The goal is to build semantic databaseto enhance chances of correct parsing

    h l b

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    The Visual Systems ab

    Sound AnalysisSegmentation of soundtrack into music,

    dialogue and effects for individual parsingClassification based on sound signatures

    noting time to correlate with pictureGive clues as to what to search for visuallyEnhance accuracy of parsing through

    reinforcement

    Th Vi l S b

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    The Visual Systems ab

    Film Language AnalysisPatterns of picture and sound characteristics

    in shots can provide insight into languageFramings and durations can create signatureTypes of Continuity can be classified

    Could be used to determine genreCould be used to assist dating of programsCan provide additional detail for

    summarisation

    Th Vi l S b

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    The Visual Systems ab

    SummarisationRich Metadata and prosaic textual

    descriptions can be generatedPotential cross links with related programs

    to confirm/enhance extracted dataBenefit to visual summarisation unclear Dependent on metaphor used

    Static depictions can nullify effect of editingtechnique

    Th Vi l S t b

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    The Visual Systems ab

    SummarisationReverse Storyboarding Metaphor

    Based on film preproduction visualisationmethods

    Draws on extracted technical attributesof pictures

    Automatically adds visual cues in keepingwith storyboarding technique

    onion skins, streaks, trail lines, arrows, field cuts, etc.

    Annotated, mosaic or combination form

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    The Visual Systems ab

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    The Visual Systems ab

    Reverse Storyboarding

    Zoom Out in Mosaic Form Zoom In Reference

    The Visual Systems ab

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    The Visual Systems ab

    Issues and ObstaclesFilm language very rich and not uniformPatterns of editing not always consistentSignificant knowledge of film history

    required to create effective model Accurate training and testing difficult given

    diversity of programs in existenceComputationally very expensive

    The Visual Systems ab

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    The Visual Systems ab

    ConclusionsFilm languages have evolved into a

    sophisticated and multi-faceted grammar Techniques that facilitate these languages

    are constantly growing and changingUnderstanding language and technique

    could enable better semantic extraction

    Textual Summarisation could benefit butrelevance to visual summaries unclear

    The Visual Systems ab

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    The Visual Systems ab

    Useful ReferencesTechnique of Film and Video Editing

    Ken Dancyger, Focal Press, 3 rd ed., 2002

    A Directors Method for Film and TVRon Richards, Focal Press, 1992

    Film Directing Shot by ShotSteven Katz, Michael Wiese Prods, 1991

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