Month: November 2015
How to add text to film on Adobe Premier pro
How to freeze/elongate a frame in Adobe Premier Pro
Explanations/steps can be seen in the bottom left hand corner of the screenshot.
Continuity editing codes
Insert shot– An insert shot is a close-up of something that exists within the basic scene. The latter is typically visible within the establishing or wide shot. (Note close-up shot above from the scene on the left).
Continuity editing– Continuity editing is the predominant style of film editing and video editing in the post-production process of film making of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.
Insert Shot– An insert shot is a close-up of something that exists within the basic scene. The latter is typically visible within the establishing or wide shot.
Insert shots add needed information, information that wouldn’t otherwise be immediately visible or clear. In our earlier example of the new $100 bill, an ECU (extreme close-up) of the bill that was being discussed would be an insert shot.
Cutaways – Unlike insert shots that show significant aspects of the overall scene in close-up, cutaways cut away from the main scene or action to add related material.
During a parade, a camera might cut away from the parade to a shot of people watching from a nearby rooftop or a child in a stroller sleeping through the commotion.
In the editing process we have to rely on regular insert shots and cutaways to effectively present the elements of a story.
Relational editing– In relational editing, scenes that by themselves seem not to be related take on a cause-effect significance when edited together in a sequence.
Thematic editing– refers to (as they say in the textbooks) a rapid, impressionistic sequence of disconnected scenes designed to communicate feelings or experiences.
This type of editing is often used in music videos, commercials, and film trailers (promotional clips).
The intent is not to trace a story line, but to simply communicate action, excitement, danger, or even the “good times” we often see depicted in commercials.
Parallel Editing – Early films used to follow just one story line — generally, with the hero in almost every scene.
By cutting back and forth between two or more mini-stories within the overall story, production pace can be varied and overall interest heightened. And, if the characters or situation in one story don’t hold your attention, possibly the characters or situations in one of the other story lines will.
Match cuts– A match cut, also called a graphic match, is a cut in film editing between either two different objects, two different spaces, or two different compositions in which objects in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically.
Reverse shot – A reverse shot is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character.
Eyeline Match – An eyeline match is a film editing technique based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, followed by a cut to the object or person at which he is looking. For example, a shot showing a man looking off-screen to the left is followed by a shot of the television that he is watching.
180 degree rule – the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene
The 30 degree rule – The 30-degree rule is a basic film editing guideline that states the camera should move at least 30 degrees between shots of the same subject occurring in succession.
Cross cutting – cross-cutting is what you do after you’ve created a series of scenes and you re-order them to create a drama that goes forwards and backwards in time
Montage – the technique of selecting, editing, and piecing together separate sections of film to form a continuous whole.
Flashback– a scene in a film, novel, etc. set in a time earlier than the main story. They are sometimes shown obviously, showing a physical flash and then the scene, or sometimes the film/scene will have a different filter or colour wash over the image
Slow motion – the action of showing film or playing back video more slowly than it was made or recorded, so that the action appears much slower than in real life.
Fast cutting – Fast cutting is a film editing technique which refers to several consecutive shots of a brief duration (e.g. 3 seconds or less).It can be used to convey a lot of information very quickly, or to imply either energy or chaos. Fast cutting is also frequently used when shooting dialogue between two or more characters, changing the viewer’s perspective to either focus on the reaction of another character’s dialogue, or to bring to attention the non-verbal actions of the speaking character.
Slow cutting – Slow cutting is a film editing technique which uses shots of long duration. Though it depends on context, it is estimated that any shot longer than about fifteen seconds will seem rather slow to viewers from Western cultures.
Jump cut – an abrupt transition from one scene to another.
Initial shot sketches matched with film shots of short sequence : morning routine
Initial establishing shot – The first shot is slightly different to my original sketch, however, it still shows the environment of the sequence- which was my main aim
I decided against doing a birds-eye shot of the bed as the lighting always cast a shadow of the camera into the shot, making the sequence look extremely amateurish. I therefore, swapped it with a shot of the sleeping individual turning off the alarm- making the sequence more realistic in my eyes.
I kept the shot of the alarm going off, as I think this gives the audience a sense of time and what sort of scenario they are in
I liked the idea of giving some shots ‘movement’ and I created this ‘movement’ by moving back the duvet, while also showing it as a P.O.V shot. This puts the audience in the situation and environment, allowing them to relate more.
I kept my initial idea of a shot of feet being put on the floor. This is using a variety of angles and shots, helping me develop my skills of individual directing, shooting, developing and editing.
I also stuck to my initial idea for the next shot. I only focused on the upper torso, neck and half of the face for this shot, to give the audience more detail of the shot, visually.
The final shot was also kept very similar to my initial ideas. However, I shot the sequence so it cut off as soon as the subject exited the door, this shows not only that the sequence is over, but also that the routine is over, and gives the routine a sense of repetitiveness and a mundane lifestyle- some emotions that the audience may be able to relate to.
Breaking down a scene into shot list
Creating a sequence: morning routine
Very quick media sequence, getting used to filming individually and editing
(the image is a link to the video, please click on the image to be taken to it)
Practice shot – Plan
Here are some quick sketches for a practise sequence I am going to make. I have included the technical codes alongside each sketch.
Story Arc
A story arc is an extended or continuing storyline in episodic storytelling media such as television, comic books, comic strips, boardgames, video games, and films with each episode following a narrative arc. On a television program, for example, the story would unfold over many episodes
A2 Media Blog 