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The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
DIGITAL Filmmaking an Introduction Pete Shaner
DIGITAL FILMMAKING An Introduction LICENSE, DISCLAIMER OF LIABILITY, AND LIMITED WARRANTY By purchasing or using this book (the “Work”), you agree that this license grants permission to use the contents contained herein, but does not give you the right of ownership to any of the textual content in the book or ownership to any of the information or products contained in it. This license does not permit uploading of the Work onto the Internet or on a network (of any kind) without the written consent of the Publisher. Duplication or dissemination of any text, code, simulations, images, etc. contained herein is limited to and subject to licensing terms for the respective products, and permission must be obtained from the Publisher or the owner of the content, etc., in order to reproduce or network any portion of the textual material (in any media) that is contained in the Work. MERCURY LEARNING AND INFORMATION (“MLI” or “the Publisher”) and anyone involved in the creation, writing, or production of the companion disc, accompanying algorithms, code, or computer programs (“the software”), and any accompanying Web site or software of the Work, cannot and do not warrant the performance or results that might be obtained by using the contents of the Work. The author, developers, and the Publisher have used their best efforts to insure the accuracy and functionality of the textual material and/or programs contained in this package; we, however, make no warranty of any kind, express or implied, regarding the performance of these contents or programs. The Work is sold “as is” without warranty (except for defective materials used in manufacturing the book or due to faulty workmanship). -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
Resource Materials on the Learning and Teaching of Film This Set of Materials Aims to Develop Senior Secondary Students' Film
Resource Materials on the Learning and Teaching of Film This set of materials aims to develop senior secondary students’ film analysis skills and provide guidelines on how to approach a film and develop critical responses to it. It covers the fundamentals of film study and is intended for use by Literature in English teachers to introduce film as a new literary genre to beginners. The materials can be used as a learning task in class to introduce basic film concepts and viewing skills to students before engaging them in close textual analysis of the set films. They can also be used as supplementary materials to extend students’ learning beyond the classroom and promote self-directed learning. The materials consist of two parts, each with the Student’s Copy and Teacher’s Notes. The Student’s Copy includes handouts and worksheets for students, while the Teacher’s Notes provides teaching steps and ideas, as well as suggested answers for teachers’ reference. Part 1 provides an overview of film study and introduces students to the fundamentals of film analysis. It includes the following sections: A. Key Aspects of Film Analysis B. Guiding Questions for Film Study C. Learning Activity – Writing a Short Review Part 2 provides opportunities for students to enrich their knowledge of different aspects of film analysis and to apply it in the study of a short film. The short film “My Shoes” has been chosen to illustrate and highlight different areas of cinematography (e.g. the use of music, camera shots, angles and movements, editing techniques). Explanatory notes and viewing activities are provided to improve students’ viewing skills and deepen their understanding of the cinematic techniques. -
Teaching Visual Storytelling for Virtual Production Pipelines Incorporating Motion Capture and Visual Effects
Teaching Visual Storytelling for virtual production pipelines incorporating Motion Capture and Visual Effects Gregory Bennett∗ Jan Krusey Auckland University of Technology Auckland University of Technology Figure 1: Performance Capture for Visual Storytelling at AUT. Abstract solid theoretical foundation, and could traditionally only be ex- plored through theory and examples in a lecture/lab style context. Film, television and media production are subject to consistent Particularly programs that aim to deliver content in a studio-based change due to ever-evolving technological and economic environ- environment suffer from the complexity and cost-time-constraints ments. Accordingly, tertiary teaching of subject areas such as cin- inherently part of practical inquiry into storytelling through short ema, animation and visual effects require frequent adjustments re- film production or visual effects animation. Further, due to the garding curriculum structure and pedagogy. This paper discusses a structure and length of Film, Visual Effects and Digital Design de- multifaceted, cross-disciplinary approach to teaching Visual Narra- grees, there is normally only time for a single facet of visual nar- tives as part of a Digital Design program. Specifically, pedagogical rative to be addressed, for example a practical camera shoot, or challenges in teaching Visual Storytelling through Motion Capture alternatively a visual effects or animation project. This means that and Visual Effects are addressed, and a new pedagogical frame- comparative exploratory learning is usually out of the question, and work using three different modes of moving image storytelling is students might only take a singular view on technical and creative applied and cited as case studies. Further, ongoing changes in film story development throughout their undergraduate years. -
Beginners Guide to Video - JMBS
Beginners Guide to Video - JMBS This guide is intended for anyone who wishes to use a video camera for news gathering or documentary work. Although it is written for the complete novice there should also be something here for the more experienced. Camera Technique Books have been dedicated to this but there are a few things that are very useful to consider. • The most reliable way of getting good shots is to turn the lens to as wide an angle as possible and get as close to the subject/action as possible. • Treat the camera as if it were a stills camera. Avoid panning(left/right), tilting(up/down) and zooming unless it is absolutely necessary. Simple shots are best and they are easier to pull off. • Use a tripod or monopod wherever possible and if not try to find something to lean against. • If you have to change the camera angle do it as slowly (and smoothly) as possible. It is much better to have something briefly out of shot than to be continually/rapidly changing the camera angle. Ideally it should be done so slowly that the audience does not notice. • If you are panning over a long distance or following quick moving action generally speaking things should be in shot for at least five seconds. • When shooting without a tripod bear in mind the wider the angle you are shooting the steadier the shot. If possible move in closer rather than zooming in. To help steady the camera push the eyepiece to your eye and press your elbows against the bottom of your ribs. -
Videography Terminology Continuity
Videography Terminology Continuity This is an important concept to keep in mind during recording of video/audio and later in post-production. Continuity means that if something is in one position or state-of-being in one shot, it needs to be the same way in the next shot unless it has purposely been changed for storytelling purposes. Some examples of lack of continuity are changes in a subject’s clothing, hair style, body position, or position of objects on the set between two shots that are supposed to be occurring within the same time frame. Another example is when in one shot a subject is traveling in one direction, but in the next shot the movement is in the opposite direction. Continuity changes can also occur with audio if scenes are shot in different locations or at different times but are supposed to be occurring in the same location. Framing Your Shot Rule of thirds: Divide the image in the viewfinder into horizontal and vertical thirds like placing a tic-tac-toe grid over it. Place a key part of the image on one of the intersecting points. This keeps the picture interesting and creates a pleasingly balanced image. Head room: The space between the top of the head and the upper edge of the picture or television screen. Breathing room: The space in front of a person’s face when recorded in profile. Classroom Video Production: Videography Terminology © KET 2015 1 Lead room: The space in front of a moving object or person. Types of Shots Wide shot (WS): A shot taken from a distance to show a landscape, building, or large crowd, such as the view of New York City from the Ellis Island. -
Film Analysis
Film Analysis I Shots Extreme long shot (ELS) / panoramic shot (Panoramaeinstellung): The camera is far away from the subject, emphasising the surroundings (Umgebung) e.g. a tiny group of riders in a vast landscape in a western. Long shot (LS) (Totale): A human usually takes up less than half the height of the frame (Bild), often used to show the setting of a scene. Medium shot (MS) (Halbnah): The subject and the surroundings have about equal importance. The picture shows e.g. the upper body of a person. Close-up (CU) (Großaufnahme): The subject fills most of the frame (e.g. the entire head) and little of the surroundings is shown. Close-ups are often used to show a character’s feelings. Extreme close-up (ECU) (Detailaufnahme): For example only the eyes or a certain object (like a knife or a gun) are shown. Establishing shot (Anfangseinstellung): Usually a long shot or an extreme long shot, which “estab lishes”, i.e. shows the setting (Schauplatz) often at the beginning of a film. POV shot (point-of-view) (subjektive Kamera): The camera adopts (übernehmen) the per spective of a character. We see what a character sees and therefore often identify with him/her. Reaction shot: Someone’s face reacting to an event, for example when a villain (Bösewicht) comes into a saloon. Before we see him we see the fearful expression on the faces of some of the guests. Camera Positions Top shot: The camera looks down at a 90° angle, you can see only head and shoulders of a person. -
Voluntube Video Training Programme
VOLUNTUBE VIDEO TRAINING PROGRAMME 1.0 - INTRODUCTION TO VIDEO - FILMING BASICS In this session we will talk about the basic tools of a videomaker and how to use them for our purposes. 1.1 CAMERA SET-UP - VIDEO FORMAT This is the first element that needs to be set before doing any other operation on the camera. We will decide, according to the equipment available to all the volunteers, which is the best HD codec , format (1080p, 1080i, 720p, 720i) and video system (PAL, NTSC) to be used as a standard for Voluntube. For all those who have never heard of this technical stuff, we will briefly explain what's the meaning behind concepts like High Definition, resolution, the difference between progressive or interlaced shooting, video systems and compression codecs. We want to choose a unique standard that could be the same for all the volunteers: HD 1920x1080, 25p, High Quality FH. Audio stereo 2CH. and NOT 5.1. Setting up the format can be done just once at the beginning of the training and then kept the same throughout the whole period of participation to the project. The choice of the right format is also very important in relation to the initial set-up of the projects in Wondershare Filmora. - RECORDING MEDIA & FOOTAGE STORAGE The card onto which the footage is recorded and stored (until editing) must be the first concern of our videomakers as they prepare themselves for a day of shooting, and also the last thing to check before they put their equipment back in place at the end of the day. -
Choices in the Editing Room
Choices in the Editing Room: How the Intentional Editing of Dialogue Scenes through Shot Choice can Enhance Story and Character Development within Motion Pictures Presented to the Faculty of Liberty University School of Communication & Creative Arts In Partial Fulfillment of the Requirements for the Master of Arts in Strategic Communication By Jonathan Pfenninger December 2014 Pfenninger ii Thesis Committee Carey Martin, Ph.D., Chair Date Stewart Schwartz, Ph.D. Date Van Flesher, MFA Date Pfenninger iii Copyright © 2014 Jonathan Ryan Pfenninger All Rights Reserved Pfenninger iv Dedication: To Momma and Daddy: The drive, passion, and love that you have instilled in me has allowed me to reach farther than I thought I would ever be able to. Pfenninger v Acknowledgements I would like to thank my parents, Arlen and Kelly Pfenninger, for their love and support throughout this journey. As you have watched me grow up there have been times when I have questioned whether I was going to make it through but you both have always stood strong and supported me. Your motivation has helped me know that I can chase my dreams and not settle for mediocrity. I love you. Andrew Travers, I never dreamed of a passion in filmmaking and storytelling before really getting to know you. Thank you for the inspiration and motivation. Dr. Martin, your example as a professor and filmmaker have inspired me over the last three years. I have gained an incredible amount of knowledge and confidence under your teaching and guidance. I cannot thank you enough for the time you have invested in me and this work. -
Media Studies
A Level Media Studies 2021 Summer Homework Solihull Sixth Form College Warning: The clips selected are indicative of the course content but may include violence, bad language, and parental advisory notifications. If you are uncomfortable with this, please select your own examples and note on your handout the YouTube link. 1 Cinematography Analysing the use of technical aspects of moving images. Technical aspects that convey meaning for the audience. Click the shot type and watch the video, then write out a detailed definition. Not all definitions will be available through the videos, any left you will have to research independently. Camera/Cinematography. Extreme Long-Shot (ELS): Point-of-View Shot (POV): Establishing Shot: Extreme Close-Up (ECU): Long-Shot (LS): Tracking Shot: Medium-Shot (MS): Tilt: Medium Long-Shot (MLS): Zoom: 2 Medium Close-Up (MCU): Arc Shot: Two-Shot: Crane Shot: Close-Up (CU): Pan: Wide Shot: Straight-On Angle: Cut In: Low Angle: Cut Away: High Angle: Over-the-Shoulder: Birds-Eye-View: Weather Shot: Aerial Shot: 3 Eye-Level: Full Shot: Undershot: Face to Face: Overhead: Space: Dutch-Tilt: Framing/Shot Composition: Dolly/Track: Rule of Thirds: Crab: Focus (Deep and Shallow): Pedestal: Focus Pull: Whip Pan: Hand-Held: 4 Conversation: Steadicam: Follow Shot: Reverse Zoom: 5 Camera Techniques: Distance and Angle. 6 Cinematography Identification Task. The following are a selection of clips that will help you analyse meaning and representation through the various camera shots, movements and angles. Clip 1 Shaun of the Dead (2004) - The Plan. Pan/Whip-Pan: What Effect does the use of the Whip-Pan have? Clip 2 Shame (2011) – Jogging Scene. -
EDITING TECHNIQUES for FILM the Editing Process
EDITING TECHNIQUES FOR FILM The Editing Process Shots are edited together to create scenes. Scenes can be edited together to tell a story. Editing Many regard it as the single most important creative step in determining the look an shape of the finished film Dede Allen - BONNIE AND CLYDE, REDS A good editor can save a poorly directed film A bad editor can damage the work of even the finest director Thelma Schoonmaker - RAGING BULL, THE DEPARTED Watching a film is like putting together a puzzle… Overall picture emerges when all the little pieces have been fit together Each piece is a shot When put together properly, the viewer sees the whole picture and not just the pieces Lev Kuleshov Kuleshov said that editing a film was like constructing a building. Brick-by-brick (shot- by-shot) the building (film) is erected. Just as two images joined together form a third meaning not inherent in either of the two images alone… …the way the many images making up a film are put together creates a meaning not inherent in the individual shots Viewers infer meaning based on context. The viewers didn't realize it, but the emotion and the story they felt were the result of the human need to fill in the blanks. Sample of EditingTechniques 1. Master 2. Match cut 3. Continuity editing 4. Jump Cut 5. Montage 7. Shot Reverse Shot Master shot A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view.