The Technique Of Film And Video Editing

Editing is an art of its own, and is the sole backbone of a film. Classical Hollywood Cinema and Neorealist Cinema depicted reality through their numerous films, however their approaches were very different from one another. Classical Hollywood Cinema leaned towards enhancing a shot with extravagant lighting, music, and very carefully thought out camera angles. Neorealist Cinema focused on the story itself and the way film replicates reality and projects it on screen. A film like Mildred Pierce is a prime example of Classical Hollywood Cinema, where the story is enhanced by the editing techniques. On the other hand, a film like Bicycle Thieves follows the editing techniques of Neorealist Cinema, where the focus is not on the editing, but rather on the replication of reality and how raw the setting of

Edwin S Porter was an expert builder of photographic equipment and a film projectionist, he worked for Thomas Edison. In 1901, Porter began operating the camera, and was responsible for directing film, from there, Porter was credited with almost all of the innovations of the pre-1908 period by making first story film titled Life of an American Fireman. Porter was also the one who is credited with editing, he also successful in creating models. Porter’s biggest contribution to cinema, is concentration on fiction filmmaking.

The first place to look when you are looking into the history of film is the 1900s. The 1900s to 1910 is when the very first film machine was invented and used for the first time. The early technology of film was invented by and demonstrated by Raoul Gromain-sanson. Raoul presented his Cineorama system in the early 1900s. “Cineorama featured an enormous panoramic screen, onto which were projected ten simultaneous images side

The Cutting Edge: The Magic of Movie Editing is a documentary about the art of film editing and the immensity of the job an editor is given. The reasoning of the film is to show the impact editing truly has on movies and our emotional attachment towards them. This documentary shows clips from different films to prove to it’s viewers the substantial effect editing has. Directors and editors speak out about the significance of editing, something not many viewers know nor think about.

With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.

Porter had found inspiration from various European film makers and had studied in depth the effect it would have on is target market, when he finally released is first attempt, The life of an American Fireman (1903), he hadn’t polished it as well as he had hoped. However when he released The Great Train Robbery it was clear that he had introduced the west to a new style of film making and changed how narrative was expressed within film forever.

The elements of cinematography in the film include a low angle shot looking up at the farmer as he chops wood at the beginning of the scene. The shot is preceded by the infamous extreme long shot of the military convoy. The director uses close ups to capture emotions throughout the entire opening scene. Fear in the faces of the farmer’s daughters as they come face to face with the Jew Hunter. Fear in the face of the farmer when he prepares himself as the military convoy approaches. Close ups are used at the table when the confrontation looms; the camera zooms in when the farmer begins to crack under the

Early movies were shot and viewed as slide shows. With narrations like The Life Of An American Fireman, where instead of cutting we would see full clips linked together. When the filmmakers brought us from one action to the next they, repeated actions instead of cutting and letting

Tom Gunning proposed the Continuity Model in order to better understand the beginning of film and the making of film. Gunning proposes the following assumptions: Firstly, the evolutionary assumption, in which film is considered to have developed linearly across time as more development occurs. Secondly, the cinematic assumption theorises that film only truly came to being through the

Editing is all about bringing a creative force into a film. The process could mean fixing a number of things like moving things around, meaning to arrange, select, and assemble - this goes for every component in the film. What you visualize, hear, with the use of special effects all are components that are edited and added to the film in a unique way to create a good story. The movie to be analysis is the film Forrest Gump with editor, Arthur Schmidt, he won an Oscar at the 67th academy awards for best film editing. Arthur Schmidt had three responsibilities as an editor in the film, which are spatial relationship, temporal relationship, and rhythm.

Previously, editing used to be a challenge for most filmmakers. Often, they relied on manual methods when filming to add effects to the films. Incorporating visual effects to the film was a demanding task that

In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.

The use of editing within Porter’s films help audiences follow the progressing linear narrative, more specifically the technique of intercutting allowed Porter to shift the action between the protagonist and the antagonist.

Being a science fiction fan during his childhood, he worked his way in producing several highly acclaimed science fiction movies such as Avatar, Aliens, and the Terminator. Born on August 16, 1954, in Ontario Canada and later moved to California to finish his college at California State University. In order to pursue his dreams in cinematography, he worked as a truck driver and would work on screenplays. Then his career began from an art director in Battle beyond the Stars (1980) to directing various films. Now, he is an Oscar-winning director whose films Titanic (1997) and Avatar (2009) remains the top grossing films of all time. He has won various awards from different sides of the world, Norway, France, and the United Kingdom. Mise-en-scenes were well incorporated in each of James Cameron’s movies especially for science fiction movies that used elegantly crafted visuals.

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.