Video

1. +
Film and Video Editing
Techniques
-Chris Bailey

2. + Can you name some of the pioneers of film making in the
late 19th Century and early 20th Century? Why were they
pioneers?
 Thomas Edison and the Lumiere Bros are world renowned for pioneering film
production in the late 19th century and early 20th century.
 Thomas Edison put a lot of money into the production of motion picture films.
The films of the time were very basic, they included wide static shots, and
single takes.
 But the modernity of the technology made the films greatly entertaining and
interesting to those who have never seen it before. This is because the
technology was so new.
The Lumiere Bros – The inventors of the Motion Picture. In 1895 the Lumiere
Bros conducted their first admission charged screening in a Café in Paris. The
screening included 10 short films, all approximately 50 seconds long, using a
hand cranked projector.
Thomas Edison and the Lumiere Bros are pioneers because they began to
explore things that had not been done before. Such as making film entertainment
movies, or creating the first ever motion film.

3. + Can you list some examples of early film production?
Include weblinks where necessary. Why are these good
examples?
 On December 28th – 1895, one of the most famous film screenings took place at the Grand
Café in Paris. The screening was held by the Lumiere Bros, who charged 1 Franc per
person for a 25 minute viewing made up of 12 very short films. This is a good example
because it was the start of something much greater, the start of cinema.
 Between 1905 and 1915 the population of Hollywood grew from 5,000 to over 35,000. This
was largely due to the film production that had spawned there. Budding actors, producers,
cinematographers and simply those who wanted to live in the film capital all migrated to
Hollywood. The weather was perfect for most filming, as artificial film lighting had not
become fully available yet, there was large diversity of filming landscapes too, and land
was cheap to construct upon. Hollywood was soon challenging studios in New York City
and New Jersey. By 1915 60% of U.S film production came from Los Angeles/Hollywood.
This is an important factor in early film production because it explains the beginning of
what we know to day as “Hollywood”. The home of the Movie Industry, film production and
many talented actors/actresses.
 Kinemacolor was the first successful colour motion picture process. Kinemacolor was
invented in Brighton, England, in 1906 by George Albert Smith and used commercially
between 1908 & 1914. The process involved black and white film running behind
alternating Red and Green filters. This is a good example because although Kinemacolor
was very short lived, it did provide a basis for the production of colour motion pictures.

4. + What would you say are some of the characteristics of
early film production? Think about the type of shots,
framing, pacing..
 The characteristics of early film production includes:
 Early films production included very little basis for experience,
experience of filmography, acting, lighting and all the other aspects of
film production.
 Framing: Framing was not very attractive in early film production, as it
was not a skill taught or practiced. This meant that the subjects would
often fall out of the frame and become invisible briefly until they come
back into the frame.
 Lighting: Early films were often very dark, this was due to the fast
moving film not capturing a very significant amount of light during its
short exposure. This meant that scenes filmed in the bright outdoors
often still looked very dark.
 Movement: The shots were very often static, usually only making small
adjustments when following subjects. There were no technical
movements that we know about today, shots that suggest different
things, such as panning and zooming quickly to increase the feeling of
action in a movie.
 Shot Times: The shots in early films last much longer than shots do
nowadays. For example, an action shot in ‘The Great Train Robbery”
lasts exactly 1 minute. This is very long compared to modern shot
times, especially action shots. For example the “Captain America
Winter Soldier” highway fight scene which contains multiple shots
lasting around half a second.
Subjects (The Great
Train Robbery-1903)
(Captain America –
Winter Soldier)

5. + What effect did these characteristics of early film have
on the production examples we looked at?
The effect created by the characteristics of early films will be much different upon myself and anyone else who has
sensibilities adapted to modern film production compared to someone of the early film era.
In my opinion, the characteristics of early film production appeared very slow paced, boring, and greatly un-engaging.
This is due to the long takes and static shots. A way to describe the effect it creates is how it makes the viewing feel like
you are stood behind a safety barrier 300m away looking through a telescope which restricts the amount of light visible
at the scene with no ability to focus on particular subjects. The lack of visual stimulation in early films makes them very
boring and long winded.
Nowadays films have many shots, moving or not there are many of them. This makes the viewer feel like they are much
more engaged in the film. As though they have the freedom to move around and view the film from different angles and
perspectives. We can get very close in a portrait or far away in a wide shot. A great advancement from the static plain
shots in early film.
There are 3 people in
this shot, due to the
lack of movement
and dimness of the
images it is hard to
focus on each one,
let alone even see
them.
(Each Person Is
Circled In Red)

6. + Can you list some examples of early film editing?
Include weblinks where necessary
 Early film editing was very basic, it began with jump cuts, where one line
of film is connected to another, allowing a quick change in the scene.
Fades and layer dissolves where later invented for a more attractive jump
cut.
 Georges Méliès was a professional magician, and one of the viewers of
The Lumiere Bros film screening in 1895 – Paris. He confronted the
Lumiere Bros to purchase on of the products they used in the creation of
the films, but he was seen as a threat. Instead he reverse engineered a
projector and began creating motion pictures of his own.
 One day he was filming in the city when his film jammed, when he fixed it
and reviewed the footage later on, he saw that there was a cut in time
between the film jamming and releasing. In this time, a bus moved away
and was replaced by a hearse. This gave the visual effect of an object
disappearing and being replaced by something else. He then went on to
use the technique of ‘Quick Cuts’ in his magic shows.

7. + Provide a simple definition of what film editing is
 Film editing can be in the form of many techniques and
processes. Some simple and some much more complex.
Simple film editing revolves around cutting the end of point A
and attaching it to the beginning of point B. More complex film
editing involves altering aspects that create a relationship
between point A and point B. This could be in the form of
equalising exposures, creating transitions (fades, dissolves,
wipes etc) and other more technical processes.

8. + List the types of cut/edit you can use and provide an
example of each on in use
 Cut/Straight Cut: Shot A finishes and shot B begins directly after. (Common In fight scenes, where quick cuts are necessary).
 Contrast Cut: This involves 1 shot being replaced by another which contains a greatly different mood. For example a girl dreams of her happy family, but then wakes in
the centre of a burning building. (Common in Thrillers, where sudden mood changes are frequent).
 L Cut: Also known as a split edit, this is when 2 different cuts (audio/ visual) occur at different times. For example hearing something before we see it. (Common in action
movies and horrors where surprise is aimed for)
 Graphic Match Cut: Where pieces of film including similar objects are connected, achieving an end product which shows one object changing into another. A very popular
example of this is in the film ‘A space odyssey’ where a gorilla throws a bone into the air, which cuts to a space station of a similar shape. This conveys the change in time
and history.
 Match Cut: This is very similar to a match cut, except the cut itself is hidden from the audience. This is done by covering he entire frame, such as a character walking
directly at the camera, blocking all view, and then a cut to a character walking directly away from the camera. Although the audience knows the cut has taken place, it is
not obvious exactly when it occurred.
 Parallel Cut: This is when shots switch between characters, even if they are close it makes it more visually stimulating and fast paced due to the high number of cuts. An
example of this would be when a hero is chasing the villain. We could either see a shot of them both in close quarters, or multiple shots of each character.
 Fade In/ Out: A fade out is when an image gradually turns to one block colour, usually black. A fade in is when a block colour gradually becomes the image. Fade outs are
commonly at the end of a film or act. Fade ins are usually at the beginning of a film. For example, fading into the beautiful New York skyline, and fading out from a
beautiful Nissan Skyline.
 Dissolves: A dissolve is similar to a fade, except instead of fading into a colour, it fades into another shot. This is often used in films when someone is telling a story, or as
they begin to sleep and dream.
 Wipe: This is when one shot enters the frame and pushes another out. As if the vertical line on the edge of one shot physically moves the opposing shot out of the way
and off the screen. This is considered ‘Cheesy’ in todays movie era, but is still used in some movies, such as Star Wars. There is no definite reason why they get away
with it, although it’s most likely that people simply love everything about the star wars movies, and don’t want anything to change, even their choice of transition. It gives
the film a distinct sci-fi nostalgia feel.

9. + Below, list the four relationships between shots
 Editing and Graphic Relationships [PICTURE]: This is when the editor matches the edits to the particular shot/scene. This is very
important as the edits, such as colour tone, vastly effect how we portray what we see on screen. For example, a warm/happy toned scene of
an old man and a boy on a bench would be considered heart warming and sweet, as we’d assume it’s the grandfather out with the grandson.
Where as if it had a cold and darker tone we’d likely assume that what we were seeing was of bad nature, such as the old man planning
something more sinister.
 Editing and Rhythmic Relationships [RHYTHM]: This is when the edits are suited to the rhythm. This relationship is important as it is
much more stimulating and engaging for our senses when they are hearing and seeing the same thing. If we can’t see the direct sound from
an action, it is important that we see something that we can relate to it. An example of this is removing the gradual increase of engine sound
as a car roars down the autobahn and replace it with a sound track. A track with a similar increasing tempo will create the same effect, and
when the car elegantly drifts onto another road the music can come to a consistent pace.
 Editing and Temporal Relationships [TIME]: This relationship is based on the speed and time of events. For example, some films may
include edits where it skips years to show the homeless man sharing his jet and mansion with his pregnant wife. This skip in time can also
be reversed. This is common in the terminator films, where we are shown the past, present, and future.
 Editing and Spatial Relationships [SPACE]: This is a very important part of film making, although it is often overlooked. Spatial
relationships provide the viewers with visual boundaries that re key to making a shot successful. This often revolves around the eye line of
characters. If one shot is taken with a differentiating line of sight than another then it will throw the viewers calibration off and make the scene
just ‘not look right’.

10. + For GRAPHIC relationships provide a description and examples of it’s
usage [with a weblink to a sequence on YouTube and still frames where
necessary – you may add more slides if you need to]
 Graphic relationships involve matching the edits to the scene. This could be
cut times, colour balances, movement touch ups, or many other types of edits.
 For example: *Characters descend into volcano* Edit: Very warm tone added,
making the scene redder to give the viewers a visual sense of the heat that
the characters are exposed to. This edit is in direct relation to the scene at
hand.
This shot from ‘The Devil
Inside’ shows a girl engulfed
in a devil induced seizure.
The shot contains a lot of
movement, possibly added in
post. There is also a very cold
tone in place, to make the
image more sinister.
The Devil Inside:
https://www.youtube.com/watch?v
This scene from ‘Journey to
the centre of the earth’
contains a very warm tone. The
reason for the added warm
tone is to express to the viewer
the heat that the characters are
feeling as they climb beyond
hot red lava.
Journey to the centre of the earth:
https://www.youtube.com/watch?v=
LZYd19bIhP0
This image shows a scene from
‘Gravity’. The scene involves the
beginning of one of the
characters deaths. The visual
edit upon this image includes
adding a very cool tone. This
exaggerates the negative
occurrences and coldness of
space.
Gravity:
https://www.youtube.com/watch?v
=DYDaIyfitn8

11. + For RYTHMIC relationships provide a description and examples of it’s
usage [with a weblink to a sequence on YouTube and still frames where
necessary – you may add more slides if you need to]
 A rhythmic relationship is forged when an edit matches the
rhythm/pace of a scene. For example, a slow paced scene
could involve 3 shots in one minute. Where as if the scene is
fast paced, then there could be 60 shots in one minute.
 Examples of a slow paced scene include a shot of a family on
the way home from the shops in a car. A fast paced shot could
involve a fight scene.
This scene involves captain
America fighting off the villain. The
each shot lasts close to a second
at most, but most shots only lasted
half a second. Meaning that the
rhythm and tempo of the scene is
made in relation to the edits. Doing
this allows the viewer to experience
the fast paced scene in a much
more dynamic way.
This scene has shots lasting
between 2-6 seconds. Much
longer than any action
scenes. The long shots are
due to the scene being slow
paced. The relationship
between the edits and scene
is that they are relaxed and
take their time.
This slow motion scene from ‘The Hurt Locker’ is considered to be one of the
greatest slow motion scenes in movie history. The graphic relationship
between scene and edit is spot on, here’s why. The build up to the scene is
immensely tense, we are waiting every second for something to happen. The
tenseness is broken with a beautifully orchestrated scene of slow motion
shots, showing the rising rubble beyond the bomb, the vibration of rust upon
an abandoned car, and the main blast as the man flees with all his power.
The scenes momentarily cut to real time shots of the soldiers reacting, but
slows down every time the shot is on the main character, prolonging the
experience for the viewers. This is very effective as it allows us to feel a real
connection, by seeing it in slow motion gives us the ability to see and
imagine how it feels, as we can see the flying rubble and shaking ground.
Rather than just a brief explosion.

12. + For TEMPORAL relationships provide a description and examples of it’s
usage [with a weblink to a sequence on YouTube and still frames where
necessary – you may add more slides if you need to]
 The tempo of a scene is based on the dimensions of time. Scenes with
significant temporal relationships can involve travelling back and forward in
time. Flashbacks are a common factor in film temporal relationships. A
flashback in a film will often include the shot quickly cutting to a period of time
in the past, it often contains factors which give it a look of memory and mental
stress. These factors can include black and white, shakiness, graininess,
strange colours motions that stress the idea that the images are coming from
the characters mind. They are very effective when filmed via POV as though
we are seeing exactly what the character saw.
This is a flashback scene in ‘Singham’. The
image is black and white, and has a very soft
effect place upon the footage. This expresses
to the viewer that it is a memory, many details
are lost, but the main factors are sharp.
This scene from ‘Django Unchained’ involves
Django having a flashback to when him and his
wife were captured by slave traders. The shot is
very cold and murky with boosted contrasts in
order to keep the image sharp yet reduce the
amount of visual detail available to us. In order
to show the effects of memory.

13. + Define the ‘Hollywood method’ of continuity editing and why it
became so prevalent…
 The Hollywood method of editing spawned in the 1930’s, when
Hollywood film production became very successful. The
Hollywood method consists of multiple editing styles, which
have been followed by other film makers in order to cover the
basics of film editing, meaning it has become highly prevalent
in the movie industry. The Hollywood method has shaped and
changed as time has gone by, but it still follows the same rules
as before, except they are now defined to a modern audience.

14. + Provide a description of a scene where the 180 degree line has
been used, how does it provide spatial continuity/discontinuity?
 The 180 degree line is the boundary which restricts a camera
man from taking a shot that will result in a loss of spatial
awareness. This is most commonly found when eye lines do
not match up, making it appear that 2 subjects are looking
away from each other, whilst talking to each other.
 The imaginary 180 degree line is in place to stop the spatial
discontinuity. The 180 degree line can be broken in some
cases, but first the cinematographer has to understand the rule
and use the effect carefully. Not following the 180 degree line
rule can create confusion and visual uncomfort for the viewer.

15. + POV and identification – explain how we are invited to identify
with a character through POV and shot reverse shot
 If an editor positions shots so that we see the character
looking, and then what they are looking at, and then back at the
character, then we have the ability to identify with the character.
This means that we experience what the character does, and
then get to see the characters reaction.

16. + Provide a definition of cross-cutting/parallel editing, what is so
effective about this technique? Where might a director use it?
 Cross cutting is an editing technique commonly used when
defining spatial relationships in a film. A time when cross cutting
is commonly used is during chase scenes, when one character
is being pursued by another. The shots will switch from different
views from the characters, this can include POV. This
technique is very effective as it allows us to feel the pace of the
scene, as well as give us much more to work with mentally. It
allows us to see the proximities of each character, such as
when we recognise that one character is gaining on the other.

17. + What is meant by the term ‘intensified continuity’? Why do you
think continuity editing has developed in this way?
 Intensified continuity: This is the standard approach to commercial film
making. Although it has changed smoothly over the years. Between 1930
and 1960, most films would be made up of 300 to 500 shots. Nowadays
most action films consist of over 3000 shots. The reason for this will be
largely due to to multiple factors.
 Storage: Storage is much more readily available now, meaning there is
plenty of digital space to store film shots. We also have faster processing
cameras and do not have to worry about perfecting one single shot, as we
can now quickly check the shot and re-shoot if needs be.
 Attention Span: Our attention span has deeply decreased, meaning that
we need to be constantly stimulated in order to not become bored. This is
due to how readily available everything is to us, all information, all sights
and sounds, whenever we want them, we can have them. Digitally of
course. This means that we have become accustomed to getting things
fast, so when we have to wait for exciting parts of a film, we become
bored, impatient and frustrated.

18. + What ways could you create discontinuity in a sequence? List
specific terms and provide an example
 Discontinuity in a sequence can be caused by various factors:
 Eye Line Matches: Eye line matches can occasionally be off in a
sequence, this is commonly due to the camera angles crossing the
180 degree line.
 Shot inconsistencies: These can involve things such as a woman
wearing a scarf in one shot, but not in the next, and then the scarf
is back on in the third shot.
 Temporal Order: If the time in a movie quickly changes then it can
throw the audience off track and cause confusion amongst them.
This is due to us becoming lost as to when the characters are,
whether is is later, present, or previous to the scene before the
change.

19. +
Your Case Study

20. +
Free choice case study
 Your individual case study should describe the development of
editing in film and aim to highlight the different aspects of
editing discussed in the lecture [with examples]
 You should select at least 3 different examples/clips to discuss
– you should include links to these and use still images to
support your arguments
 Use the questions listed on the next slide to start your
investigations

21. +
Questions to ask
 When any two shots are joined, you can ask several questions:
1. How are the shots graphically continuous or discontinuous?
2. What rhythmic relations are created?
3. Are the shots spatially continuous? If not, what creates the
spatial discontinuity? [Cross-cutting? Ambiguous cues?] If the
shots are continuous, how does the 180-degree system
create the continuity?
4. Are the shots temporally continuous? If so, what creates the
continuity? [e.g. matches on action?] If not, what creates the
discontinuity?