2.THE EDIT
Moving from Camera to Edit, would be to compare the way that the camera can frame and position characters and thereby the audience by creating ‘subjectivity‘ and empathy. This is so important for creating a story, characters, a theme and of course COMMUNICATING MEANING. Similarly, the way in which images are edited together has a massive significance in terms of communicating an idea and of creating meaning.
SO IN TERMS OF MOVING IMAGE PRODUCTS WHICH IS THE MOST IMPORTANT CAMERA OR EDIT??
Both tools are used to deliberately and consciously ‘stitch‘ the audience into the text in a deliberate and particular way.
This idea of sewing / stitching the audience into the text was developed by theoreticians of the “Screen theory” approach — Colin MacCabe, Stephen Heath and Laura Mulvey, so follow this link to find out a little bit more. Although, thinking about moving image products from this perspective is considered in more detail in my posts on Audience.
Distinguishing Editing from Camera work (theory)
Moving image products (like other media products: print, radio, on-line) are clearly constructed around the concept of putting one thing next to another. This can be found in both camera work and in editing. Editing is the process of manipulating separate images into a continuous piece of moving image which develops characters, themes, spaces and ideas through a series of events, interactions and occurrences. As such, it is (usually) LINEAR and SEQUENTIAL, although, it must be remembered that moving image products often parachute the audience into a particular moment (IN MEDIA RES) and usually leave them at an equally unresolved moment.
As such BACK STORY, FORESHADOWING, REPETITION, ELLIPSIS, DEVELOPMENT, ENIGMA, DRAMATIC IRONY and other concepts are really important to always bear in mind. As such, NARRATIVE THEORY is really important to an understanding of moving image products.
1.The basic edit: cut/fade/dissolve
The basic rule in editing is you don’t show everything literally, you need to use just enough information to provide ideas and suggestions for your audience to develop and generate a range of emotions and idea: EMPATHY, INVOLVEMENT, RECOGNITION, CATHARSIS etc etc . . . with characters, themes, setting, plot.
As such, what you leave out known as ELLIPSIS is just as important as what you put in. Again the ideas of SPACE, SIZE & SCALE are really important, because you need to frame your shots with appropriate SIZE AND SCALE and trim your shots so that they are not too long / not too short ie creating the appropriate SPACE for ideas, characters, themes, the plot etc to develop.
The basic tools you will use in conventional moving image products are either CUT, DISSOLVE, FADE. In other words, definitely avoid any trick edits, such as bouncing balls, waves, dilutions etc etc that are usually reserved for promotional or presentational videos.
But the key question is WHEN TO EDIT ie when is it best to move from one shot to another? The answer is usually found in the following list:
- EDIT ON ACTION
- EDIT ON A MATCHING SHAPE, COLOUR, THEME
- EDIT ON A LOOK, A GLANCE, EYELINE
- EDIT ON A SOUND BRIDGE
- EDIT ON A CHANGE OF SHOT SIZE
- EDIT ON A CHANGE OF SHOT CAMERA POSITION (+30′)
Shot Sequencing 1: Parallel Editing
The use of sequential editing (editing one clip to another) allows for a number of key concepts to be produced:
- parallel editing: two events editing together – so that they may be happening at the same time, or not?
- flashback / flash-forward – allowing time to shift
Shot sequencing 2: Montage
Editing is the process of putting one element / idea next to another. It was first conceptually theorised as the Kuleshov effect, in that adding one element / idea to another actually produces a third idea / element, which if constructed well can produce in the audience an idea that isn’t actually present! This is the basis of MONTAGE EDITING – often the connection of images / ideas to create a new meaning (1 + 2 = ?). It is often seen as an allegorical, metaphorical way of editing to create symbolism, in the same way COLLAGE and MONTAGE ART creates meaning through putting ideas and objects next to each other.
Shot Sequencing 3: Invisible Editing / Continuity Editing
Continuity editing can be seen as the opposite of montage editing as the main aim is to create a sense of realism or ‘believability’ known as verisimilitude and has it’s own structure of rules where shots are edited together at particular times or on particular shots, as previously highlighted above.
- match on action
- eye-line match
- graphic match
- sound bridge
- 30′ rule
- 180′ rule
Shot sequencing 4: Shot progression
Conventional shot progression – to create VERISIMILITUDE (ie realism, believability) usually involves the following shots (although not always in the same order).
- establishing shot / ES, moving to
- wide shot / WS,
- to medium shot / MS,
- to close up / CU,
- to big close up / BCU;
- and then back out again
The use of these shots allow the audience to understand SPATIAL RELATIONSHIPS between locations, people, movements etc. The length of shot will determine the drama, empathy, theme etc. The choice of how to sequence each shot will determine the AESTHETIC QUALITY of the product. The next sequence will then follow a similar pattern, which again allows the audience to understand concepts such as SPACE, TIME, DISTANCE, MOVEMENT, MOTIVATION, PLOT, THEME etc.
Shot Sequencing 5: Shot / Reverse Shot
The Shot / Reverse Shot a really good starting point for students to both think about and produce moving image products. The basic sequence runs from a wide angle master shot that is at a 90′ angle to (usually) two characters. This sets up the visual space and allows the film-maker to to then shoot separate close-ups, that if connected through an eye-line match are able to give the impression that they are opposite each other talking. The shots are usually over the shoulder.
Firstly, they include both characters – which are called EXTERNAL REVERSES. As the drama increases, the framing of each shot then excludes the back of the head of the other character and moves in to a much closer over the shoulder shot – which are called INTERNAL REVERSES. Remember that these shots are not creating a direct look to camera. To look directly at the camera creates a very different relationship between the characters and the audience and is a technique that is only used for specific techniques / genres / film-makers.
These type of shots are known as Point of View Shots – POV shots, or even direct address to the camera, and are quite different to over the shoulder shots, close-ups, reaction shots, internal and external reverses etc. All of which are deliberately used to create a range of subjective / objective positions for the audience as they engage with characters in the moving image products. AND NOT FOR THE CHARACTERS TO LOOK DIRECTLY AT THE AUDIENCE (ie directly into the camera)
Sound
Moving image depends on sound for much of its’ meaning. However, it is quite significant so this will appear in another post soon.
Key Words
Finally, in this introduction, it is worth noting that as with all creative work, although there may be a grammar, a set of rules or series of conventions to follow. The key is to somehow recognise the orthodox way (of ‘doing things’) while at the same time recognising the way in which creative producers: filmmakers, animators, directors, producers and so on, adapt, adjust, challenge or introduce new ways of ‘doing things’. This is something that we might recognise as CREATIVITY.
- enigma
- dramatic irony
- foreshadowing
- repetition / reiteration
- back story
- exposition of theme / character / setting / plot
- development of theme / character / setting / plot
- pay off or resolution of theme / character / plot
- denouement
- dramatic arc
- climax / resolution
- interior monologue
- cause and effect
- resolution
- non sequitur
- ellipsis
- cliff-hanger