The Technique Of Film Video Editing History Theory And Practice

The efficacious nature of films owes its prominent properties to the array of editing techniques. In the aforementioned films , editing techniques stabilizes the movie and

One of the main films were could see the use of these special effects in montages is in the film (500) Days of Summer. There are multiple times they use the effect of split screens to show how the actor is imagining something vs. the reality. Another effect they use a lot is music to describe how the character is feeling and sometimes dance is

D.W Griffith is known as the father of editing in film, he had influence in Hollywood mainstream, he used dramatic construction with a wide variation of shots. Griffith always experimented in his films even moving the camera closer to the action.

Eisenstein and Vertov are two filmmakers/theorists that made films to illustrate and emphasize their film theories. One of Eisenstein’s theories is that film should have a dialectic approach to create conflict. Furthermore, he states that conflict will spark active thinking in the spectator 's mind. Another theory from Eisenstein is the methods of montage. There are five methods, but the one he highlights the most is the intellectual montage, which helps create an idea through juxtaposition to make the audience think about the film and social issues. In comparison, one of Vertov theories states that film is like a medium of movement. Furthermore, he explains the movement is required to create montage and bring shots together in harmony. Another theory from Vertov emphasizes the camera eye. He explains how the camera can show the truths of the world better than the human eye. In summary Eisenstein demonstrates his theory of conflict and intellectual montage in October (1928) and The Battleship Potemkin (1925). Plus, both films get the audience to think about life and society. In comparison Vertov displays his theories of movement to create montage and the importance of the camera eye in The Man with the Movie Camera (1929) to illustrate cinema as a whole and show the power of the camera eye. To conclude, both Eisenstein and Vertov are able to effectively display their theories in film.

in “an inconvenient truth”, the main technique that al gore utilized throughout his documentary. Is the application of montage. A montage is a sequence of related or semi-related images that are selectively edited together to promote an emotive meaning and the film maker’s bias. An example of montage

I read an article, “To Appreciate the Art of Film Editing, You Must Start With a Frame of Reference,” by Ann Homaday. She mentions editors take a shot and then using technology put scenes in, take them out, or recombine them. In editing a film it is useful to have the reactions of the test audiences. Based on their response the editor will take out dialogues, switch shots, etc. Moreover, a good film is in which the editing does not stand out. Homaday states, “Just because a film is hyper-edited doesn't mean it was more of a challenge,” which I agree with. For instance, an action movie may be the easiest to edit in terms of cutting out scenes.

Many different tools can be used by film producers to manipulate emotions in order to send a specific message or intentionally cause a feeling during a scene. Some of these tools include dramatic or “sad” music and different visual effects. For example, images or videos seem to have a stronger impact with the audience when they are monotone and have a background of emotional music. The producers involved in the creation of Everest used similar tools to create some truly emotional scenes throughout the film.

This style is what to be known in the film industry “Avant-Garde” cinema, a french term which literally means “advance guard” this word derives from the french military and later adopted as an artistic definition to pioneers or innovators in creativity. To put it simply, Avant-Garde cinema is experimental filmmaking.

Montage refers to a series of successive short shots that are rapidly juxtaposed into a coherent sequence to suggest meaning.

Nonetheless, Eisenstein’s technique, quite similar to Kuleshov’s theory known as the ‘Kuleshov effect’, brought the power of montage to a higher level, consequently making it a efficacious tool for propaganda. Due to its immanent drama filmmakers will naturally be enticed by politics, but possibly also because the stakes

The main functions of Montage are “to control rhythm, to create metaphors and to make rhetorical points” (Bordwell 1972: 9). Rhythm is the series of movement perceived from the consistent juxtaposition of shots. Continuity editing usually forms the rhythm of a narrative. Continuity editing as the name implies is “a system of cutting to maintain continuous and clear narrative action” (Bordwell and Thompson 2012: 500). Sergei Eisenstein (1949: 47) claims that, “the quality of interval determines the pressure of the tension and the phases of its tension is the rhythm”.

As more obvious and gradual transitions than a cut, dissolves, fade-ins, and fade-outs suggest longer time lapse. La Jetee repeatedly uses dissolves in order to create the feeling of elapsed time in an otherwise still visual atmosphere. The succession of images connected in quick sequence seems to signal the mind’s inherent ability to perceive the succession of single images as movement itself. Thus, despite the spatial and temporal disruptions and the stillness of the images, the sequence preserves the illusion of movement and time elapse. The flow of frames is reassembled by the viewer’s mind due to the perceptual process of “persistence of vision” which creates the illusion of autonomous motion. However, by breaking the narrative down into a series of discontinuous stills, each held at some length, Marker reminds the viewer that the filmic illusion of motion is always composed of a series of still images. In presenting the viewer with a series of frozen images, Marker dramatizes the breakdown of the progression of time into a succession of visible moments, and drag out the viewer’s experience of time. The pauses between each image seems to be representative of the fragility of memory and replicates gaps in recollection. Memories are not recounted in its entirety with every minute detail in a comprehensive, linear or chronological succession of events, but are often fragmented, removed of context or manipulated by other interfering memories or wishful thinking, determined by heavy emotion rather than associated with context or a full understanding of the circumstances. Just like the characters in La Jetee are trapped in time, the audience of La Jetee is trapped in the stillness of the images. Therefore, Marker use of photo sequencing is largely

Film Editing is the art of assembling shots or multiple images into sequences. The editor or editors are usually given a pile of all the footage shot in the course of a day or several. This pile contains various shots that are called raw footage. Raw footage just means there is unedited shots that has had nothing done to it yet and its ready to be used. The task of the editor/editors are to create an overall finished film by combining and selecting these different shots and placing them into an organized sequence of events. Every single time there is a change from one image to another is called an edit. The art of filmmaking and editing has been around for decade’s. For example, the world’s first films that were produced were in black and white (Film History). But, even to make a black and white film, several inventions were required. These inventions not only needed to be able to record videos but to also store them.

Every works might allow a video cut to happen without the video cut itself getting attract audience focus. So this is the point of the continuity video editing regulations that ought to be proof that these works are used by continuity video editing. Explaining each of the Final Cut Pro – X editing methods and experiments that proof continuity video editing makes audience attraction level under which these ideas of Final Cut Pro – X exist will be the land mark of this

An editing aspect that plays a crucial role in the development of film style is point of view. For those who are unaware of what truly is ‘point of view’ it can be defined as the camera’s perspective matches the characters (Professor Kris Paulsen, “Innovations in Editing”). Point of view often can be considered, first a shot of a character, next a shot of what the character sees, and finally a shot of the reaction of the character to what they saw. The sequence of shots is additionally a part of another editing technique called “shot reverse shot.” When films pay specific detail to point of view, the film allows for the audience to see the characters reactions in greater detail which then can add to the plot. Two great films, unique in point of view, are Rashômon (1950) and Rear Window (1954). Both films are developed around specific points of view of the main characters, which allows the audience to interpret what is going on in the film for what is not being shown.