The Art of Editing #2 Jan 24
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THE ART OF EDITING
CONTINUITY EDITING
SHANNON WALSH / SM2002 / SPRING 2014
SCHOOL OF CREATIVE MEDIA, CITY UNIVERSITY HONG KONG
CLASS 2
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BASIC TRANSITIONS
The basic 4 edits:
• Cut
• Dissolve
• Wipe
• Fade
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THE KULESHOV EFFECTFilm is editing.
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THEORY OF MONTAGE:SERGEI EISENSTEIN
Metric montage:
the length of the shots relative to one another.
Rhythmic montage:
continuity arising from the visual pattern within the shots.
Tonal montage:
the editing decisions made to establish the emotional character of a scene.
Over tonal montage:
the interplay of metric, rhythmic, and tonal montages
Intellectual montage:
the introduction of ideas into a highly charged and emotional sequence
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The power of the cut, rhythm, juxtaposition, parallel action and montage.
“ODESSA STEPS” SEQUENCE
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HISTORY OF EDITING II
REBELSINNOVATION & EXPERIMENTATION
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EXPERIMENTS IN CINEMA:DZIGA VERTOV
“The Man with the Movie Camera” (1929)
• Vertov reminds viewers that cinema is not reality
• Special effects and fantasy
• Playful clash of reality and illusion
• Visual associations
• Many, if not all, editing techniques used
http://www.youtube.com/watch?v=Y1fxbcgptFA
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EXPERIMENTS IN CINEMA:LUIS BUNUEL
“Un Chien Andalou” 17min,(1929)
• Destroys meaning, shock
• Surrealism, expressionism, psychoanalysis
• Visual discontinuity: continuity editing, but discontinuity in the story plot and character goal
http://youtu.be/_DZ1x-xBtUM
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INNOVATIONS IN CINEMA:CHINA & JAPAN
Ruan Lingyu
1910- 1935
Yasujiro Ozu
& Kenji Mizoguchi
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ACTION CONTINUITY:ASSIGNMENT #1
In the first assignment you will learn techniques of action continuity.
1. Match on action2. Shot/Reverse-shot3. 180 degree rule
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ACTION CONTINUITY:MATCH ON ACTION
“Match on Action” is when you cut to a new camera angle at the same point in time without breaking the flow of the previous shot.
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ACTION CONTINUITY:SHOT/REVERSE SHOT
“Two shots edited together that alternate the characters, typically in a conversation situation.”
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ACTION CONTINUITY:SHOT/REVERSE SHOT
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ACTION CONTINUITY:SHOT/REVERSE SHOT
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Editor Thelma Shoonmaker on Raging Bull (1980): http://www.youtube.com/watch?v=6enMrxbpI-w
Dirty Harry (1971) “Do you feel lucky?” Unlike most shot reverse shots this isn’t over the shoulder. http://www.youtube.com/watch?v=8Xjr2hnOHiM
EXAMPLESSHOT/REVERSE SHOT
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ACTION CONTINUITY:180 DEGREE RULE
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180 DEGREE RULE
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ACTION CONTINUITY:
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ACTION CONTINUITY:IMAGE SIZE FOR CUTTING
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LONG TO MEDIUM SHOT
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MEDIUM TO CLOSE-UP
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1) Emotion 51%2) Story 23%3) Rhythm 10%4) Eye‐trace 7%5) Two‐dimensional plane of screen 5%6) Three‐dimensional space of action 4%
THE RULE OF 6: WALTER MURCH
For Murch, an ideal cut,
• Is true to the emotion of the moment; • Advances the story; • Is rhythmically interesting and “right”;• Acknowledges the “eye-trace”;• Respects “planarity”;• Respects the three-dimensions continuity
of the actual space.
But, he says, emotion “is the thing that you should try to preserve at all costs.”
Murch, W. In the blink of an eye: A perspective on film editing. Silman-James Press, 1995, pp. 17-20