Unit 16: Film and Video Editing Techniques: 2016

Monday, 10 October 2016

Saturday, 8 October 2016

Thursday, 6 October 2016

Seamless editing used to be alluded as invisible editing. It is because the cuts between the shots were coordinated to the action, and it was often applied by DW Griffith; an American film director, writer and producer. The effect it has is so powerful that when watching a scene, it won’t be evident that it’s been edited. It is very neat, smooth and flowing. Continuity editing is a technique that spotlights on making a clear continuity for the final piece that has been created. It creates that perfectly smooth stream between every one of the clips so the narrative of the story will be clear of breaks. The focus of this kind of editing is to be seamless and to ensure that the audience remains concentrated on the story rather than the techniques utilized.

To be seamless continuity regarding all components of mise-en-scène and all components of action in the frame ought to be safeguarded faultlessly starting with one clip or take then onto the next across the cut.

Any mise-en-scène component, for example, the position of figure or object alteration incorrectly across a cut breaks the continuity and prompts to editing which is not seamless.

Another example is when breaking the 180 degree axis rule- or any of the related rules- will likewise result in continuity issues and challenge the objective of invisible editing.

Creating Pace

· An editor can create pace in a scene by moving from:

- Longer takes to shorter takes;

- A few cuts in a given stretch of film time to many cuts in a given stretch of film time.

· An editor might increase the pace in a scene to communicate.

- Rising action

- Diminishing time

- Mounting tension

- Heightening of stakes

At the point when an editor assembles footage they would always keep the pace of the scenes as priority. As the pace of a scene significantly involves in how and what the genre of the movie is based on. The audience will react through the pace of the scene. As a rule, it will be a quick pace if it is an action film. The reason quick pace would be utilized is due to the face that a considerable measure of action will be going on in scenes at once, the editor will need to do quick paced cuts to keep up with the action on screen. While, on the off chance that it is a drama or a romantic scene the cuts are going to be much slower with a specific end goal to give the audience time to react and take in what the characters are feeling and based on their body language. Sound is just as important as different cutting techniques. For instance, in Jaws the music gets louder and fast paced when something is going to take place and increases the energy of the viewers. On the off chance that music being played is slow paced, then the odds are that it is a romantic scene or an emotional scene.

It departed off with a couple measure of cuts to a few cuts when the action started. Tension was already to be seen where the cuts were slow and at the beginning of the clip the body of a man was seen falling from the rooftop in slow motion. The second we encounter Leonard DiCaprio and the body hitting the concrete right in front of him, that is the cue for the action to take place and men running out of the building the quantity of slices tend to expand which makes the scene move at a snappier pace.

Romantic:

Romantic scene tends to be utilized to make that feeling of relaxation in a film. At the point when the editing pace gets slower it gives the audience the reassurance that everything is safe and noting bad is going to take place until the tempo of the music picks up. A case of this is Sleepless in Seattle.

In this clip, slow editing is used to demonstrate that they have quite recently met each other face to face for the first time, furthermore they are beginning to like one and another. This scene makes a séance of peace and romance, without much alteration of camera angles and edits.

Not Much Editing:

Editing is vital. However, great films have been produced without much editing being used. Alexander Nikolayevich Sokurov, is a Russian filmmaker and he proved it with one of his most significant work, Russian Ark. It was shot in one stream utilizing flawless coordination and split-second timing. He achieved this by utilizing a Steadicam and a digital camera. The risk of not using any editing means that if a slightest mistake is evident, the entire film would have had to be restarted from the beginning.

Anticipation:

Traditionally for action based movies speed editing is normally used, to achieve an intense preview and have the capacity to attract audience effectively. Using a footage that last between 2-3 seconds can instantly grab the anticipation of the viewer. A case of this is The Hunger Games: Catching Fire.

There are around 32 edits within 35 seconds, it gives a sneak peek of some of the scenes to get the audience into the movie before the actual release, it is a way of marketing. Additionally, a voice over from a scene or two to give the viewers on what is going on. Before the release of a trailer, the director of the film would be the individual to pick the scenes of the film to be used. Especially the ones that they believe would be best to grab peoples’ attention.

Thriller- Psycho:

There were 15 edits before the murder scene, this tricks us by giving the feeling everything is well and nothing bad is going to take place. At that point amid the murder there were 38 edits. The speed of the editing of psycho matches the scene extremely well. This is due to the fact that when she was writing in her book the speed of the edit was slow/normal, then as she begins to approach the shower they begin to be snappier. At that point when the killer approaches the shower to kill her, the edits are to a great degree quick and it impeccably coordinates the scene as it generates the sense of nervousness. It contains such a large number of edits since it needs to demonstrate that there is something wrong taking place and to include a séance of everything is focusing on the murder as it is changing from the silhouette of the killer and the victim.

Developing Drama:

When Casey is being killed and her parents were on the way home and when they walked into the house but didn’t manage to notice her in the front yard, is creates a sense of drama.

It is a very dramatic scene in the sense that the editor was cross cutting between Scream chasing for the Casey, and her parents returning home. We can see her being slowly killed and her parents got home even though she couldn’t scream for help to her parents. It gives the audience the sense of urgency and anticipation and the fact that she wasn’t noticed and led to her brutal death gives us as viewers the sense of shock and possibly reality.

Wednesday, 5 October 2016

Combining Shots Into Sequence

The first priority for an editor is to cut chosen shots together in a way that the story stated in the script is perfectly moulded through image, sound and performance in production in preserved. This is accomplished in every genre by launching settings with wider shots, exploring character dynamics with medium coverage and greater details- a fuse, a grimace, a coordinate – with closer scope.

In summation, shots are fused into sequences in 2 ways:

· Continue Editing- Make cuts invisible to accomplish a seamless, flawless rendering of the story through successive shots and sequences drawing focus to the editing itself;

· Montage Editing- Gives the editing procedure a more conspicuous appearance by juxtaposing less clearly related material, making it difficult for the audience to generate abstract connections between shots and sequences.

2008 film Changeling starring Angelina Jolie; the story of this film is based upon a pain-stricken mother who takes upon the LAPD when they determinedly attempt to prove an undeniable impostor as her missing child- ‘Walter’. The structure of the camera shots and editing techniques favours the character Jolie plays, and gains sympathy.

Greater part of movies is shot with the camera, and films that acquire a storyline similar to movies like Cloverfield is shot with a hand-held camera style. Yet the shots are still assembled in a smooth sequence, the shots are noticeably shaky due to the camera and most importantly for that particular scene of the movie. Movies similar to Cloverfield would trickier to cut together in order to avoid less shake and jerk than is required for the audience to nevertheless intrigued and still being able to watch it.

This clip below from Cloverfield indicates precisely how the shots are difficult to merge on the grounds that it needs to resemble the camera is dying or damaged. Meaning, in this scene when the camera dies this is could consider to be good editing since it looks as though the camera is fuzzed up and the picture is being misshaped. There is a considerable measure of close ups and zooms allowing the audience to really sense the state and emotions of the characters and emphasise the point that the film is utilizing hand held camera.

Tuesday, 4 October 2016

Creating Motivation

Shot motivation is essential when it comes to producing a film or a television program as it the only thing that keeps the target audience interested into whatever you’re sharing. Shot motivation is when a shot motivates another. In order to successfully edit a film the editor should always look for the motivation in between cuts and audio effects as it would determine how the audience will react and would want to react. At the point when action in one shot can infer another sort of action in a subsequent shot or call for it or demand it. While a unit of action demands some kind of responsive action from a subsequent shot, we feel/sense a provocative constrain driving the narrative forward.

Filmmakers tend to agree on the point that each shot, whether static or moving, should be motivated. Most filmmakers and editors would commit themselves further. David Mamet an American playwright, essayist, screenwriter, and film director hold much store to ensure that each shot drives the action-and the wider narrative forward-with the action in each successive shot motivating the ensuing shot. Filmmakers like David look at shot motivation as a key mechanism for keeping the audience engaged in what is going on.

Cutting starting with one scene then onto the next or from with one character then onto the next will convince how the audience will feel. Every cut will motivate their feelings and make them respond positively or negatively to the scene. For instance, the following clip from the film Harry Potter and the Deathly Hallows section 2 indicates characters all focusing on Harry Potter which persuades the audience to feel terrified and on edge for the safety of Harry Potter.

Monday, 3 October 2016

Relationship To Genre

Relationship to genre from Varshini1999

HORROR- One Missed Call: 💀

Quick pace editing is consistently utilized in horror films. This is to develop tension and causes the audience on edge at what will happen next. They are holding up to be frightened by what the following quick-cut shot will be. In these sorts of movies, the most typically utilized shot is a low shot. Using low shots generates fear in the shots of picked characters. They scare others and have a feeling of power and that they are superior than the other characters in the film. The utilization of high shots and close-up in horror connotes weakness, regularly of the characters that plays as the victim. An example of a film where these techniques are applied is the movie ‘One Missed Call’. We see the casualties being haunted by strange phone calls, where they hear themselves being killed. The close-up shots demonstrate the dread and urgency in their faces when they discover of their fate.

Action- The Bourne Supremacy: 💨

Fast pace editing is also found in action based films. Since for the way of the film, it is an unquestionable requirement this is utilized, as it connotes adrenaline use by characters. Fast pace editing provides the audience a feeling of fear and threat at what is going on or what might take place. It is known to partner fast moving shots with action films as it involves car chases, fight scenes, or extreme violence. To set up the scene in action based movies, editors will utilize long shots. For instance, in a car chase, close-up shots, quick-cuts and POV shots will be applied as it intensifies the chase and we can familiarise with the characters’ emotions; especially fear through the power of close-up shots. In 'The Bourne Supremacy', there is a car chase scene that utilizes these editing techniques cleverly. The shots which are used, for example, low shots, are utilized on every one of the 3 characters required in the pursuit in 3 cars. It demonstrates that they all think they own authority of the other. The POV shots demonstrate the characters’’ perspective rapidly from one to another. This stirs tension.

Rom-Com- Bridget Jones's Diary: 💞

‘Rom-Com’ are movies that have both components of a comedy film and a romance film. Rom-Com’s tend to be about a male and a female, they meet, fall in love, separate and get back together as they cannot be without each other. These sorts of film stick to soft editing as there is nothing excessively significant, making it impossible to underscore. A great deal of mid-shots is utilized to keep it neutral and it demonstrates the characters’ body language towards one another. The shots are longer as the editors need the audience to understand the story and not be dumbfounded as to what’s going on. They additionally utilize the eye-line match technique, there is no other character looking on down on them or have that feeling of authority over them. These two components cooperate so well and the editing techniques consolidated adds to this. It concentrates more on camera angles and shots, and setting the scene. A case of a rom-com which utilize these conventions is 'Bridget Jones'. The way the characters are depicted in this is exceptionally naturally and the stream into each other, and the continuity of the shots and story are consistent.

Saturday, 1 October 2016

Development of Drama

Friday, 15 July 2016

Jump Cuts

· Usually when recording in order to prepare for a cutting point between two consecutive shots such as cutting from a wide shot in a scene to closer coverage- we vary both the size and angle of the shot.

· Some filmmakers deliberately choose not to vary the size and angle of the second shot which results in the cut having a jarring effect, literally jumping in what often feels like an awkward way from one shot to the next.

· In the industry, in (film criticism, universally) this is known as a jump cut.

· Filmmakers use jump cuts for several reasons:

- Rebellion

- French New Wave filmmakers used jump cuts in the 50s to break from the traditional dominance of continuity editing.

- Pace

- Jump cuts can be used to add a sense of speed to the sequence of events.

- Psychological

- Jump cuts can be used to suggest the non-linear way the human mind works.

- (Example: Breathless Jump Cuts, A bout de soufflé Jean Luc Godard Car Scene. Rebellion.

This extract is from the movie The Battleship Potemkin (1925), the creativity of Sergei Eisenstein; the director of the movie, portrayed it in a whole new level. Using the method of jump cuts Eisenstein turned a complete classic into a significant political use. The disjointed cuts allowed us to be aware of reality and not the unreality of the film experience in order for the audience to get the political message that Sir Eisenstein clearly wanted to show. This is very different from the other classical movies as this is not focused on the drama or emotion of the narrative. The first scene is a canon firing then a series of jump cuts of the statue of the angles, then we get a shot of a building exploding then the jump cuts of the lion statue which was first ‘sleeping’ then it ‘stands up’ clearly giving the hint on the political message.

Sunday, 10 July 2016

FILM AND VIDEO

Film and video from Varshini1999

Analogue and Digital

ANALOGUE

Analogue is typically referred to as chemical photography, it has a continuous pattern which is a representation of some other time varying quantity. It is contrasted with the digital procedure. The method of analogue recording is used to record analogue signals which could either be analogue audio or analogue video. Analogue is referring a signal whose output is proportional to the input. It can be stored as a physical texture, photograph record or a magnetic recording.

DIGITAL

Digital imaging doesn't really require chemicals, film can be either chemical or digital. The way digital image captures/records is by utilizing photo sensors which processes the images through a special software. Or film can be kept in digital form for a digital projection. Digital signals are pattered in to states which are ON (1) or OFF (0). When it’s a chemical process a light sensitive silver halide, light gets exposed on film which creates the images, movie projectors are a mechanical device which can display motion pictures onto a screen

Friday, 24 June 2016

Engaging the Viewer

Engaging the Viewer Unit 16 from Varshini1999

Horror Genre

Romantic Comedies

Action

Storytelling

Storytelling is conveying of events in in words, sound or images. It has been shared by human beings for a very long time as a means of recording and representing the world and for the purposes of:

- Entertainments

- Education

- Cultural preservation

- Instilling moral values

· Crucial elements of stories and storytelling include:

- Plot

- Characters

- Narrative

- Point of view

The word "storytelling" is utilized as a part of a narrow sense to allude particularly to oral storytelling and in a free sense to allude to narrative strategy in other media

Plot: Cause and effect process that develops, cause effect relationship ordering of events. Doesn’t always work chronologically.

Story: is chronological but wider. Chronological world of the film.

Narrative: All the means used to communicate the plot and story. Action happening within frame, tile, music, effects (editing effects) and not part of the story world.

· The term “visual storytelling” goes to film and a host of other media.

· At times it holds a prescriptive edge: in a pictorial medium, you should tell your stories visually- rather than, for example, through lengthy dialogue.

· Show, don’t tell, in other words.

· As a concept “visual storytelling” alludes to the way that producers of moving image products tell the meaning of action and events through images without recourse to the written or spoken word.

· This is mainly achieved through two techniques:

- The choice of shots;

- The way those shots are edited together.

· Visual storytelling is rarely purely visual.

· In film, it needs concepts and music and noises and much of the time a medium of dialogue to work most fully.

· But given the power of the image, a director who invests in “purely visual” passages first and then considers how his/her images might be reinforced by other inputs, gains huge dividends in the long run.

Wednesday, 1 June 2016

EVOLUTION OF CINEMA (VIDEO EXAMPLES)

REFERENCE:

http://filmmakeriq.com/lessons/the-changing-shape-of-cinema-the-history-of-aspect-ratio/

Evolution of The Film Industry:

REFERENCE:
https://vimeo.com/89445851

FILM

Film is a chemical procedure which is utilized for analogue recording, copying, playback, broadcasting and presentation of moving visual and audio media on a material celluloid.

Film gate: 24 frames/second

Celluloid comes as a transparent, flammable plastic made in sheets from camphor and nitrocellulose. It was utilized in order to make cinematographic movies.

The first celluloid film came in size 16mm. The small negative size implied that movies frequently seemed grainy.

The entry of a bigger 35mm negative enhanced picture quality.

Film Sizes: 16mm, 35mm, 70mm (IMAX Projector)

Video is an electronic medium utilized for analogue recording, replicating, playback, TV and presentation of moving visual and audio media on magnetic tape consuming an analogue video signal.

Digital 0s and 1s (Cassette) and Cassette with curves.

Digital video is a sort of digital recording system that functions by recording, copying, playback, broadcasting, and display utilizing a digital as opposed to an analogue video signal.

Difference between Analog and Digital signal (MICRO TASK)

A continuous wave represented by a sine wave and may differ in signal quality.

Digital sign utilizing binart (0s and 1s), and thus, can't tackle any fractional values.

Analog waves are smooth and ceaseless, digital waves are steeping, square, and discrete.

Digital cinematography alludes to the procedure of catching motion pictures as digital video pictures instead of the historical utilization of motion picture celluloid film.

Digital capture may take place on video tape, hard disks, flash memory, or other media which can record digital data using a digital movie video camera or additional digital video.

Monday, 30 May 2016

Manipulation of Time and Space

The purpose of manipulation of time and space is when the editor produces something that can't be filmed. The procedure must be done whilst it's being edited. The purpose of this procedure is to show time moving visibly. The procedure demonstrates characters, environment or an article change over a timeframe, a case of this could be a man getting older or more youthful. This technique is utilized in various films; in order to allow the audience to see the change visibly.

· Time can be shortened and extended.

· Space can be compacted and extended.

· Wide angles can be utilized to restrain expansive spaces to the dimensions of aspect ratio and frame.

· Deep focus can be utilized as a part of conjunction with lighting effects to enhance colossal depth and detail to inside spaces.

· Cutting starting with one location then onto the next location can make the two seem associated.

· Editorial techniques, for example, ellipsis and expansion of time manipulation as it is experienced by the audience.

· Flashbacks exhibiting recalled occasions in a character's memory can be utilized to uncover key parts of plot;

· Flash forwards into the future can uncover what a character is planning/envisaging/expecting.

This clip is from Harry Potter and the Prisoner of Azkaban. This time travel clip portrays both manipulation of time and space within the same frame. The minute when Hermoine starts to rotate the time turner we can see both Harry and Hermoine in the centre in present time, and soon a lot of other characters are “seen” in the frame in fast motion, or in speeded up motion. That is a manipulation of time and action as we can see time is speeded up. The manipulation of diegetic time and space alludes to a scope of techniques utilized as a part of filmmaking to change the dimensions of space and time in ways that would not be conceivable, in actuality.

Manipulation of Diegetic Space (HISTORY):

DW Griffith's movies utilized early models of this strategy, in that they understood that not all in a plot must be shot for it to make sense. One of the first scene of The Musketeers, leads right onto another where a lady and a man from the first scene appear from a doorway yet you don’t see them really go through it. The reason for it is to make pace in the film and make it additionally intriguing, as we don't need to observe each and every point of detail to understand a plot.

Edwin Porter's film 'Life of an American Fireman' was a development in some of its editing methods.

It was one of the first movies to use manipulation of diegetic space as its well-known scene that moves from the fourth wall drama set up, to a scene of genuine life fire engines hurrying to a fire, driving the viewer to connect the two occasion together. Utilizing the same thoughts from The Musketeers, Porter created on the utilization of manipulation of diegetic space, making a more intriguing film with an improved pace, an unmistakable change of prior inspiration for the film.

The first scene additionally displays a more modern form of special effects; the "vision" the man is having, is a projection; yet it seems to be an idea "bubble" of his thoughts.

The film likewise utilizes transition, for example, fades and screen wipes. These have been evolved throughout the years yet are extremely elementary, based on the fact that it was taken in 1903.

Manipulation of Diegetic Time (HISTORY):

Manipulation of diegetic time is the procedure utilized as a part of film making when time is utilized in a non-conventional way; film makers use it to either demonstrate that time has passed and moved more rapidly than it would ordinarily (Hollywood) or have a greater amount of prominence on the connection between a specific occasion or picture and the impact on the viewer (Soviet).

Montages (chains of short shots are edited into a sequence to shorten space, time, and information) began in Soviet Russia at the peak of the revolution. This tool is exceptionally artistic as it can be utilized to convey in the cinema what is the equal to literary metaphor. For instance, the workers are being executed in the film 'Strike', Eisenstein rapidly cut to a shot of a bull being butchered, in this manner giving the discernment that the masses were being butchered like animals.

Edwin Porter was recognised for utilizing an assortment of shots, making his movies, for example, the Great Train Robbery and the Life of an American Fireman all the more intriguing and improved editing. This motivated Griffith to likewise utilize an assortment of shots in his works, for example, Birth of a Nation for variety and to make a more stimulating film. In the long run this all lead to the advancement of the soviet montage as they took the foundation of moving time yet created it to depict more challenging subjects in an artistic manner.

Soviet film maker Sergei Eisenstein was thought to be the 'father of montages' as he utilized them as a part of his movies in the early 1900s.

The intention of Soviet Montages are to get the audience to make the association between the juxtaposed ideas.

REFERENCE: https://prezi.com/md1tkb0ds-vr/no-touchy/