Co-ordinating the Shots: Film Editing

• The general idea behind editing is co-ordinating the different shots so there is a coherent narrative.
• This is called continuity editing - its purpose is to provide efficient and artful transitions.

Editing

• In filmmaking, the task of selecting and joining camera takes.
• In the finished film, the set of techniques that governs the relation among the shots.

Editing is the process of preparing language, images or sound though correction, condensation, organization and other modifications in various media... Editing is, therefore, also a practice that includes creative skills, human relationships and a precise set if methods.

Juxstaposition:

• Edwin S. Porter, The Great Train Robbery 1903 - shots in sequence create meaning for audiences.
• From exterior shots to set, audience is encouraged to believe the events they see are immediately sequential.
• Exterior, train pulls away --> Interior, train carriage --> Exterior, roof of train.

The Kuleshov Effect:

• Lev Kuleshov, circa 1920: intercut an actors face with unrelated footage taken later.
• Audiences interpreted emotional responses on thye actors face based on the juxtaposition of images.
• Whilst much of the moving image we see uses this effect, it does not usually draw attention to it.

Contrast 'four main functions' of film editing:

• 'Make sure that the production is the required length of time;
• To remove unwanted material or mistakes;
• To alter if necessary the way or the sequence in wehich events will be portratyed;
• To establish the particular style and character of a production.'

Relations in Editing:

Graphic Relations:

• A graphic match is achieved by joining two shots that have a similarity in terms of light/dark, line ir shape, volume or depth, movement or stasis.
• A graphically discontinuous edit creates a clash of visual content by joining two shots that are dissimilar in terms of one or more of the above visual principles.

Rhythmic Relations:

• Manipulating the rhythms experienced by perceivers through joyful juxtapositions of longer and shorter shots.
• As well through transitional devices that affect the perceiver's sense of beat or tempo.
• Straight cut, Fade-out/in, Dissolve, Wipe, Flip frame, Jump cut.

Temporal Relations:

• Difference between temporal duration and screen duration is reconciled through editing.
• It's a simple technique, however, most films only show for roughly two hours yet sufficient intersection of story and plot to provide perceivers with everything they need in order to understand days, weeks, months and years in characters lives.
• Most narrative films are presented in roughly chronological order, with notable exceptions.
• Two most common disruptions to chronological order are flashbacks and flashforwards (mostly flashbacks).

Spatial Relations:

• Allowing the audience to understand the way people are positioned.
• The camera needs to be placed in particular places within the shot to help the audience identify and make sense of the sequence.
• Establishing shot, Shot/Reverse shot, Eyeline match (POV shot), Re-establishing shot.
• 180 degree rule, Cheat cut (becoming or physically moving through a wall)

Thematic Relations:

• Two  powerful techniques are used to manipluate the perciever's place in the hierarchy of knowledge. Therefore, affecting their understanding of the film:
• Montage sequence, Crosscut editing.