Editing

• • The most common join
  • provides an instantaneous change from one shot to another.

  Cut
• • gradually darkens the end of a shot to black

  Fade-out
• • Lightens a shot from black

  Fade-in
• • briefly superimposes the end of shot A and the beginning of shot B

  Dissolve
• • Shot B replaces shot A by means of a boundary line moving across the screen

  Wipe
• Dimensions of Film Editing

  1. Graphic Relations
  2. Rhythmic Relations
  3. Spatial Relations
  4. Temporal Relations
• • Graphics may be edited to achieve smooth continuity or abrupt contrast. 
  • The filmmaker links shots by close graphic similarities.

  Graphic Match
• • The contrast is between movement and stillness.

  Graphic Contrast
• • Length of a shot
  • Every shot is of a certain length, with its series of frames consuming a certain amount of time on screen.
  • The film-maker can adjust the lengths of any shot in relation to the shots around it. That choice taps into the rhythmic potential of editing.

  Rhythmic Relations
• • Sometimes the filmmaker will use shot duration to stress a single moment.
  •  The result is a sudden flash that suggests a violent impact.

  Flash Frames
• • Editing can control graphics and rhythm, but it can also construct film space. When early filmmakers discovered this, they grew giddy with their godlike power.

  Spatial Reations
• • If you’re the director, you might start with a shot that establishes a spatial whole and follow this with a shot of a part of this space. 

  Manipulating Space
• • The Kuleshov Effect-  cutting together portions of a space in a way that prompts the spectator to assume a spatial whole that isn’t shown on screen.


  Constructive Editing
• • Like other film techniques, editing can control the time of the action presented in the film.
  • Filmmakers almost always present their shots in chronological order, but they’re more likely to use editing to alter the duration of story events.

  Temporal Relations
• • A much rarer option for reordering story events.

  Flashforward
• • presents an action in such a way that it consumes less time on the screen than it does in the story. 

  Elliptical Editing
• • If the action from the end of one shot is partly repeated at the beginning of the next.

  Overlapping Editing
• • the menu of choices
  • uses a variety of classic film editing techniques to blend multiple camera shots, some taken at different times or even different locations  into a seamless, consistent narrative.

  Continuity Editing
• • is not literally the reverse of the first framing. It’s simply a shot of the opposite end of the axis of action, usually showing a three-quarters view of the subject. 

  Reverse shot pattern
• • This occurs when shot A presents someone looking at something offscreen and shot B shows us what is being looked at.

  Eye-line match
• • When working in the continuity style, the filmmaker builds the scene’s space around what is called the axis of action, the center line, or the 180° line. 


  Spatial Continuity
• • A very powerful device. This is simply a matter of carrying a single movement across a cut.

  Match-on-action
• •  freedom to “cheat” mise-en-scene from shot to shot—that is, to slightly mismatch the positions of characters or objects. 

  Cheat cut
• • the plot alternates shots of story events in one place with shots of another event elsewhere.
  •  Editing can create omniscience, that godlike awareness of things happening in many places.

  Crosscutting
• • classical continuity editing also often presents only once what happens once in the story.
  • chrono- logical sequence and one-for-one frequency are the standard methods of handling order and frequency within the continuity style of editing. 

  Frequency
• • Sound issuing from the story space

  Diegetic Sound
• • usually lack dialogue, they tend to come wrapped in music.

  Montage Sequence
• •  This term is used in various ways, butone primary meaning is this: When you cut together two shots of the same subject, if the shots differ only slightly in angle or composition, there will be a noticeable jump on the screen. 

  Jump cut
• • Here the filmmaker cuts from the scene to a metaphorical or symbolic shot that doesn’t belong to the space and time of the narrative

  Non Diegetic Insert