The document discusses various film editing techniques including jump cuts, cutaways, cross-cuts, and continuity cutting. It also covers Kuleshov's experiment which demonstrated that audiences derive emotional context as much from editing as from the content of individual shots. The document then discusses color film technologies like Technicolor and Eastmancolor and film sound concepts such as diegetic and non-diegetic sound.
3. Jump Cuts
• The jump cut is a technique which allows the editor to
jump forward in time.
• We see an early version of this technique
in Eisenstein‘s Battleship Potemkin, where the
battleship fires a mortar round and we watch the
destruction as various angles jump cut from one to
another.
• In this very early version of the jump cut,
contemporary audiences were introduced to a new
way of time passage in film.
• It obviously gained traction and is one of the most
used types of cuts today next to the hard cut.
4. Jump cuts
• A jump cut is an abrupt transition, typically in a sequential clip
that makes the subject appear to jump from one spot to the
other, without continuity.
• This can happen when two sequential shots of the same
subject in the same scene are cut together from camera
positions that vary only slightly.
• Jump cuts also occur when cutting between two sections of
footage shot from the same exact camera angle, for example
in an interview.
• Jump cuts can be jarring.
• They draw attention to the process of filmmaking and editing,
which can take the audience out of the story, so traditionally
they are viewed as something to be covered up.
5. Cutaways
• Cutaways take the audience away from the main action
or subject.
• These are used primarily as transition pieces to give
the audience a view of what is happening outside of
the main character’s environment.
• This also goes a long way in helping you emphasize
specific details of the mise-en-scène and allowing you
to add meaning to them.
• You can see this clearly in this scene from the The
Quick and the Dead where Sam Raimi cuts away from
the gunfighters to the clock on the tower, which aids
the dramatic tension.
6. Cross-Cut
• The technique of the cross-cut, also known
as parallel editing, is where you cut between
two different scenes that are happening at the
same time in different spaces.
• When done effectively you can tell two
simultaneous stories at once and the
information being given to the audience will
make complete sense.
8. Continuity Cutting Cutaway—Cut-in.
• Continuity cutting is the most commonly used
method of editing videotape for news or feature
releases.
• It is used when the storytelling is dependent
on matching consecutive scenes.
• Continuity cutting consists of matched cuts in
which continuous action flows from one shot to
another.
• The three transitional devices associated with
continuity cutting are the cutaway, cut-
in and cross cut in.
9. CUTAWAY
• When the action shown is not a
portion of the previous scene, a transitional device,
known as a cutaway, is used to change positions,
movements or characters or to denote a lapse of time.
• This eliminates a mismatch, or jump cut, that would
cause the segment to appear jerky or out of sequence.
• Cutaways are often termed protection, reaction, insert
or cover shots and are thought of as secondary action
shots.
11. Kuleshov's Experiment...
• Kuleshov set up his experiment this way...
• He shot a single closeup of an actor sitting
quietly-still without expression. He then inter-
cut that shot with various other shots comprised
of...
• A woman in a coffin,
• A bowl of soup and
• A woman on a divan.
12. Kuleshov's Experiment...
• The audience's reaction was very interesting!
• The shot he used of the actor was just one
single long-duration close-up without
expression or emotion... completely neutral
but... Reportedly the audience marveled at
the "sensitivity of the actor's range of
emotion."
14. Kuleshov effect
• For Kuleshov...
• The overall conclusion he came away with
from this experiment was that it was the
editing of the film that overrode all other
aspects of filmmaking making them
"irreverent".
15. Kuleshov effect
• Kuleshov's film editing experiments also
contributed heavily to the Soviet Montage
Theory of filmmaking in the 1920's.
• This theory has influenced filmmakers all
over the world for generations.
16. The Psychology of the Kuleshov
Effect...
• Psychologists have long debated whether an
audience's intellectual or emotional reaction
to a shot or scene in a film comes directly
from what is being shown to them or... do
they invest their own emotional reaction into
the shot or the scene... even if the scene
itself is passive or neutral?
17. Kuleshov effect
• The essence of the Kuleshov effect is that the
individual viewer is...
• "Filling in the blanks" or "connecting the
dots" so to speak. According to Kuleshov...the
viewer doesn't realize the reaction is in his
own mind. He assumes the actor shows it.
18. Kuleshov's reasoning was...
• It is the context in which the subject of the shot
or scene is shown that creates the effect on how
the subject is perceived and understood by the
viewer.
• It is interesting that this effect can also be created
not only visually... But also by using sound to
influence the viewers emotional judgments or
interpretations of the shot or scene that is being
viewed.
19. Alfred Hitchcock on the Kuleshov
Effect...
• The above conclusion may or may not be true
for all but... this technique has been used
brilliantly by filmmakers such as Stanley Kubrick
and Alfred Hitchcock.
• Alfred Hitchcock called it "Pure Editing " or
"Pure Cinematics ". Here is the great filmmaker
talking about the Kuleshov Effect...
20. • The bottom line for Kuleshov was...
• What is presented in the images is not nearly
as important as how they are actually
assembled and in what sequence they are
presented to the audience.
21. Technicolor
• "Technicolor" is the trademark for a series of
color motion picture processes pioneered by
Technicolor Motion Picture Corporation
• Technicolor is a series of color motion
picture processes.
22. Eastmancolor
• Eastmancolor is a trade name used by Eastman Kodak
for a number of related film and processing
technologies associated with color motion picture
production.
• Eastmancolor, introduced in 1950, was one of the first
widely successful "single-strip colour" processes, and
eventually displaced the more
cumbersome Technicolor.
• Eastmancolor was known by a variety of names such
as Deluxe color (20th Century Fox), Warnercolor,
Metrocolor, Pathecolor and Columbiacolor, and others.
23. Eastman Color Negative (ECN)
• Eastman Color Negative (ECN) is a photographic
processing system created by Kodak in the 1950s
for the development of monopack color negative
motion picture film stock.
• The original process, known as ECN-1, was used
from the 1950s to the mid-1970s, and involved
development at approximately 25°C for around
7–9 minutes.
• Later research enabled faster development
and environmentally friendlier film and process
(and thus quicker photo lab turnaround time).
24. Eastman Color Negative (ECN)
• This process allowed a higher development
temperature of 41.1°C for around three minutes.
• This new environmentally friendly development
process is known as ECN-2.
• It is the standard development process for all modern
motion picture color negative developing,
including Fujifilm and other non-Kodak film
manufacturers.
• All film stocks are specifically created for a particular
development process, thus ECN-1 film could not be put
into an ECN-2 development bath since the designs are
incompatible.
25. Diegetic sound
• Diegetic sound Sound whose source is visible
on the screen or whose source is implied to be
present by the action of the film:
• voices of characters
• sounds made by objects in the story
• music represented as coming from
instruments in the story space ( = source
music)
26. Diegetic sound
• Diegetic sound is any sound presented as
originated from source within the film's
world Digetic sound can be either on
screen or off screen depending on whatever its
source is within the frame or outside the frame.
• Another term for diegetic sound is actual sound
• Diegesis is a Greek word for "recounted story"
The film's diegesis is the total world of the story
action
to Non-diegetic sound
27. Non-diegetic sound
• Sound whose source is neither visible on the
screen nor has been implied to be present in
the action:
• narrator's commentary
• sound effects which is added for the dramatic
effect
• mood music
28. Non-diegetic sound
• Non-diegetic sound is represented as coming from the a
source outside story space.
• The distinction between diegetic or non-diegetic sound
depends on our understanding of the conventions of film
viewing and listening.
• We know of that certain sounds are represented as coming
from the story world, while others are represented as
coming from outside the space of the story events.
• A play with diegetic and non-diegetic conventions can be
used to create ambiguity (horror), or to surprise the
audience (comedy).
• Another term for non-diegetic sound is commentary
sound.