4. Conventions and Techniques of Editing

Seamless/Continuity Editing

This is also known as classical or invisible editing. Its basically straight forward cuts that flow in a clear and logical way. The editing is so good that it is unnoticeable.

Here is my TV Advertisement that I made with my group, as an example:

Motivated Editing

These are cuts motivated by a purpose. The purpose could be a narrative, character or emotion. When the first shot cuts to the second shot, shot one provides a motive for shot two. This way of editing is often used in horror films and documentaries.

Montage Editing

Editing which includes a lot of fast paced shots, which are strung together in a fast paced sequence in a way that compress time and gives a lot of information in a short amount of time.

For example, the Montage Song in Team America.

This clip shows the character training and getting ready for something which would have taken much longer had it not been in a montage. It helps to reduce the time needed while still giving the same amount of information.

The Jump Cut

This is the transition between two cuts, which appear to jump. These cuts help to pass time.

Examples of jump cuts:

These cuts are used often in interviews in documentaries - jumping from one person to the next showing who is speaking.

Parallel Editing

Also known as cross cutting. This technique includes alternating two or more scenes showing things happening at the same time but in different locations. It is used to add interest and excitement as well as suspense.

The 180 Degree Rule

This rule refers to an imaginary line, which cuts through the middle of the scene from one side to another. The line is not to be crossed as crossing it would change the viewer’s perspective in a way, which would cause disorientation and confusion.

Diagram of 180 degree rule

Cut Aways

A quick shot of something other than the action. Can be a different subject, for example a cat when the main subject is the owner, or a close up of a different part of the actual subject like the hand or mouth. This is used as a buffer between shots and helps to add interest or information. They also help to cover up jump cuts in things like interviews.

Example:

The cutaways used here are to keep the video visually stimulating since theres something different to look at while listening to someone drone on and on. And the cut aways also hide jump shots and make the overall video flow better. 

3. Purpose of Editing

Storytelling

The main idea of storytelling is to have an interesting enough narrative to keep the viewer entertained. Shots, cuts and the sound or audio used all help add to the entertainment. For example, quick paced cuts and more upbeat audio would help to create a happy, fast faced environment.

The development of drama is built up through the use of specific shots such as close ups and sounds to accompany that. For example, in a horror film, a door banging or nails being scratched across something. These things help to create tension and give a sense of excitement.

Editing like this helps the audience to see which genre the film falls in to. Each genre (romantic, action, horror etc.) has their own stereotypical editing styles to help us determine the differences between them.

Cutting from one shot to another can help to predict how the audience will feel.  This is the Kuleshov effect.

Kuleshov Effect Example

Combining shots into sequences

This helps the film or programme being edited flow better and become one rather that all separate things. It helps to create a good storyline and give random shots the structure they need in order to form a narrative.

Creating pace

There are two paces – fast and slow. Fast paced editing helps to create excitement whereas slower paced editing helps to create a more emotional scene.

Here is an example of fast paced editing, taken from the film Skyfall:

The reasons for the fast paced editing used within this film are not only to fit into the codes and conventions of an action genre film but also because it helps to add excitement and suspense. The short, fast shots help to get a lot of information across in a small amount of time with the audience on the edge of their seats taking it all in. 

And here is an example of slow paced editing, taken from Titanic.

The slow pace in this clip represents how slowly Jack dies. It makes the audience pay more attention and it helps to pull on the heart strings. Using fast paced editing here would not go down well as it is a very emotional scene.

2. Development of Editing

In camera editing

This is when the shots are filmed in a strict order. There is no post-production, just filming then straight to projecting, therefore the film must be shot as it is meant to be shown.

Following the action

This is where the camera follows where the event is taking place. For example, in the film The Shining, the camera follows directly behind the little boy on his trike.

The idea of this shot is to be up close and personal with what is happening and also helps the audience to see whats happening from the characters point of view.

Multiple points of view

These feature point of view or over the shoulder shots.

Point of view shot	Over the shoulder shot

These shots show the scene from the subject’s perspective and are used often when people on screen are conversing. These are stereotypical shots of a horror film, when the monster is zoning in on their prey.

Shot variation

This is exactly as it states – when a variety of shots are used in editing.

For example:

• ·      Extreme Wide Shot: used as an establishing shot.
• ·      Long Shot: also an establishing shot but can also just about see the main subject. Helps to understand relationship between subject and their environment.
• ·      Medium Long Shot: Shows the subject from head to toe. Puts the subject into context.
• ·      Mid Shot: Shows half of the body and helps the audience to see the subjects body language and emotions better.
• ·      Medium Close Up: Shows the upper half of the body – often used when characters are having a conversation.
• ·      Close Up: Shows head and shoulders with little background. Used to introduce a character and can also be used to heighten tension.
• ·      Big Close Up: Head fills the screen. Used for more in depth detail of face.
• ·      Extreme Close Up: Super close to the subject getting as much detail as possible on something such as freckles. Used to show extreme emotion or again to heighten tension.

Table of shots

Manipulation of diegetic time and space

Editing made in order to manipulate time - for example the use of flashbacks, flashforwards and montages.

An example would be the introduction in the film City of God.

In the example clip above, from about 3:52, the camera spins around a man and then shows him to be a boy, representing going back in time. 

1. History of Editing

In this report I will be exploring the history and development of editing and explaining what I have learnt. I will be including examples of the pioneers who helped film and video develop over the years into what they are today.

Thomas Edison

Thomas Edison was the first person to describe the Kinetoscope in conceptual terms. The Kinetoscope was “...an instrument which does for the Eye what the Phonograph has done for the Ear, which is the recording and reproduction of things in motion....” This devices prototype was ready at the end of Summer, 1892. The finished product was a peepshow device, which allowed viewers to look inside the top of a large cabinet in order to see about a minute of moving images.

One of the first films made and copyrighted for the Kinectoscope was “Record of a sneeze”, made in 1894.

However, Edison eventually seen his Kinetoscope losing popularity to other motion picture devices, such as ones created by the Lumiere Brothers.

Lumiére Brothers

The Lumiere Brothers were Auguste and Louis, sons of a painter, Antoine Lumiere.

However, Antoine gave up his painting work after discovering the financial gains that could be earned working in developing photography, therefore set up his own business supplying photographic equipment with the help of Louis.

Louis then decided to start experimenting with his fathers equipment and at the age of seventeen, in 1881, he discovered the Etiquette Bleue process. In English this translates to Blue Label and was Louis’ very own dry-plate process.

This discovery helped the familys business boost therefore building them an excellent reputation and so they where invited to a demonstration to Edisons Kinetoscope.

After seeing this the brothers set out to make their own better version. They identified the flaws of the Kinetoscope, including the fact that it was a bulky piece of equipment and the fact that there could be only one viewer at a time.

So, by 1895, the brothers had invented the Cinématographe.

The Cinématographe was a device that combined a camera with a printer and a projector. The device was lightweight compared to Edisons and was hand cranked for power. However, it played films at a slower rate than Edisons kinetoscope.

The first film that the brothers made was a film of the workers leaving the factory, called “Exiting the Factory” (1895).

They went on to make thousands of films and even eventually produced the Autochrome Plate – the first colour photography process.

George Albert Smith

George Albert Smith was a hypnotist, psychic, astronomer, and inventor and most importantly, in this case, he was one of the pioneers of British Cinema.

Smith had attended one of the Lumiere Brothers premieres and after being encouraged by one of their films he acquired a camera.

From 1897 to 1903, Smith made some short films including “The Miller and the Sweep” (1897)

And “Old Man Drinking a Glass of Beer” (also 1897) 

Smiths work pioneered film editing and the use of close ups. He helped to develop narratives within filmmaking.

Smith also invented Kinemacolor which was the very first successful colour motion process.

George Melies

 This guy was a French illusionist and filmmaker. He led many famous technical and narrative developments within early cinema after being in the audience when the Lumiere Brothers unveiled their Cinematographe in 1895.

He asked the brothers if he could buy the machine but they refused.

This lead onto Melies creating his own camera-projector and went on to present his very first film in 1896.

Later that same year, one day while filming Melies camera jammed. He thought nothing of it until he processed the film and found that the incident was the cause of some special effects where objects suddenly appeared or disappeared or even transformed into other objects.

Therefore, Melies was the very first person to make use of special effects.

These included double exposure (shown in La caverne Maudite, 1898), split screen (Un Homme de tete, 1898)

And also dissolves (Cendrillon, 1899)

As well as special effects, Melies was also the first filmmaker to include nudity in his works. He made over 500 films in total. 

Edwin S. Porter

Porter was a freelance projectionist, and in this job role one of his main duties was to illegally duplicate some of Melies films. He would do this by using one act reels and combining several of them into one fifteen-minute programme.

As a fan of Melies films, Porter tried to imitate his works and camera tricks.

Porter was very skilled in editing and methods of projection and used both of these skills with great effect in some of his early work. He ended up adopting a documentary style of filmmaking after producing work such as “Life of an American Fireman”.

 He did this by combining documentary footage with his own footage.

Life of an American Fireman used stock actuality footage of fireman related things such as the fires and fire engines alongside dramatised scenes, which Porter shot himself.

By doing this, Porters work became dramatic, unlike Melies work which fell under the genre of fantasy.

Porter became confident in his work after the audiences reactions and continued to develop his work. He had discovered a whole new way of telling stories through film.

“The Great Train Robbery” was soon made and featured a strong storyline, good camera work and well done climax, accompanied by Porters editing skills. All of these things together made the film one of the most influential films of the decade.