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Losing the edit: shots in sequence

Losing the edit: shots in sequence. Emma Bull Secondary Education Adviser, Film Education. Overview and outcomes Defining the process: what is editing? Exploring techniques: mechanics and aesthetics Editing in-camera : what is it? Why use it? Modelling the process

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Losing the edit: shots in sequence

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  1. Losing the edit: shots in sequence Emma Bull Secondary Education Adviser, Film Education

  2. Overview and outcomes • Defining the process: what is editing? • Exploring techniques:mechanics and aesthetics • Editing in-camera : what is it? Why use it? • Modelling the process • Case study, Parkside Community College: examining in-camera editing in context • Further applications

  3. Editing as Process What does editing mean in the context of your subject or classroom?What are students learning when they engage in this process?

  4. Controlling content Collaborative process Creative re-invention Grammatical exercise

  5. Editing is the process of preparing language, images, or sound through correction, condensation, organization, and other modifications in various media... Editing is, therefore, also a practice that includes creative skills, human relations, and a precise set of methods. Wikipedia

  6. Early film: 1895-1903 • Short length, single shots • Early tripods very simplistic • Camera ‘movement’ = static camera on moving platform or vehicle • Experimental tricks and techniques • Narrative and continuity editing, multi-shot films - 1902 onwards

  7. Editing film • In filmmaking, the task of selecting and joining camera takes. • In the finished film, the set of techniques that governs the relation among shots. (Bordwell and Thompson)

  8. Juxtaposition and meaning • Edwin S. Porter, The Great Train Robbery,1903Shots in sequence create meaning for audiences • From exterior shots to set, audience is encouraged to believe the events they see are immediately sequential Exterior, train pulls away Interior train carriage Exterior, roof of train Cut to Cut to

  9. The Kuleshov Effect • Lev Kuleshov, circa 1920:intercut an actor’s face with unrelated footage taken later • Audiences interpreted emotional responses on the actor’s face based on the juxtaposition of images • Whilst much of the moving image we see uses this effect, it does not usually draw attention to it

  10. “ An authentically new language did not emerge until filmmakers started to break up the film into successive scenes, until the birth of montage, of editing. It was here, in the invisible relationship of one scene to the next, that cinema truly sired a new language... …this seemingly simple technique generated a vocabulary and grammar of unbelievable diversity. No other medium boasts such a process”

  11. The language of filmWhat conventions are used to show:-time passing;-characters’ thoughts, memories or dreams;-simultaneous events in different locations? Film language and grammar evolve quickly: inventive techniques can quickly become clichéd…

  12. Great Expectations, 1946

  13. Hamlet, 1948

  14. Romeo + Juliet, 1996

  15. Industrial practice • Film/TV usually shot out-of-sequence using multiple cameras • Commonly use continuity editing for realism • Hollywood productions:1000-2000 shots, action movies 3000 • Post-production editing essential for creating meaning

  16. In-camera editing (Burn and Durran): ‘constructing a film by taking shots in sequence, with no subsequent editing’ • ‘Four main functions’ of film editing: • make sure that the production is the required length or time; • to remove unwanted material or mistakes; • to alter if necessary the way or the sequence in which events will be portrayed; • to establish the particular style and character of a production (O’Sullivan, Dutton and Rayner)

  17. In-camera edit example:Tea

  18. Why edit in-camera? • Disciplined approach to filmmaking • Economical with time and resources • Careful planning enhances decision-making and organisational skills • Understanding of the filming process and the process filmed • PLTS and beyond…

  19. Technical requirements • Basic: DV camera, tape, tripod • Super-budget: webcam or mobile device • Optional extra: separate microphone • Essential: paper, pens and brains for careful and detailed planning • Controlled environmentto ensurecontinuity of sound, lighting and action

  20. Modeling the process: projector as shared viewfinder • Camera • Tripod • Firewire • Projector Demonstrate shot types and visual grammar using:

  21. Possible applications • Economical approach for cross-curricular projects or filming live events • Creating short filmed texts: poems, myths… • Demonstrating technique or process • Exploring genre • Creating atmosphere • Understanding continuity editing • Revision activity…

  22. “They are revising basic shot types, distances and angles, but the main emphasis is on how shots work in sequence to create the illusion of contiguous action over time” James Durran, Parkside Federation

  23. Case study: Parkside School • Media taught in discreet sessions from Year 8 • Genre taught through Hospital Dramas scheme • Production element uses in-camera technique

  24. James Durran, AST - The Parkside Federation Cambridge ‘it promotes imaginative ownership of editing decisions. Each one has to be fully realised mentally before the record button is pressed…’

  25. Storyboard examples • Arrange shots in logical sequence • Add shots, aid meaning • Arrange shots to disrupt narrative continuity?

  26. Electrical Accident

  27. Storyboards created from still shots, after filming These can be made more detailed: duration; notes on camera movement; audio etc.

  28. View the QuickTime movies ‘Stage Fall’ and ‘Roof Dare’ • Narrative • Shot choices • Continuity • Understanding of conventions • Impact of sequence • Follow-up activities?

  29. Stage Fall

  30. Roof Dare

  31. Edit in-camera to recreate: • Title/credits sequence • Fade in/out transition using auto focus • Black shot using lens cap • Colour transition • Appear/disappear…

  32. In-camera: the end of the process? • Improving quality of filmed outcomes makes editing easier • In-camera edited films as a starting point • Possibilities for adding sound, transitions, intertitles…

  33. References • - ‘Film Art: an introduction’ Bordwell and Thompson, (Eighth Edition, 2008) • - ‘Media Literacy in Schools: Practise, production and progression’, Burn and Durran, 2007 • Parkside Community College’s Media page: http://www.parksidefederation.org.uk/parkside_media/ • ‘The Secret Language of Film’, Jean-Claude Carriere, 1994 • ‘Studying the Media: an Introduction’, O Sullivan, Dutton and Rayner, 1998 • - Great Expectations, David Lean, 1946 • - Hamlet, Laurence Olivier, 1948 • - Romeo and Juliet, Baz Luhrmann, 1996 • - Versions of the Kuleshov experiment and scenes from The Great Train Robbery can be viewed by searching online video sources • - Examples of in-camera edited films from YouTube: • http://www.youtube.com/watch?v=EIiaP9g0G-g • http://www.youtube.com/watch?v=cHa-zc2DsR4 • - Still and moving images from Teachers’ TV film ‘Teaching Media: Media Production in the Classroom’ http://www.teachers.tv/video/2553

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