Editing Assignment

The cut is the most basic way to move shot to shot

Cutaway- when an editor cuts away from the main action

Walter Murch- Rule of six (a list of prioritised criteria when deciding on each cut)

  • Pace of a scene affects emotion, style and tone.

    e.g. longer shots for mournful and contemplative scenes, rapid cutting for rapid action scenes

  • Deciding what to cut to in equally important

    e.g. use a cutaway to show what is on a character’s mind/ cut to what a character is looking at

EYELINE MATCH

  • When an editor cuts to an object of a character’s attention

  • If the character notices something, we cut to what they see

  • The character’s eyes motivate the cut


  • 2nd shot is often a POV/ from the character’s general perspective

    Builds intrigue by waiting to reveal what they see/ by not showing it at all


  • A common form is the ‘shot reverse shot’- when we cut between a shot of subject A and a shot of B in a reverse angle (often a similar angle/composition)

    Most common in conversation scenes to maintain scene geography and clarity


  • Insert shots are also prompted by eyeline matches (a shot of a specific prop or detail within a scene)

    An example of simple, direct visual language

    Great way to connect the dots between what the character sees/thinks/feels

    Can also create/release tension


CROSS CUTTING

  • Cuts between two or more scenes happening in different locations


  • Creates an ironic juxtaposition


  • Combine multi-layered action effectively


  • Create parallels between separate scenes, weave planes of action in one


EYE TRACE

  • Is when an editor cuts between two or more shots that focus on the same area of the frame

  • Allows the viewers eyes and attention to stay focused without having to scan the frame after each cut

  • Can also be used through blocking and camera movement guiding a viewers eye within a shot

  • Ideal for action scenes (move quickly)

  • Composition and editing of these scenes helps the reader process the chaotic action


SPLIT EDIT

  • a transition from one shot to another in film or video in which transition of the audio and video happen at different times; this is either a L-cut or J-cut

J-cut

  • When audio from a shot begins to play before we see it


L-cut

  • The audio from a shot plays after we’ve cut away

  • Used during dialogue scenes

  • More natural conversation- controls the rhythm as well as catching reaction shots of something listening


INTELLECTUAL MONTAGE

  • Puts seemingly unrelated images together to create a certain feeling or idea

  • -editing two shots together to connect them to an intellectual concept


  • Makes a cut more noticeable this montage makes use of the ‘Kuleshoy effect’

    - this refers to creating meaning out of a cinematic juxtaposition


  • The two separate scenes combine to create a single idea

    eg. Lucy delivering a briefcase and cuts to a mouse trap signifying she is walking into one


  • We are asked to make these connections ourselves


  • Using ‘IM’ can reiterate the larger themes in the film


  • This experimental technique is a great way to evoke emotion and meaning out of shots which wouldn’t individually have them 

CUT ON ACTION

  • Refers to cutting during a character’s or objects movement


  • Seamless transition, can be used for simple actions like taking a drink


  • The smoother cuts feel natural to the audience

    
often found in fight scenes as it lends itself to fast-paced rhythm and quick movement

    
 a very common cut in action fighting sequences is to cut on impact gives each punch or kick extra force


2ND VIDEO- transitions

THE CUT

  • Instant switch or transition from one shot to another or one scene to the next

  • Most common way to transition between scenes

THE FADE

  • When a shot dissolves to or from a solid colour

    (usually black or white)

  • Utilises a gradual transition

BLACK

  • Is a common way to open a film

  • It eases the audience into the beginning of the story.

  • A fade TO black can give a gradual sense of closure at the end or deliberately pause momentum (which gives the audience a moment to breathe or reflect on what just transpired)


WHITE

  • Less common

  • Commonly used to represent a character entering a dream or dying.

  • Can also leave an ending up for interpretation 

A fade in or out of a scene can also be a stylistic choice (also called dip to black)


THE DISSOLVE

  • a gradual transition from one image to another, with the first image beginning to disappear as the second image gradually appears.


  • Transitions directly into another shot


  • Used to suggest a longer passage of time between scenes or within the same scene

    Or as a way to signal a memory/dream


  • Some filmmakers use this to create a hybrid moment between the two scenes.

  • When the two shots dissolve with one another it creates a third shot in which both shots are shown within the frame simultaneously (superimposition)



THE MATCH CUT

  • Is any transition, audio or visual that uses elements from the previous scene to batch similar elements in the next

    e.g. shapes, compositions, colours, movement or sound


  • Connects the two shots instantly, this connection can subconsciously make the audience draw on similarities/ differences between the scenes


  • Can also bridge time and space e.g. a character young and then older


THE IRIS

  • a technique used in silent film and television sometimes to emphasize a detail of a scene above all others, more commonly to end or open a scene.


  • The film camera’s iris is slowly opened/closed

  • Used to be made manually


  • In modern cinemas it is now a stylistic choice


  • Focuses on a single emotion/idea


THE WIPE

  • is when shot A is replaced by shot B when it moves from a specific direction (L,R,U or D or diagonal)


  • Wipes can come from various shapes e.g. a star or clock


  • Old-fashioned like the iris but ideal for vintage styles


  • Nowadays used for comical and comedic purposes


THE PASSING

  • or pass-by effect

  • Has a moving character or object to transition into the next scene or has the camera itself move to the next object

  • Often paired with strategic sound design so the momentum between scenes never skips a beat


  • More seamless than ‘the wipe’ as their used to hide the cut. Used to create a hyper-stylized aesthetic


THE WHIP PAN

  • or swish pan


  • adds energy to transitions


  • quick horizontal camera rotation that blurs the image


  • commonly used mid-scene but also scene transition- can be highly beneficial to sustain momentum from the previous scene


THE SMASH CUT

  • Is a sharp and abrupt cut from one scene to another using high contrast in both visuals and audio e.g. quiet and loud, chaotic and still


  • Typically used to shock/jot the audience


  • Can also be used for comedic effect as the transition between two contrasting scenes is a great way to punctuate a moment

J CUT AND L CUT

  • A J-cut or pre-lap is when the audio of the next scene proceeds the image (audio can still be heard from scene B while still seeing scene A)


  • The L-cut is a film editing transition that sees the audio from one scene or shot overlap onto the visuals from the next.