Film Make Jump Cuts Less Noticeable
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child. -
Cheat Sheet Video Editing
The Ultimate Video Editing Cheat Sheet /SunnyLenarduzzi Video & Social Media Coach, Consultant, YouTuber, Speaker and Broadcaster. Step 1: Pre-Production Did you know that the editing process begins before you even turn on your camera? Consider the following pre-production elements: Script Write a loose script that you'll use to guide you and the flow of your video. Break the script into sections i.e. intro, point #1, point #2, outro. If you promote your video across social platforms, write scripts that are specific to: Instagram: 15 sec. maximum Twitter: 30 sec. maximum Facebook: 20 min. maximum www.SunnyLenarduzzi.com Pre-Production Titles & Graphics To add a unique look and feel to your videos, be sure to create your intro graphic or animation that you can use in all of your videos moving forward. You can easily make these yourself in Canva or PicMonkey. Or you can hire someone to do it for as low as $5.00 on Fiverr. Shot List For each portion of your script, think about the visuals you'll need to support your points i.e. photos, extra video footage (b-roll), props, interviews, etc. Collect those creative elements and store them in a folder so they're organized for when it comes time to edit your video. Group shots with the same locations together to make the filming process easier; it's ok to film your video out of order. www.SunnyLenarduzzi.com Step 2: Production Lights, camera, action! Now that you have your ducks in a row, it's time to shoot your masterpiece. -
Elements of Photography in Filmmaking Illustrations
Elements of Photography in Filmmaking from Gilbert H. Muller and John A. Williams, Ways In: Approaches to Reading and Writing about Literature and Film (New York: McGraw Hill, 2003) Just as words make up the diction of literature, shots are the diction of filmmaking. Shots are defined as the images that are recorded continuously from the moment a camera is turned on to the time it is turned off. Describing shots involves the concepts of framing and image size. As in photography, all the information in a shot is contained within the frame. The size of the most important image in a frame (often the human figure) is an element that creates the difference between shots. The noted film authority Louis Gianetti defines them in six basic categories: the extreme long shot, the long shot, the full shot, the medium shot, the close-up, and the extreme close-up. The extreme long shot, often called the establishing shot, shows a whole environment of a scene from a distance. Typical examples include a whole building, a street, or a large part of a forest. The long shot presents a character in an important physical context. A typical long shot will show a man in a room, for example, where the shot is wide enough to show the details of the room in relationship to the human subject. The full shot displays exactly what it implies: the full human figure from head to toe. The medium shot reveals the figure from the waist up. The close-up concentrates on the human face or a small object (Figure 1). -
Screenplay Format Guide
Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads. -
Spider-Man: Into the Spider-Verse
SPIDER-MAN: INTO THE SPIDER-VERSE Screenplay by Phil Lord and Rodney Rothman Story by Phil Lord Dec. 3, 2018 SEQ. 0100 - THE ALTERNATE SPIDER-MAN “TAS” WE BEGIN ON A COMIC. The cover asks WHO IS SPIDER-MAN? SPIDER-MAN (V.O.) Alright, let’s do this one last time. My name is Peter Parker. QUICK CUTS of a BLOND PETER PARKER Pulling down his mask...a name tag that reads “Peter Parker”...various shots of Spider-Man IN ACTION. SPIDER-MAN (V.O.) I was bitten by a radioactive spider and for ten years I’ve been the one and only Spider-Man. I’m pretty sure you know the rest. UNCLE BEN tells Peter: UNCLE BEN (V.O.) With great power comes great responsibility. Uncle Ben walks into the beyond. SPIDER-MAN (V.O.) I saved a bunch of people, fell in love, saved the city, and then I saved the city again and again and again... Spiderman saves the city, kisses MJ, saves the city some more. The shots evoke ICONIC SPIDER-MAN IMAGES, but each one is subtly different, somehow altered. SPIDER-MAN (V.O.) And uh... I did this. Cut to Spider-Man dancing on the street, exactly like in the movie Spider-Man 3. SPIDER-MAN (V.O.) We don’t really talk about this. A THREE PANEL SPLIT SCREEN: shots of Spider-Man’s “products”: SPIDER-MAN (V.O.) Look, I’m a comic book, I’m a cereal, did a Christmas album. I have an excellent theme song. (MORE) 2. SPIDER-MAN (V.O.) (CONT'D) And a so-so popsicle. -
Video Editing Guidelines
VIDEO EDITING GUIDELINES Log and Label your Shots You can pay me now or you can pay me later. It will take a little time to log and label all your shots in the beginning, but it will pay off in the long run. Use a topic and descriptor for each shot, i.e. Capitol Front, Med, Pan R Common Descriptors: Wide MW (Medium Wide) Med (Medium) C/U (Close) XC (Extreme Close up) Pan R Pan L Tilt Up Tilt Down Zoom In Zoom Out Low (Low Angle) High (High Angle) C/A (Cut Away) 2 Shot Rev (Reverse Angle) Tell a Story With Your Video The same way you would construct a story with words, construct your video with building blocks to develop the visual story. Each Frame is a Word Each Shot is s Sentence Each Sequence is a Paragraph Multiple Sequences make a Chapter Choose the Best Footage It may sound a little silly, but be selective. It is common to shoot more footage than you actually need and choose only the best material for the final edit. Often you will shoot several versions (takes) of a shot and then choose the best one when editing. If a shot it too shaky, don’t use it. If it’s out of focus, don’t use it. Develop Your Sequences A basic sequence might be: Wide Shot Medium Shot Close Up Extreme Close Up Cut Away/Transition Shot Repeat But you could just as easily do: Medium Shot Medium Shot Close Up Medium Wide Shot Extreme Close Up Close Up Medium Shot Wide Shot Cut Away/ Transition Shot Think about continuity when building your story. -
13 Tips for Shooting Better Video Chris Snider | Chrissniderdesign.Com/Video-Resources
13 tips for shooting better video Chris Snider | chrissniderdesign.com/video-resources 1. Shoot in shots 7. Capture emotion and motion •Don’t hold one shot for too long • Emotion comes through loud and clear on video •Shoot a series of unique shots and put them together • Viewers also respond to motion (ever watch a school board meeting on TV? Boring!) 2. Avoid camera movement • Any sort of camera movement is advanced technique 8. Tell a story • Hold the camera still and let the movement happen inside • Every video will be better if it tells a story. A story should your composed shot include: A hero, a beginning (where we meet the hero), a middle and an end 3. Compose your shots • Take charge and properly set up the shot 9. Zoom with your feet, not your lens • Shoot at camera’s widest setting, and get close to the action • Pay attention to backgrounds • 10x zoom = 10x shakiness • Don’t be afraid to rearrange the furniture (in non-documentary situations) 10. Let subject enter and exit the frame • This will represent passage in time and make it easier to transition to another shot 11. You’re only as good as your audio 4. Shoot wide, medium and close • A video that is difficult to hear will turn off viewers • Wide: shows subject and the environment • Avoid locations with bad acoustics • Medium: Begins to isolate the subject from the environment • Avoid distracting background noises (busy areas, heavy machinery, lawnmowers, etc.) • Close-up: Isolates subject from the environment (hands and faces make for good close-up shots) • Use an external microphone for quality audio 5. -
Diploma in Film and Tv Production
TARABA STATE POLYTECHNIC DIPLOMA IN FILM AND TV PRODUCTION NOTES ON FTP 105: EDITING I By Kyantirimam R. Ukwen I. An Overview of Editing Editing is the selection, timing and arrangement of given shots into a film continuity. In essence it requires ‘cutting’ out portions of recorded video, discarding the ones not needed and taking the relevant ones to the position where it can help to tell a film story in a sequence that will help the viewer understand it. I. An Overview of Editing So, what is a sequence? It is a serial arrangement in which things follow a logical order. It is therefore an order or arrangement of anything at all, e.g numbers: 1,2,3,4,5. If it is not sequential, it could be 2,4,3,5,1 or 3,5,1,4,3. If it is a sequence, it takes you easily through from beginning to the end. I. An Overview of Editing Let us look at another example. An order of Esther’s daily chores at home whenever she wakes up in the morning: She 1. prays, 2. uses the toilet 3. brushes her teeth 4. sweeps the kitchen 5. fetches water 6. blows the fire 7. cooks breakfast 8. takes her bath 9. eats her breakfast I. An Overview of Editing However, Esther could choose to begin with any of these chores thus distorting the sequence in which she usually does them, thus: She 5. fetches water 2. uses the toilet 3, brushes her teeth 4. sweeps the kitchen 1. prays 8. -
Wonder Woman
WONDER WOMAN screenplay by Allan Heinberg story by Zack Snyder & Allan Heinberg and Jason Fuchs based on characters from DC Comics WONDER WOMAN created by William Moulton Marston This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission. FINAL SHOOTING SCRIPT WARNER BROS. PICTURES INC. © 2017 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FADE IN: 1 EXT. THE EARTH (FROM SPACE) 1 The EARTH as seen from space, perfect and seemingly serene. DIANA (V.O.) I used to want to save the world... The distant SOUND OF TRIBAL DRUMS as we DESCEND planet- ward. CIRCLING the globe, CLOSER as the DRUMS BUILD. DIANA (V.O.) This beautiful place. LOUDER DRUMS SOARING OVER oceans and continents. CLOSER. DIANA (V.O.) But the closer you get, the more you see the great darkness simmering within. Finally, we arrive in PARIS, FRANCE. 2 EXT. LOUVRE MUSEUM (PARIS) - EARLY MORNING 2 The LOUVRE MUSEUM -- with its 16th-Century architecture and its I.M. Pei glass-and-metal PYRAMIDS -- a place where the past and the future meet. DIANA PRINCE (30), antiquities expert, strides towards the Louvre, passing ARMED MILITARY at guard and alert. DIANA (V.O.) And mankind? That’s another story altogether. A TRUCK pulls up, blocking our VIEW. ARMED SECURITY OFFICERS exit, unloading a CRATE from WAYNE ENTERPRISES addressed to DIANA PRINCE: CURATOR. 3 INT. LOUVRE MUSEUM - CORRIDOR - CONTINUOUS ACTION 3 Diana walks down a HALLWAY with Assyrian bas-relief sculptures showing the good, and the bad, of humanity throughout history. -
COM 320, History of Film German Expressionism, Soviet Montage, and French Impressionism Compared German Expressionism Soviet
COM 320, History of Film German Expressionism, Soviet Montage, and French Impressionism Compared German Expressionism Soviet Montage French Impressionism Era 1919-1927 1917-1933 1918-1929 Defining ►”Goal to express feelings in the ►”Montage. as a collision of elements. ►”Goal to convey sensations and Characteristics most direct and extreme fashion imitated the Marxist concept of the dialectic emotional ‘impressions’. conveying possible. extreme distortion to . .’intellectual cinema’ attempts not to tell the personal vision of the artist. express an inner emotional reality a story but to convey abstract ideas, as. cinema shows us the souls of people rather than surface appearances”; a political tract might” and the essence of objects (photogenie) Prawer (in book--Caligari’s . Cinema is a synthesis of the other Children) raises the possibility that arts” (architecture, painting, sculpture, this distortion is quite “real”--e.g., music, poetry, dance) Caligari sees aspects of the world not readily apparent to others. Form & Style ►Mise en scene most important ►Editing most important ►Camera work most important ►Narrative structure--legends, the ►Narrative structure--social forces ►Narrative structure--personal actions supernatural, horror (but psych.) ►Large number of shots and psychology ►Distortion, stylization of sets, ►”Kuleshov effect” of juxtaposed shots ►Photogenie--”that quality which costumes, makeup, acting, lighting ►Maximization of dynamic tension through distinguishes a film shot from the ►High contrast (in film, B&W; in two opposing -
Film Terms 1
Film Terms 1 Film Terms Cutaway - A shot, usually a closeup of some detail, or landscape, that is used break up a matching action sequence, and is often very helpful in editing to rescue you from an impossible break in continuity or coverage. A cutaway, as the name implies, is a shot that does not focus on some detail of the shot before or after it but cuts away from the action at hand, unlike an Insert Shot . However, the two terms are sometimes used vaguely or interchangeably, although this is not always a useful practice. The best cutaways are the ones that have some logic to them, that relate to the scene. Dissolve - A transition between two shots, where one shot fades away and simultaneously another shot fades in. Dissolves are done at the lab in the printing phase, but prepared by the negative cutter, who cuts in an overlap of the two shots into the A&B rolls. Labs will only do dissolves in fixed amounts, such as 24 frames, 48 frames, etc. Dolly Shot - A dolly shot is one where the camera is placed on a dolly and is moved while filmming. Also known as a tracking shot. Edit - 1.: The cutting and arranging of shots. 2.: In the different stages, or at the completion of editing the edited film itself can be referred to as “the cut” or “the edit.” Fade - A transition from a shot to black where the image gradually becomes darker is a Fade Out ; or from black where the image gradually becomes brighter is a Fade In .