Editing

Editing is both additive and subtractive. It influences structure of what material is presented, however it cannot influence what is presented on screen (mise-en-scene) and how (cinematography) Additive: Strings diverse shots together Subtractive: Allows each shot to absent its predecessor

Types of Transitions
Transitions can happen abruptly or slowly Straight cut: instant change from one shot to another Fade-in: image lightens until visible Fade-out: image darkens until it is black o Fade In/out usually suggests a significant amount of time has passed Dissolve: variation of fade in/out where one image fades into another image. There is a brief moment when you can see both images Wipe: shot B replaces shot A by means of a boundary line moving across the screen o Draws attention to itself Iris-in: image increases in size from a pinpoint out Iris-out shot decreases in size to a pinpoint

Dimensions of Film Editing

I. Creates relationships between shots Graphically: function of pictorial qualities. Graphic configurations display patterns of light and dark, line and shape, volume and depth, movement and stasis. We compare these qualities across shots as it establishes differences and similarities a. Graphic Match: links shots by close graphic similarities: shapes, colors, overall composition, movement in shot A might be brought up in shot B. Considered very stylized Rhythmically: determines films tempo/pace. Lengths of any shot in relation to shots around it. a. Quick shot duration: quick pace b. Short shot duration: slow pace c. Even tempo: steady d. Uneven tempo: erratic e. Accelerated editing: shot duration shortens Spatially: allows for the creation of imaginary spaces a. Creative Geography: editing allows film makers to juxtapose any two points in space and suggest some kind of relationship between them

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Temporally: how time is presented such as the use of a flashback or flashforward. Editing can contribute to the plots manipulation of story time a. Elliptical editing: presents an action in such a way that it consumes less time. b. Overlapping editing: extends the duration of an event longer than it would normally occur. End of shot A is repeated at the beginning of shot B c. Crosscutting: two or more lines of action in occur in different spaces, suggests that action is happening at the same time

Continuity Editing and Its Alternatives The goal of the continuity editing system is to minimize the disruptive potential cutting. Seeks to be invisible. Linked to the subtractive nature of editing to emphasize story coherence

How to Ensure Continuity

Graphic Relations keep general look of shots consistent Rhythmic Relations regularize by correlating shot scale with shot duration Spatial Duration create spaces that are coherent and consistent 180-DEGREE RULE

Shot

Reverse Shot

If the camera stays behind the 180-degree line spatial continuity will remain consistent. Certain things will remain constant otherwise it causes spatial disorientation.

Establishing Shot: extremely long shot, which is later broken down into smaller, successive shots that analyze the space Reestablishing Shot: opposite Consistent Editing: Shot Reverse Shot Editing eye line matching (people/people +people/object+ people/animals) Match on action: work best when direction of action is retaining through the shots

Temporal Relations minimize manipulation of order duration and frequency and signal clearly when manipulation does occur (i.e. fade instead of straight cut)

Alternatives to Continuity Editing:

Graphic Relations keep general look of shots consistent Rhythmic Relations regularize by correlating shot scale with shot duration Spatial Duration create spaces that are coherent and consistent Temporal Relations minimize manipulation of order duration and frequency and signal clearly when manipulation does occur (i.e. fade instead of straight cut) ^ just outright ignore every rule.