Editing
[09/03/18]
LO: To define, apply and evaluate Editing in film
What is Film Editing?
A microelement of film making. ‘The activity of selecting the scenes to be shown and putting them together to create a film.
Who is in the Editing team and what is the chain of command?
FILM EDITOR
Data manager
VFX supervisor
Colourist
Editor assistants and trainees
WALTER MURCH has 6 Criteria for film editing he breaks them down in terms of importance.
What types of editing are there in film production?
1. Continuity Editing
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2. Radical Subjective Continuity/ Dis-Continuity/Disjunctive editing
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3. Classical Editing
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4. Thematic or Montage editing
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5. Soviet Montage theory
Radical Subjective Continuity/ Dis-Continuity/Disjunctive editing
Cuts of different time and space for dramatic effect. Spatial and temporal discontinuity. The established continuity editing rules are not followed. This can also be called ‘Visible’ editing; editing that calls attention to itself and violates the viewers expectations of continuity.
Classical Editing
First popularized by D.W. Griffith, is used to draw viewers into the emotional content of the scene. This style jumps from ‘the master shot’ (long/wide shot), to the medium shot and then close ups
to draw the audience psychologically closer
for dramatic effect.
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This style is achieved through ‘coverage’ (the process in which a scene is filmed from a variety of angles, for example ‘eye line match’ – if we see an actor refer to something off scree, this object is filmed through ‘cutaways’ – coverage of items or actions. ‘Matched action’ – cuts happen during a major action, this adds emphasis to the action.
Thematic or Montage editing
From the French, Monter, meaning to assemble. MONTAGE, capitalizes on our brain’s ability to associate ideas. Edits that are driven by a particular theme, it is often a rapid sequence of shots designed to elicit feelings or call upon common experiences. The cuts are motivated by a connection of ideas, not by continuity of time and space. It could be used to show the passing of time.
Soviet Montage theory
Montage is associated with Soviet cinema 1920’s, film makers especially Lev Kuleshov, V.I Pudovkin and Sergei Eistenstein.
Kuleshov’s famous experiment, which was later termed ‘The Kuleshov effect’ was a breakthrough in understanding and producing films.
​Associative/abstract editing
Once again stemming from the ‘Kuleshov effect’ Associative and abstract editing focuses on a juxtaposition of two shots that when combined have meaning (but separate, they do not).
Editing 'EMPTY ROOM' Process
09/03/18
First Assembly
14/02/18
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Feedback:
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WWW:
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Editing that have edit the contact​ in the video.
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Lighting in the film that has use a red light.
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EBF:
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Lighting because the room is too dark.​
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Film doesn't look mystery.
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First Cut
15/02/18
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Feedback:
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WWW:
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Editing that have edit the contact​ in the video.
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Lighting in the film that has use a red light.
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EBF:
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Lighting because the room is too dark.​
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Film doesn't look mystery.
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Second Cut
15/02/18
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Feedback:
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WWW:
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Editing that have edit the contact​ in the video.
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Lighting in the film that has use a red light.
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EBF:
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Lighting because the room is too dark.​
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Film doesn't look mystery.
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Camera need to stay still and to shaking in some scene.
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Needs to change card to something else.
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Third Cut
20/02/18
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Feedback:
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WWW:
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Editing that have edit the contact​ in the video.
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Sound is clear to listen.
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EBF:
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Lighting because the room is too dark.​
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Camera need to stay still and to shaking in some scene.
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Camera movement.
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Timing of the footage video.
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Final Cut
22/02/18
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