Diegetic: A sound which the characters in the narrative can hear.
Non-Diegetic: Sounds which only the viewer can hear.
| Film: | Film Focus: | Rating(/10) | Memorable Scene |
| Sound Of Metal(2019, Marder) | Sound | 9/10 | The morning Where Ruben loses his most of his hearing. |
Sound Editor:
Basically, the sound editor is responsible for all of a film’s sound elements, including dialogue, sound effects, automated dialogue replacement and more. It is not until all of these elements are brought together that the sound mixer can get to work.
Sound Mixer:
Once all the different sounds are edited together, the sound mixer comes into play. According to Variety, the sound mixer ultimately determines how an audience hears everything in a film. The sound mixer must decide what elements to emphasize and which to tone down. For example, there may be points in a film where the sound mixer feels the score should reign supreme. At other points, the sound mixer may emphasize the heavy breathing of a protagonist, perhaps during times of extreme stress.
Info sourced from: https://www.businessinsider.com/oscars-what-is-the-difference-between-sound-mixing-and-sound-editing-2017-2?r=US&IR=T
| Film | Element Focus | Preference(/10) | Memorable Scene(s) |
| Whiplash(Damien Chazelle, 2014) | Editing | 9/10 | – When Andrew drove to grab his sticks so he could play his part -When Fletcher went through all 3 drummers until 1 got it right |
Match On Action is where the editor cuts from one shot to another view that matches the first shot’s action. So let’s say a character is opening a door, if the scene uses a match on action cut it would cut to another character opening a door, although it must be smooth to maintain the verisimilitude and not break the observers attention. This technique would be used as a swift and quick way to cut to another scene. Furthermore, to fully utilise the impact of this technique the 2 scenes should have a correlation or a link.
A Graphic Match is where the first and the second shot share the same shapes, colours or composition. This can be full on, with the shots resembling one another completely, or it can be more subtle. You might choose to match just one element up between the two. So applying this to a hypothetical scene, the camera could be focused on a clock and the next shot would have an object a similar shape to the clock in the same space on screen as the clock was. A graphic match may be used to to convey metaphors/hidden meanings or just a way to smoothly change to a different scene.
An Eyeline Match is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person: for example, a shot showing a man looking off-screen is followed by a shot of a television. Given the audience’s initial interest in the man’s gaze, it is generally inferred on the basis of the second shot that the man in the first was looking at the television, even though the man is never seen looking at the television within the same shot. Keeping two characters on the same level may be used to show the viewer that the two characters are equal, it can also be used because the director/cinematographer doesn’t want to use high angle/low angle shots (which a difference in height would naturally create) because it wouldn’t construct the meaning which is intended
Editors use J and L cuts to allow audiences to see the context of the dialogue rather than just the dialogue itself.
What makes a L-cut or J-cut work is the combination of dialogue and imagery. For an L-cut, the dialogue continues as the camera cuts to another image. For a J-cut, the dialogue plays while we see contextual images, but then cuts to the source of the dialogue.
Using a J-cut or an L-cut is all about keeping the flow of the edit moving without becoming boring. If a J-cut or L-cut is performed properly, then the audience will never notice it taking place. This same theory is really true for any editing technique.
Image: an example of an L-cut
Think about the films we watch and the dialogue sequences within them. During these sequences, the editor isn’t constantly cutting back and forth to each character as they talk. Doing this would be very distracting. Instead, an L-cut is used.
This technique sees Character A speaking, but then the scene cuts to Character B as Character A continues their dialogue. By doing this, the editor is allowing viewers to hear the dialogue while also seeing the reaction of Character B, giving the audience a better overall understanding of the scene.
Image: an example of a J-cut
The J-cut is the opposite of the L-cut. With this technique, the viewer hears the dialogue of Character A — but only sees Character B on screen. From this shot of Character B (which provides emotional information and context for the scene), the editor cuts back to Character A.
(Information from: https://www.premiumbeat.com/blog/what-is-j-cut-and-l-cut-in-video-editing/)
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Editing in film is when a scene is cut, deleted or in what order the scenes are placed. Editing also adds text to the screen and can add sound/music to the product too. Filmmakers do this to remove any imperfections/mistakes in the shots to make the best quality film for the consumer. Editing is a part of post-production. The clips which are being editing are called ‘rushes’ when they’re raw footage. Editing is done using a digital programme, most commonly premier pro(Adobe). Before digital editing they cut the actual film and put them together to create a single film. To create sound for the film, generally someone would play the piano while the film is playing.
