Sunday, January 12, 2014

The Principles of Editing

Editing of film or video material is an essential part of any film production. Without the process of manipulating source material, all film and video would have to be shot in sequence and without mistakes.


Editing has adapted and evolved as technology has improved with time. 


History of Editing


Classic Montage


Classic Montage (French for ‘Assembly’) is the sequence of shots to show the passage of time in the story, and condensed into a small amount of screen time. Montage sequences were often combined with special visual effects – such as fades and dissolves – in the 1930-50’s. 

Two common montage sequences of that period consisted of newspapers and a railroad. There are multiple shot of newspapers being printed, with multiple layered shots of a man looking at a paper, papers at the end of a press, and papers moving between rollers. Headlines rolled on screen whenever something needed to be explained.

Soviet Montage

Created in Soviet Russia, the editing was focused on influencing the audience into the propaganda being shown on scene.


In this video, A man is faced by moral confliction upon encountering his wife's adulterous affair and contemplates over the issue with a mustering desire to murder her lover.

Kuleshov


By placing seemingly unrelated shots side by side (Juxtaposition) film-makers could create new meaning and create visual metaphors.

 Lev Kuleshov was the leader of the Soviet Montage theory – developing his theories of editing before Sergei Eisenstein. For Kuleshov, the essence of the cinema was editing, by juxtaposition of one shot with another. He created what is known as the Kuleshov Experiment. Shots of an actor were intercut with different meaningful images (a casket, a bowl of food, ect) in order to show how editing changes viewers’ interpretations of images.





                                                        The original Kuleshov Experiment

Eisenstein

Sergei Mikhailovich Eisenstein was a pioneering coviet Russian film director, often considered the ‘Father of Montage’ . He is noted for films such as Strike (1924) and Battleship Potemkin (1925).

He and Lev Kuleshov argued that montage was the ‘essence of the cinema’. Eisenstein believed that the editing could be used for more than just emphasising a scene or moment, though a ‘Linkage’ of related images. He developed what he called ‘Methods of Montage’.

·        Metrick – Unit of length or measurement
·        Tonal – Emotion of a scene prime factor
·        Rhythmic – Movement in shot conflicts rhythm of editing
·        Overtonal – Metric, Tonal and Rhythm combined
·        Intellectual – Visual metaphors

Example of Eisenstein’s five types:



The Lumiere Brothers

Louise and Auguste worked in a Lyons factory that manufactured photographic equipment and supplies. They created their own combo movie camera and projectors, using a film width of 35cm, and a speed of 16 frames per second.

Their first movie was born in December 28th, 1895, Paris.

George Melies

Melies was a French Cinematic Illusionist, who came up with the idea of fantasy and art films. By using films to tell stories, he set up Europe's first film studio in 1897. It created over 500 films in over 15 years. Few survived, and screened his own productions in a theatre. He went out of business in 1913.

Editing Techniques

Parallel Editing (Cross Cutting)

Cross Cutting is the technique of alternating two or more scenes which happen simultaneously in different locations.

Different story lines unfold in parallel. These  parallel story lines can come together, but it is not necessary. Story lines can converge to make it seems more interesting.

An example of this would be The Godfather, and its famous scene:


Suspense can be created by cross-cutting. It creates expectations and hopes that the scenes will be explained in time.

Cross-cutting is used for pace, suspense and exposition – to narrate the back story, themes, and character detail.

Continuity Editing

Continuity Editing is the use of connecting clips which follow each other directly seamlessly, to ensure that all the clips are shown without blips and errors. If continuity was not there, it would be clear to see. For example, if a door is closed in one clip and open in the next, this breaks the continuity.

Continuity falls if anything breaks the suspense of the clips realism.


This picture shows The Doctor emerging from his Tardis on a motorcycle.
The tardis itself is supposed to be bigger on the inside, therefor shouldn't have strange grate-like
walls on the inside.



Youtube (2012) History of Film Making [Online] Available from http://youtu.be/rv8ls-Jf2xU Accessed on 7th Jan, 2014
Youtube (2009) Soviet Montage [Online] Available from  http://youtu.be/7rt6HRvgkYQ Accessed on 7th Jan, 2014
Youtube (2009) Original Kuleshov Experiment [Online] Available from http://youtu.be/4gLBXikghE0 Accessed on 7th Jan, 2014
Youtube (2012) Eisenstein's 5 Methods [Online] Available from http://youtu.be/MzXFSBlQOe4 Accessed on 7th Jan, 2014
Youtube (2012) Parallel Editing - The Godfather [Online] Available from http://youtu.be/S_I82117oAw Accessed on 9th Jan, 2014
Wordpress (2013) Whopix [Online] Available from 
http://whopix.wordpress.com/2013/03/ Accessed on 12th Jan, 2014




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