Rythmic editing- is when the relationship between shots function correctly in order to control the pace of the film. Rhythmic transitional devices include, wipe, fade in/fade out, dissolve and jump cut.
Graphic editing is the comparison of pictorial elements from shot to shot. They relate two scenes together or make the establishment between two important elements in a film and they work by a frame of the same size or similar shape to make a connection between two things, or potentially foreshadowing something. Phsyco is a good example of this as in the show scene of the film shortly after a brutal murder the camera focuses on the plug of the bath and this then changed to a graphic match of the woman's eye.
Spatial editing is is when relations between shots work in order to construct film space.
Establishing shot is also linked as it provides the audience with the introducing of the place and characters in a film. Shot reverse shot is a technique used and defimed as multiple shots edited together to alternate between characters and shows typically a conversation, this can be done by the use of over the shoulder shots.
Eyline match is a shot when a character looks directly at something and the another shot is shown to what the character is looking at, this is implying significants of what a character is looking at.
Tempral editing is when shots function in order to control time.
Match on action is part of continuity editing and cuts between two different shots of the same action, this is done to allow an action to be seen from multiple directions and an example of this would be walking in or out of a door way. This allows a shot to still be continuous.
Paralell editing is used in order to pot ray multiple lines of action in different places, different actions are shown simultaneously as there could be some connection between the actions and this can be understood by the audience by doing this.
Kuleshov theory of editing.
His experiment consisted of showing an audience three clips and followed by a shot of a face yet the audience was un aware of the fact the same shot of a face was used every time, this experiment helped him conclude that a shot was determined not by the material content of the shot but aslso the association of the shot shown to an audience.

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