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Editing
Why do we edit?
Cuts
Time
Space
Rhythm
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Editing The 180Rule Continuity editing relies upon
matching screen direction,position, and temporal relations
from shot to shot. The filmsupports the viewer's assumptionthat
space and time arecontiguous between successiveshots
The axis of action is animaginary line drawn between thetwo
major dramatic elements Aand B in a scene, usually
twocharacters
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Editing
Right
Wrong
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Editing
By following this rulethe filmmaker ensuresthat each
characteroccupies a consistentarea of the frame,helping the
audience tounderstand the layout ofthe scene. This sense
of a consistent space isreinforced by the use oftechniques such
as theeyeline match or matchon action
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Editing Shot/Reverse Shot
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Editing
Eyeline Match
A cut obeying the axis of action principle, inwhich the first
shot shows a person off in one
direction and the second shows a nearbyspace containing what he
or she sees. If theperson looks left, the following shot should
imply that the looker is offscreen right.
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Editing
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Editing
Match on ActionA cut which splices two different
views of the same action together
at the same moment in themovement, making it seem to
continue uninterrupted.
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Editing
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Editing
An elliptical cut that appears to be an
interruption of a single shot. Either the figures
seem to change instantly against a constant
background, or the background changes
instantly while the figures remain constant.
Jump Cut
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Editing
Graphic Match
Two successive shots
joined so as to create a
strong similarity of
compositional elements
(e.g., color, shape).
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Editing
Overlapping Editing
Cuts that repeat part
or all of an action,thus expanding its
viewing time and
plot duration.
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Editing
Rhythm
The perceived rate and
regularity of sounds, series
of shots, and movementswithin the shots. Rhythmic
factors include beat (or
pulse), accent (or stress),
and tempo (or pace).
Rhythm is one of theessential features of a film,
for it decisively contributes to
its mood and overall
impression on the spectator.
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North by Northwest
Crop Duster Scene
http://www.youtube.com/watch?v=A6gm5n5WmxYhttp://www.youtube.com/watch?v=A6gm5n5WmxYhttp://www.youtube.com/watch?v=A6gm5n5WmxYhttp://www.youtube.com/watch?v=A6gm5n5WmxY
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Editing
Montage
2. A synonym forediting.3. An approach to editing
developed by the Sovietfilmmakers of the 1920ssuch as Pudovkin,
Vertovand Eisenstein; itemphasizes dynamic, oftendiscontinuous,
relationships
between shots and thejuxtaposition of images tocreate ideas not
present ineither shot by itself
Potemkin
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Editing Breathless ( bout de souffle),
1960
Dir. By Jean-Luc Godard
With Jean-Paul Belmondo &
Jean Seberg
From a story by Franois
Truffaut, its a take on cheap
gangster movies which became
on of the most influential films of
all time
There is incessant use of the
jump cut, grainy film stock (for
realism), hand-held camera
and wheelchair dolly shots as
well as continual referencing of
pop culture (Humphrey Bogart)
