AS LEVEL MEDIA STUDIES Vision Editing.
Editing 1. In film making, the task of selecting and joining camera takes. 2. In the finished film, the set of techniques that govern the relations among shots.
Continuity – Sequencing individual shots to make sense of action in time and space.
Cut 1. In film making, the joining of two strips of film together with a splice. 2. In the finished film, an instantaneous change from one framing to another.
Fade 1. Fadein: A dark screen that gradually brightens as a shot appears. 2. Fadeout: A shot gradually darkens as the screen goes black. Occasionally fadeouts brighten to pure white or to a colour.
Wipe a transition between shots in which a line passes across the screen, eliminating the first shot as it goes and replaces it with the next one.
Shot/reverse shot two or more shots edited together that alternate characters, typically in a conversation situation. Over the shoulder framings are common in shot/reverse shot editing. They help to communicate essential reactions of characters and help push the narrative in a certain direction.
Dissolve a transition between two shots during which the first image gradually disappears while the second image gradually appears for a moment ; the two images blend in superimposition.
Long take a shot that continues for an unusually lengthy time before the transition to the next shot.
Superimpose (superimposition) the exposure of more than one image on the same film strip.
Slow motion the operation or speed of a film using slower projection or more rapid exposure, so that actions appear much slower than usual.
Match on Action the cutting of shots together to condense time and space but make narrative sense.
Jump cut the camera will stay stationary and the object in shot will move from frame to frame but not more than 30 degrees.
Pace of editing the pace and length of shots will communicate a sense of atmosphere to the audience. Quick paced editing will represent a tension, fear, excitement whereas slow paced editing might infer a sense of relaxation, peace and tranquility. However, they can also be used to convey the opposite it all depends on the context and other microfeatures (camera, sound and MES).
Eyeline Match the camera cuts from a character’s eyes to the object they are focusing on. This will infer something about the narrative and their state of mind.
Montage a series of quick shots that condense a narrative that would ordinarily take a long time to show into a short amount of time.
Parallel Editing – crosscutting between two stories that converge, but have a relationship between each other. This relationship may be a juxtaposition for contrasting themes, characters or events.
Graphic match – Cutting to a visual relationship between two objects or actions. This smooths the edit and draws relationships between events / characters.
Reaction shot a cut to someone’s reaction that will communicate something about their thoughts.
In the TV drama clip, there will always be:
● Shot reverse shot helps represent characters a certain way you can read their facial expressions. ● Pace of editing helps represent an atmosphere, situation, characters. ● Eyeline match to communicate something about the character’s state of mind. ● Match on Action helps represent a part of the narrative and therefore certain characters in a certain way. ● Reaction shot cut to a facial expression, action that infers something about the situation
Remember, you can combine an editing TEA with a camera term i.e. there is an eyeline match to a close up of .or there is a reaction shot in extreme … close up of .. …