Zamore: Production III Unit II: Editing Making movies is about investigating all possibilities.

You should always be open to different options. If you get focused into making something one way, you may not make the best film Sam Pollard Essential Questions: Necessary Vocab: 1. Aspect Ratio 2. Assembly Edit 3. Associative Editing 4. Audio Segue 5. Audio Bridge 6. Blocking 7. Cinma Vrit 8. Continuity 9. Coverage/Coverage shots 10. Cross/inter cutting 11. Cutting on action 12. Cutting to continuity 13. Dailies (rushes) 14. Dialectical 15. Dissolve v. Fade 16. Flash back/forward 17. Final cut/release print 18. Foley 19. Insert Cut 20. Invisible cut 21. J-Cut 22. Juxtaposition 23. Jump Cut 24. L-Cut 25. Log and Capture 26. Master shot 27. Mise en scne 28. Montage 29. Motivated editing 30. Negative Space 31. Outtakes 32. Pace 33. Picture Lock 34. Position Twist 35. Reaction shot 36. Reverse angle shot 37. Rhythm 38. Rough cut 39. Rule of 180/Axis of Action 40. Scene 41. Sequence 42. Shot 43. Soft focus 44. Smash Cut 45. Timing 46. Three point edit 47. Ticking Bomb effect/?Parallel Editing 48. Two/three Shot 49. Visual Match Cut How do we compose meaningful scenes through editing? How do make effective editing choices to best tell a story? How can we display emotions and meaning visually? How do our editing choices affect a viewers experience? How do we insure audience sees/doesnt see editing?

Reference Films: Meshes of the Afternoon (1943Maya Deren, Dir); Psycho (1960; Alfred Hitchock, Dir); Citizen Kane (1941; Orson Welles, Dir); Cabaret (1972; Bob Fosse, Dir.); American Beauty (1999; Sam Mendes, Dir.); Bonnie and Clyde (1967; Arthur Penn, Dir) Areas of Study: 1. Shooting for the Edit: Axis of Action; 2 Visible vs. Invisible Editing Techniques; 3. Montage and Internal Rhythm; 4.Manipulating time; 5. Foley and Sound Effects 6. Pudovkins Editing Techniques: Contrast, Parallelism, Symbolism, Simultaneity, Leitmotif

Final Product: By the end of this unit, you will have completed three 5 minute scenes with your partners including all preproduction measures, production including wide shot variety and postproduction editing including various methods implemented. You will be responsible to defend final editing choices.