CH6. EDITINGCH6. EDITING

What is Editing?What is Editing?

• EditingEditing is the process by which the is the process by which the

editor combines and coordinates editor combines and coordinates

individual shots into a cinematic whole.individual shots into a cinematic whole.

• ““For my vision of the cinema, editing is For my vision of the cinema, editing is

not simply one aspect, it is thenot simply one aspect, it is the

aspectaspect”....”....Orson WellesOrson Welles

What does an editor do?What does an editor do?

1.1. The editor takes the footage shot by the The editor takes the footage shot by the DPDP and and

director and selects, arranges and assembles these director and selects, arranges and assembles these

into the movie’s final visual form.into the movie’s final visual form.

2.2. The mixing of all soundtracks (dialogue, music, The mixing of all soundtracks (dialogue, music,

and effects) into the master soundtrack and then and effects) into the master soundtrack and then

matching that soundtrack with all the visual matching that soundtrack with all the visual

imagesimages

Grammar of EditingGrammar of Editing

1.1. TechniqueTechnique: actual joining of 2 shots : actual joining of 2 shots (cutting, splicing)(cutting, splicing)

2.2. CraftCraft: ability to join shots and produce : ability to join shots and produce meaning that does not exist in either meaning that does not exist in either one individuallyone individually

3.3. ArtArt: occurs when the combination of : occurs when the combination of shots creates an epiphany of discoveryshots creates an epiphany of discovery

From: Ken Dancyger’s The Technique of Film and Video Editing (4th Edition), Focal Press.

THE SHOT VS. THE CUTTHE SHOT VS. THE CUT

• The basic building block of film editing The basic building block of film editing

is is the shot the shot and its most fundamental and its most fundamental

tool is tool is the cutthe cut..

• Each shot has two values:Each shot has two values:

1.1. What is within the shot.What is within the shot.

2.2. How the shot relates to other shots.How the shot relates to other shots.

The Editor’s ResponsibilitiesThe Editor’s Responsibilities

• Spatial relationships between shots.Spatial relationships between shots.

• Temporal relationships between shots.Temporal relationships between shots.

• The overall rhythm of the film.The overall rhythm of the film.

• Philosophy of the EditorPhilosophy of the Editor: “: “The editor The editor

working with a great director can do no better working with a great director can do no better

than discover and disclose the director’s than discover and disclose the director’s

designdesign.”………… editor, Helen Van Dongen.”………… editor, Helen Van Dongen

Q. An editor is responsible forQ. An editor is responsible for

a.a. Manipulating the footage.Manipulating the footage.

b.b. Constructing the film’s overall form.Constructing the film’s overall form.

c.c. Creating continuity.Creating continuity.

d.d. Helping realize the filmmaking team’s Helping realize the filmmaking team’s collective artistic vision.collective artistic vision.

e.e. All of the above.All of the above.

Q. An editor is responsible forQ. An editor is responsible for

e.e. All of the above.All of the above.

Spatial RelationshipsSpatial Relationships

• The juxtaposition of shots within a scene can The juxtaposition of shots within a scene can cause us to have a fairly complex sense of that cause us to have a fairly complex sense of that overall space. Thus, painting a mental picture of overall space. Thus, painting a mental picture of the space of a scene.the space of a scene.

e.g. opening sequence in e.g. opening sequence in Boys Don’t Cry (1999)Boys Don’t Cry (1999)

>Editing manipulates our sense of the spatial >Editing manipulates our sense of the spatial relationships among characters, objects and their relationships among characters, objects and their surroundings.surroundings.

Lev KuleshovLev Kuleshov• Russian film theorist who along with Russian film theorist who along with V.I. PudovkinV.I. Pudovkin

created an experiment with images and examined created an experiment with images and examined

viewer’s reactions to what they saw:viewer’s reactions to what they saw:

• Actor with no expression on his faceActor with no expression on his face

• Actor/soup/actor= Actor/soup/actor= hungryhungry

• Actor/coffin/actor= Actor/coffin/actor= sadsad

• Actor/young child/actor= Actor/young child/actor= happyhappy

• The “The “Kuleshov EffectKuleshov Effect”= ”= the viewers the viewers response depends less on the individual response depends less on the individual shot than on the juxtaposition of shotsshot than on the juxtaposition of shots

Q. Who experimented with editing in the 1920s, Q. Who experimented with editing in the 1920s, placing an identical shot of an expressionless placing an identical shot of an expressionless actor after shots of three different images?actor after shots of three different images?

a.a. PudovkinPudovkin

b.b. DancygerDancyger

c.c. MamoulianMamoulian

d.d. KuleshovKuleshov

e.e. Van DongenVan Dongen

Q. Who experimented with editing in the 1920s, Q. Who experimented with editing in the 1920s, placing an identical shot of an expressionless placing an identical shot of an expressionless actor after shots of three different images?actor after shots of three different images?

d.d. KuleshovKuleshov

Temporal Relationships Temporal Relationships • We have learned that We have learned that plotplot may be ordered in a may be ordered in a

manner that differs from the manner that differs from the story.story.• Editing is used to manipulate the presentation Editing is used to manipulate the presentation

of plot time onscreen.of plot time onscreen.• Editing may be traditional and chronological Editing may be traditional and chronological

or it may be manipulated in a creative and or it may be manipulated in a creative and confusing way.confusing way.

• e.g. Films such as e.g. Films such as Memento(2000Memento(2000), ), Adaptation (2002), Eternal Sunshine of the Adaptation (2002), Eternal Sunshine of the Spotless Mind (2004)Spotless Mind (2004) are interesting because are interesting because their plots are fragmented and presented in an their plots are fragmented and presented in an out-of-order fashion out-of-order fashion

Editing Buzz WordsEditing Buzz Words

• FlashbackFlashback: the interruption of the chronological : the interruption of the chronological plot time with a shot or series of shots that show plot time with a shot or series of shots that show an event that has happened earlier in the story.an event that has happened earlier in the story.

• FlashforwardFlashforward: the interruption of present action : the interruption of present action by a shot or series of shots that shows images by a shot or series of shots that shows images from the plot’s future.from the plot’s future.

• EllipsisEllipsis: the most common manipulation of time : the most common manipulation of time through editing is an omission of the time that through editing is an omission of the time that separates one shot from another.separates one shot from another.

Ellipsis for Comic EffectEllipsis for Comic Effect

An An ellipsis ellipsis shortens the time between two actions, but it shortens the time between two actions, but it can also have comic implications. In Steve Soderbergh’s can also have comic implications. In Steve Soderbergh’s Out of SightOut of Sight (1998) Karen Sisco (Jennifer Lopez) a (1998) Karen Sisco (Jennifer Lopez) a federal marshal, starts out to nab an escaped convict, federal marshal, starts out to nab an escaped convict, Jack Foley (George Clooney) but instead is pulled into a Jack Foley (George Clooney) but instead is pulled into a bathtub and kisses him. A quick cut, and obvious bathtub and kisses him. A quick cut, and obvious ellipsis,ellipsis, shows her in a hospital bed with a nasty bruise shows her in a hospital bed with a nasty bruise on her forehead. From earlier in the movie, we know on her forehead. From earlier in the movie, we know that she got to the hospital as a result of a car crash that that she got to the hospital as a result of a car crash that occurred during her escape from Foley and his buddy.occurred during her escape from Foley and his buddy.

Q. What term do we use to describe editing Q. What term do we use to describe editing that creates the visual sensation that time has that creates the visual sensation that time has elapsed between shots?elapsed between shots?

a.a. EllipsisEllipsis

b.b. Time-lapse editingTime-lapse editing

c.c. Separation editingSeparation editing

d.d. Hard cutsHard cuts

e.e. None of the aboveNone of the above

Q. What term do we use to describe editing Q. What term do we use to describe editing that creates the visual sensation that time has that creates the visual sensation that time has elapsed between shots?elapsed between shots?

a.a. EllipsisEllipsis

MontageMontage

• Montage Montage is from the French verb “is from the French verb “montermonter” ” which means “assemble or put together”.which means “assemble or put together”.

• MontageMontage=“editing” in French.=“editing” in French.• MontageMontage refers to the various forms of editing refers to the various forms of editing

in which ideas are expressed in a series of in which ideas are expressed in a series of quick shots.quick shots.

• MontageMontage was first used in the 1920s by Soviet was first used in the 1920s by Soviet masters like Eisenstein, Vertov, Pudovkin and masters like Eisenstein, Vertov, Pudovkin and in 1930s Hollywood to condense a series of in 1930s Hollywood to condense a series of events.events.

Q. Montage literally meansQ. Montage literally means

a.a. To paste.To paste.

b.b. The Kuleshov effect.The Kuleshov effect.

c.c. A sequence of shots.A sequence of shots.

d.d. Editing.Editing.

e.e. All of the above.All of the above.

Q. Montage literally meansQ. Montage literally means

d.d. Editing.Editing.

Walter Murch on EditingWalter Murch on Editing• ““When you stop and think about it, it is amazing that When you stop and think about it, it is amazing that

film editing works at all. One moment we’re on top film editing works at all. One moment we’re on top of Mauna Kea and---cut!---the next we’re at the of Mauna Kea and---cut!---the next we’re at the bottom of the Mariana Trench. The instaneous bottom of the Mariana Trench. The instaneous transition of the cut is nothing like we experience as transition of the cut is nothing like we experience as normal life, which seems to be one continuous shot normal life, which seems to be one continuous shot from the moment we wake up until we close our eyes from the moment we wake up until we close our eyes at night”. at night”.

• From “From “The Conversations: Walter Murch and The Art of EditingThe Conversations: Walter Murch and The Art of Editing” by ” by OndaatjeOndaatje (2004) 49. (2004) 49.

RhythmRhythm

• Editing determines the Editing determines the durationduration of a shot. of a shot.• An editor can control the rhythm (or An editor can control the rhythm (or beat)beat) of of

a film by varying the duration of the shots in a film by varying the duration of the shots in relation to one another.relation to one another.

• Editing requires the editor to make decisions Editing requires the editor to make decisions about (1)shot length (2)rhythm (3)emphasis about (1)shot length (2)rhythm (3)emphasis and (4)content curveand (4)content curve

• Content CurveContent Curve=an=an arc that measures arc that measures information in a shot determining when information in a shot determining when viewer is ready to move on.viewer is ready to move on.

Q. The content curve isQ. The content curve is

a.a. The amount of time the viewer needs to absorb the The amount of time the viewer needs to absorb the information in a shot before being ready to move on information in a shot before being ready to move on to the next composition.to the next composition.

b.b. The voyeuristic tendencies of the cinema.The voyeuristic tendencies of the cinema.

c.c. The rage of traditional themes or types of stories The rage of traditional themes or types of stories told in the mainstream cinema.told in the mainstream cinema.

d.d. The amount of mise-en-scène present in a shot.The amount of mise-en-scène present in a shot.

e.e. The ration of flashbacks to flashforwards in a The ration of flashbacks to flashforwards in a narrative.narrative.

Q. The content curve isQ. The content curve is

a.a. The amount of time the viewer needs to absorb the The amount of time the viewer needs to absorb the information in a shot before being ready to move on information in a shot before being ready to move on to the next composition.to the next composition.

Landmark Films Using RhythmLandmark Films Using Rhythm

1.1. ““Odessa Steps Odessa Steps Sequence” in Sequence” in Battleship Battleship PotemkinPotemkin((19251925))

2.2. The diving sequence in The diving sequence in OlympiadOlympiad ((1938)1938)

3.3. Breathless(1960)Breathless(1960)

4.4. Run Lola Run (1998)Run Lola Run (1998)

5.5. The Matrix(1999The Matrix(1999))

Major Approaches to Editing: Major Approaches to Editing: Continuity and Discontinuity IContinuity and Discontinuity I

• Continuity EditingContinuity Editing: a style of editing (now : a style of editing (now dominant around the world) that seeks to tell dominant around the world) that seeks to tell a story as clearly as possible and achieve:a story as clearly as possible and achieve:

1.1. logiclogic

2.2. smoothness and sequential flow smoothness and sequential flow

3.3. temporal and spatial orientation of viewers to temporal and spatial orientation of viewers to what they see onscreen. what they see onscreen.

4.4. flow from shot to shot.flow from shot to shot.

5.5. filmic unity filmic unity

Major Approaches to Editing: Major Approaches to Editing: Continuity and Discontinuity IIContinuity and Discontinuity II

• Discontinuity EditingDiscontinuity Editing: a style of editing---less widely : a style of editing---less widely used than used than continuitycontinuity editing, often but not editing, often but not exclusively used in experimental films-that joins exclusively used in experimental films-that joins shotsshots A and B to produce an effect or meaning not A and B to produce an effect or meaning not even hinted at by either shot alone.even hinted at by either shot alone.

e.g. Battleship Potemkin(1925) e.g. Battleship Potemkin(1925) uses both types of uses both types of editing styles in a revolutionary manner.editing styles in a revolutionary manner.

Other examples using both types includeOther examples using both types include:: >Eternal Sunshine of the Spotless Mind(2004)>Eternal Sunshine of the Spotless Mind(2004) >City of God(2002)>City of God(2002) View the View the DVD: The Evolution of Editing: The Lumieres to Eisenstein DVD: The Evolution of Editing: The Lumieres to Eisenstein

Q. What term do we give to the style of Q. What term do we give to the style of editing that deliberately chooses to editing that deliberately chooses to manipulate shots so that the transitions manipulate shots so that the transitions between them are not smooth?between them are not smooth?

a.a. Circular editingCircular editing

b.b. Deconstructive editingDeconstructive editing

c.c. Expressionistic editingExpressionistic editing

d.d. Linear editingLinear editing

e.e. Discontinuity editingDiscontinuity editing

Q. What term do we give to the style of Q. What term do we give to the style of editing that deliberately chooses to editing that deliberately chooses to manipulate shots so that the transitions manipulate shots so that the transitions between them are not smooth?between them are not smooth?

e.e. Discontinuity editingDiscontinuity editing

Five Conventions of Classical Five Conventions of Classical Hollywood- Style Continuity EditingHollywood- Style Continuity Editing

1.1. Do not call attention to the editing- make it invisible. Do not call attention to the editing- make it invisible. The visual transitions and manipulations of audio is The visual transitions and manipulations of audio is hidden from our perception. Screen direction is hidden from our perception. Screen direction is consistent from shot to shot.consistent from shot to shot.

2.2. Edits are there to move the story forward.Edits are there to move the story forward.

3.3. Cuts are psychologically motivated from the audience’s Cuts are psychologically motivated from the audience’s point of view.point of view.

4.4. Editing gives the illusion of continuous space and time.Editing gives the illusion of continuous space and time.

5.5. What happens on the screen makes as much narrative What happens on the screen makes as much narrative sense as possible.sense as possible.

Q. In general, continuity editing Q. In general, continuity editing ensures thatensures thata.a. What happens on the screen makes as much What happens on the screen makes as much

sense as possible.sense as possible.

b.b. Graphic, spatial, and temporal relations are Graphic, spatial, and temporal relations are maintained from shot to shot.maintained from shot to shot.

c.c. Screen direction remains constant.Screen direction remains constant.

d.d. All of the aboveAll of the above

e.e. a and c onlya and c only

Q. In general, continuity editing Q. In general, continuity editing ensures thatensures that

d.d. All of the aboveAll of the above

Cinema SlangCinema Slang

• 180 degree rule180 degree rule: an imaginary line that : an imaginary line that

indicates the direction people and things face indicates the direction people and things face

when viewed through the camera. When you when viewed through the camera. When you

cross the line with the camera, you reverse the cross the line with the camera, you reverse the

screen direction of your subjects.screen direction of your subjects.

• Master ShotMaster Shot: it defines the spatial relationships : it defines the spatial relationships

in a scene.in a scene.

FIGURE 6.1 THE 180-DEGREE FIGURE 6.1 THE 180-DEGREE SYSTEMSYSTEM• Also called Also called the axis of actionthe axis of action

Q. What is the primary technique for Q. What is the primary technique for ensuring consistent screen direction ensuring consistent screen direction between shots?between shots?

a.a. The 180-degree systemThe 180-degree system

b.b. The Kuleshov effectThe Kuleshov effect

c.c. The directional axis effectThe directional axis effect

d.d. Static framingStatic framing

e.e. All of the aboveAll of the above

Q. What is the primary technique for Q. What is the primary technique for ensuring consistent screen direction ensuring consistent screen direction between shots?between shots?

a.a. The 180-degree systemThe 180-degree system

Editing Techniques That Editing Techniques That Maintain Continuity IMaintain Continuity I

• Master ShotMaster Shot (sometimes called an (sometimes called an

establishing shot) is more shot type than an establishing shot) is more shot type than an

editing technique. Is very important to editing technique. Is very important to

continuity editing because:continuity editing because:

1.1. It provides an editor with a necessary tool.It provides an editor with a necessary tool.

2.2. It orients the viewer for the shots that follow.It orients the viewer for the shots that follow.

Editing Techniques That Editing Techniques That Maintain Continuity IIMaintain Continuity II

1.1. Shot/Reverse Shot=OTS (Over-The-Shoulder Shot)Shot/Reverse Shot=OTS (Over-The-Shoulder Shot)

2.2. Match Cuts-Match Cuts- those in which shot A and shot B are those in which shot A and shot B are

matched in action, subject graphic content, or two matched in action, subject graphic content, or two

characters’ eye contactcharacters’ eye contact

3.3. Parallel Editing-Parallel Editing- two or more actions happening at the two or more actions happening at the

same time in different places e.g. “Baptism and same time in different places e.g. “Baptism and

Murder” in Murder” in Godfather I(1972)Godfather I(1972)

4.4. Point-of-View Editing-Point-of-View Editing- editing of subjective shots that editing of subjective shots that

show a scene exactly the way the character sees it.show a scene exactly the way the character sees it.

Editing Techniques That Editing Techniques That Maintain ContinuityMaintain Continuity

• In addition to the fundamental building In addition to the fundamental building blocks—the blocks—the master shotmaster shot and the and the 180 degree180 degree system—various editing techniques are used system—various editing techniques are used to ensure that graphic, spatial, and temporal to ensure that graphic, spatial, and temporal relations are maintained from shot to shot.relations are maintained from shot to shot.

1.1. Shot/Reverse ShotShot/Reverse Shot2.2. Match Cuts.Match Cuts.3.3. Parallel Editing.Parallel Editing.4.4. POV Editing.POV Editing.

Shot/Reverse ShotShot/Reverse Shot

• One of the most prevalent and familiar of One of the most prevalent and familiar of editing patterns, is a technique in which the editing patterns, is a technique in which the editor switches between shots of different editor switches between shots of different characters usually framed over each characters usually framed over each character’s shoulder to preserve screen character’s shoulder to preserve screen direction.direction.

• e.g. A discussion in Michael Mann’s e.g. A discussion in Michael Mann’s The The Insider (1999) Insider (1999) between Dr. Wigand and Mr. between Dr. Wigand and Mr. Bergman.Bergman.

Match CutsMatch Cuts1. Match on Action Cut-1. Match on Action Cut-shows us the continuation of a shows us the continuation of a

character’s motion through space without actually character’s motion through space without actually showing us the entire action.showing us the entire action.

2. Graphic Match Cut-2. Graphic Match Cut-the shape, color or texture of the shape, color or texture of objects matches across the edit. objects matches across the edit.

e.g. In e.g. In 2001: A Space Odyssey(1968)-2001: A Space Odyssey(1968)-a bone a bone weapon from the Stone Age becomes a spacecraft. weapon from the Stone Age becomes a spacecraft.

3. Eyeline Match Cut- 3. Eyeline Match Cut- joins shot A, a POV shot of a joins shot A, a POV shot of a person looking off- screen in one direction and shot person looking off- screen in one direction and shot B, the person that is the object of that gaze. B, the person that is the object of that gaze.

Types of Parallel EditingTypes of Parallel Editing• Parallel editing-Parallel editing-is the cutting together of two is the cutting together of two

or more actions happening at the same time in or more actions happening at the same time in different places.different places.

• Cross-cuttingCross-cutting-refers to editing that cuts -refers to editing that cuts between two or more actions occurring at he between two or more actions occurring at he same time and place.same time and place.

• IntercuttingIntercutting-refers to editing of two or more -refers to editing of two or more actions taking place at the same time but with actions taking place at the same time but with the difference that it creates the effect of a the difference that it creates the effect of a single scene rather than distinct actions.single scene rather than distinct actions.

• e.g. e.g. Don’t Look Now(1973Don’t Look Now(1973)-explicit sex scene)-explicit sex scene

Point-of-View EditingPoint-of-View Editing

• This type of editing is used to cut from shot A( This type of editing is used to cut from shot A( a POV shot with the character looking toward a POV shot with the character looking toward something off-screen) directly to shot B (using something off-screen) directly to shot B (using a match on action shot or eyeline match shot a match on action shot or eyeline match shot of what the character is actually looking at).of what the character is actually looking at).

• POV editing uses subjective shots to show a POV editing uses subjective shots to show a scene exactly the way the character sees it. scene exactly the way the character sees it.

• ((Note: don’t confuse with objective eyeline match cuts made Note: don’t confuse with objective eyeline match cuts made by an omniscient cameraby an omniscient camera).).

Q. A match cutQ. A match cuta.a. Intercuts two or more lines of action Intercuts two or more lines of action

occurring simultaneously but in different occurring simultaneously but in different spaces.spaces.

b.b. Conveys the passage of time.Conveys the passage of time.

c.c. Presents an instantaneous and disorienting Presents an instantaneous and disorienting advance in the action.advance in the action.

d.d. Helps create a sense of continuity between Helps create a sense of continuity between two shots.two shots.

e.e. All of the above.All of the above.

Q. A match cutQ. A match cut

d.d. Helps create a sense of continuity between Helps create a sense of continuity between two shots.two shots.

Q. A shot of someone looking offscreen Q. A shot of someone looking offscreen in one direction followed by a shot of a in one direction followed by a shot of a clock is most likely a(n)clock is most likely a(n)

a.a. Eyeline-match cut.Eyeline-match cut.

b.b. Parallel cut.Parallel cut.

c.c. Montage.Montage.

d.d. Establishing shot.Establishing shot.

e.e. Jump cut.Jump cut.

Q. A shot of someone looking offscreen Q. A shot of someone looking offscreen in one direction followed by a shot of a in one direction followed by a shot of a clock is most likely a(n)clock is most likely a(n)

a.a. Eyeline-match cut.Eyeline-match cut.

Q. A dissolve is conventionally Q. A dissolve is conventionally employed to conveyemployed to conveya.a. A sudden, jarring shift in time and/or A sudden, jarring shift in time and/or

space.space.

b.b. Ellipsis, or the passing of time.Ellipsis, or the passing of time.

c.c. A subjective point of view.A subjective point of view.

d.d. The omniscient camera.The omniscient camera.

e.e. A sad or melancholy mood.A sad or melancholy mood.

Q. A dissolve is conventionally Q. A dissolve is conventionally employed to conveyemployed to convey

b.b. Ellipsis, or the passing of time.Ellipsis, or the passing of time.

Q. What term do we use to describe a very common Q. What term do we use to describe a very common and familiar editing pattern that switches between and familiar editing pattern that switches between shots of different characters in conversation, often shots of different characters in conversation, often framed over each character’s shoulder?framed over each character’s shoulder?

a.a. Eyeline-match cutEyeline-match cut

b.b. Shot/reverse shotShot/reverse shot

c.c. MontageMontage

d.d. Separation editingSeparation editing

e.e. Dialogue editingDialogue editing

Q. What term do we use to describe a very common Q. What term do we use to describe a very common and familiar editing pattern that switches between and familiar editing pattern that switches between shots of different characters in conversation, often shots of different characters in conversation, often framed over each character’s shoulder?framed over each character’s shoulder?

b.b. Shot/reverse shotShot/reverse shot

Q. A transitional device in which shot B Q. A transitional device in which shot B slowly appears over shot A, eventually slowly appears over shot A, eventually replacing it, is called areplacing it, is called a

a.a. Fade.Fade.

b.b. Dissolve.Dissolve.

c.c. Wipe.Wipe.

d.d. Cut.Cut.

e.e. All of the above.All of the above.

Q. A transitional device in which shot B Q. A transitional device in which shot B slowly appears over shot A, eventually slowly appears over shot A, eventually replacing it, is called areplacing it, is called a

b.b. Dissolve.Dissolve.

EDITING AND FILM STYLEEDITING AND FILM STYLE• Where, how and whenWhere, how and when cuts are made depend cuts are made depend

on the style of the film as a whole.on the style of the film as a whole.

• Editing style boils down to a question of how the Editing style boils down to a question of how the

filmmaker filmmaker relatesrelates to the world he/she is to the world he/she is

portraying.portraying.

• Key Questions: Should the filmmaker use pieces of Key Questions: Should the filmmaker use pieces of

raw material (time, space action) to construct raw material (time, space action) to construct

meaning or leave them unmanipulated and genuine?meaning or leave them unmanipulated and genuine?

OTHER TRANSITIONS OTHER TRANSITIONS BETWEEN SHOTSBETWEEN SHOTS

• THE JUMP CUT-THE JUMP CUT- a disorienting ellipsis between shots. e.g. a disorienting ellipsis between shots. e.g. Breathless Breathless (1960) (1960) Jean-LucJean-Luc Godard.Godard.

• THE FADE-THE FADE- transition from black or to black. transition from black or to black. • DISSOLVE-(LAP DISSOLVEDISSOLVE-(LAP DISSOLVE)-shot “B” gradually appears )-shot “B” gradually appears

over shot “A” and replaces it- often implying passing of time.over shot “A” and replaces it- often implying passing of time.• WIPEWIPE- transitional device, often indicates change of time, - transitional device, often indicates change of time,

place or location.place or location.• IRIS SHOT-IRIS SHOT- special small circle wipe line. special small circle wipe line.• FREEZE FRAME-FREEZE FRAME- step printing of an image creating a still step printing of an image creating a still

much like an exclamation point.much like an exclamation point.• SPILT SCREEN-SPILT SCREEN- in use since in use since Suspense (1913Suspense (1913).).

DIGITAL EDITINGDIGITAL EDITING• Mia GoldmanMia Goldman: What irrevocable changes do you think the : What irrevocable changes do you think the

digital revolution has made in our lives as editors?digital revolution has made in our lives as editors?• Dede AllenDede Allen: “: “It’s changed from working in a coal mine It’s changed from working in a coal mine

where you handle the film and its more physical attributes-where you handle the film and its more physical attributes-to feeling a bit atrophied because you sit all the time and to feeling a bit atrophied because you sit all the time and your mind and eyes carry all the weight. When you’re your mind and eyes carry all the weight. When you’re caught in the old dilemma of “how am I going to make this caught in the old dilemma of “how am I going to make this scene work” and you have to get up to pace and think. But scene work” and you have to get up to pace and think. But mostly you don’t get up because it’s so fast and easy.”mostly you don’t get up because it’s so fast and easy.”

• Film editor Dede Allen, in an interview with Mia Film editor Dede Allen, in an interview with Mia Goldman for The Motion Picture Editors Guild Goldman for The Motion Picture Editors Guild Magazine, 2000Magazine, 2000

Digital Editing IIDigital Editing II With products like With products like Avid Film ComposerAvid Film Composer (a software/hardware system (a software/hardware system

currently selling for $100,000+), currently selling for $100,000+), Avid TechnologyAvid Technology has dominated has dominated

professional digital editing in Hollywood since it first emerged in 1989. professional digital editing in Hollywood since it first emerged in 1989.

But as faster personal computers with larger storage capacity have But as faster personal computers with larger storage capacity have

emerged, innovative companies like emerged, innovative companies like AppleApple have developed software like have developed software like

Final Cut ProFinal Cut Pro that allow anyone able to afford a Macintosh computer and that allow anyone able to afford a Macintosh computer and

a $1,299 software package to edit multiple video and audio tracks at a $1,299 software package to edit multiple video and audio tracks at

home. As a result, countless independent and student films have been home. As a result, countless independent and student films have been

edited on edited on Final Cut ProFinal Cut Pro. With . With Cold MountainCold Mountain (2003), Academy Award- (2003), Academy Award-

winning editor Walter Murch became the first editor to cut a major-release winning editor Walter Murch became the first editor to cut a major-release

feature on feature on Final Cut ProFinal Cut Pro. Since then, many Hollywood filmmakers have . Since then, many Hollywood filmmakers have

made the switch, most recently David Fincher ( made the switch, most recently David Fincher ( Seven, Fight ClubSeven, Fight Club) with ) with

his 2007 release his 2007 release ZodiacZodiac..