Editting

Editing
The joining of one shot (strip of film) with another. The shots can picture events and objects in different places at different times. In Europe, editing is called montage.

Continuity
The kind of logic implied agreement between edited shots., their principle of coherence. cutting to continuity emphasizes smooth transitions between shots, in which time and space are unobtrusively condensed.

• more complex classical cutting is the linking of shots according to an event's psychological as well as logical breakdown
• Thematic montage, the continuity is determined by the symbolic association of ideas between shots, rather than any literal connections in time and space.
  

First cut/ rough cut
The initial sequence in a movie, often constructed by the director.

Final cut
The sequence as it will be released to the public.

Types of Shots

Establishing shot
Usually an extreme long or long shot offered at the beginning of a scene, providing the viewer with the context of the subsequent closer shot.

Master shot
An uninterrupted shot, usually taken from a long or full shot range that contain an entire scene. The closer shots are photograph later, and an edited sequence, composed of a variety of shots, is constructed on the editor’s bench.

Sequence shot
A single lengthy shot, usually involving complex staging and camera movements.

Reaction shot
A cut to a shot of a character’s reaction to the contents of the preceding shot.

Cover shot, coverage, covering shots
Extra shots of a scene that can be used to bridge transitions in case the planned footage fails to edit as planned. Usually long shots that preserve the overall continuity of a scene.

Reestablishing shot
A return to an initial establishing shots within a scene, acting as a reminder of the physical contacts of the closer shots.


Typical arrangement of shots to build a simple conversational scene:

1. Establishing Shots
2. master shots
3. reaction shots (while characters are talking to each other)
4. inserts of Cover shots or sequence shots when it's necessary.
   
5. Reestablishing shot

Types of cuts

Cutting to continuity
A type of editing in which the shots are arrange to preserve the fluidity of an action without showing all of it. An unobtrusive condensation of a continuous action.

Jump cut
An editing transition that is confusing in terms of space and time.

Parallel editing
The alternation of shots of one scene with another at a different location

Flash-forward
An editing technique that suggests the interruption of the present by a shot or series of shots representing future.

Flashback
An editing technique that suggests the interruption of the present by a shot or series of shots representing the past.

Cross cutting: The alternating of shot from 2 or more sequences, often in different locales, suggesting that they are taking place at the same time.


Speed
Speed is the motion of a sequence: fast motion, slow motion, standard motion

Freeze frame, freeze shot
A shot compose of a single frame that is reprint a number of times on the filmstrip; when projected, it gives the illusion of still photograph.

Fast motion
Shots of a subject photograph at a rate slower than 24 fps, which, when projected at the standard rate, convey motion that is jerky and slightly comical, seemingly out of control.

Slow motion
Shots of a subject photograph at a rate slower than 24 fps, which, when projected at the standard rate produce a dreamy, dancelike slowness of action.

Reverse motion
A series of images are photograph with film reserved. When projected normally, the effect is to suggest backward movement-an egg “returning” to its shell, for example.

***The speed can be adjusted in the editing software whether or not it is filmed in faster or slower rate.

Pace
rhythm and the tempo of a sequence or a movie. Faster the tempo, the more excitement it creates; slow tempo, less exiting it is.

Tips/basic concept
**Slow motion with fast tempo can be lyrical and romantic, and it won bore the audience. On contrary, Slow motion with slow tempo, it can be draggy and boring.

**Fast motion with fast tempo can create excitement, but the audience may not have enough time to grasp all the necessary information in the scene, unless is is the editor or the director's intension.

Cinematography: Camera composition, Movement, and Lighting

Camera Movements
When ever the subject moves from left to right, or the camera view pans/moves from left to right, or both (subject and camera view) move from left to right, it implies positive message for the following sequences in film-making. However, for the opposing direction, it implies negative message for the following sequences. This method is based on the research on how human (westerners) reads, which is normally, left to right. Thus, when ever the audience perceive anything moving from left to right, it seems natural to them. On the other hand, perceiving anything moving from right to left, unconsciously, it's uneasy to the audience, which is like having a person reading a book in reverse.


Composition in Cinematography (similar to photocomposition)

The rule of thirds
• where a picture is divided into three sections vertically and horizontally and lines and points of intersection represent places to position visual elements.


Bull’s eye composition
“No, No” in good composition. When you place the main subject right “smack” in the center of the picture area it is called bull’s eye. This should be avoided at all times, unless you have definite reason for doing it, for example:

1. When you have fast cut, you need to make sure the audience can notice the subject in a very short time. Thus, putting subject in the center is easy for the viewer to notice, during fast cut, bull's eye shot is effective so that the viewer can capture the subject in a glance.
2. To create an impact to the audience, or to give an uneasy feeling to the audience.

• With main subject at the center of the frame the eye will go into the picture and stay in the center, eyes will not move around to enjoy the rest of the picture or the set. Eyes can get tired very fast and lose interest.
  

• Even the subject is a little off center, it can still improve the picture’s composition.

Natural Light
Light used in photography from natural sources, for example, sunlight.

Sunlight
This is an example of natural light. This light comes from no other than our own sun. While the sun gives surely enough light for film to be exposed at, you must still do some serious thinking before taking the picture. For one thing, the time of day will affect the quality of your photo, as you will learn.

Overcast skylight
Though related to sunlight, this type of light is different in many ways. For one thing, you will not get the harsh shadows that appear in direct sun. Because clouds are blocking the sun, light is diffused, or scattered, thus softening shadows. Also, clouds can give a dramatic touch to your photos.

Artificial light
Light used in photography other than that from natural sources. Generally it refers to light specially set up by photographer such as flash or floodlight.

Diffused light
Light rays scattered, usually because of something such as fog or clouds in the way of the rays' paths

Bounce light
Light that is redirected or reflected from the light source.
If the reflecting surface is colored, the it will affect the color of the light, thus, white surfaces should be used for bounced light unless special color effects are desired.

Light settings
key light

• main source light.
• stronger the light darker the shadow
  

fill light

• it's used to fill in the shadows created by the key light

Back light

• It creates a rim of light surrounding the model/subject that separates him/her/it from the background.
  
• It adds three dimensionality to the picture.
  
• it's set above or behind the model.
• It can be in high or low intensity, if it's in low intensity, we usually refer it as hair or head light.
  

Head light/hair light

• to give some highlight on the model's hair, to give his/her hair some details.

*let's clear up some confusion here. yes, back light, head light and hair light may be very similar, the differences are the intentions. Back light is to separate the model from the background by creating a rim of light around him/her. However, head light and hair light are usually in low intensity, and the intention is to have a nice shine on the hair. got it?