LO1: Understand the characteristics and context for a chosen media and communication activity
Video editing conventions and techniques
The editing process is an extremely important part of any production; when flow is captured with cuts, pace, and sound, a stunning film can be produced. This process allows the editor to carefully review all the content shot during production so that a way to put it together can be formulated. This most common technique used to create flow is cutting. A successful edit will be crisp and flow with great precision. To make your video’s flow ideal, you have to cut shots at the perfect time. This means shots should not linger if it creates unnecessary pauses, while shots should also not cut too soon as the audience may not expect a sudden stop. Transitions are a way to keep the pace of the film controlled; in most professional productions almost all transitions are simple cuts or cross-fades as eccentric transitions can often distract and impact the flow of the project. In contrast, many conventional filmmakers cut and transition their content in a non-traditional fashion which alters the viewers intake of the narrative. A films narration uses cuts, transitions, colour, pace, sound and speed to establish a films genre. One important technique that always should be considered during editing is where your viewer is most likely look on the screen as cuts are made. I think it is really important to keep that area of focus the same in the following shot to save our viewer from moving their eyes from one side of the screen to the other. If you are taking a continuity edit approach , match cuts improve the flow of the edit which smooths over the existing discontinuity of shot changes to establish a logical coherence between shots. https://www.slideshare.net/zlorhenley/editing-in-tv-drama
TYPES OF CUTS AND TRANSITIONS
CUTTING ON ACTION
This is cutting from one shot to another while the subject is still in action. This is used in Trainspotting to create a fast pace sequence where Renton is hit by a car.
Cut away
When we start with one shot, cut to an insert shot of a subject, and then returning to the first shot. The insert could exist in the same place as the character like in the diner scene from Back to the Future. We see Biff step into the diner and call out George McFly, who is stood in the central foreground of the shot, for being in there which is cut to Marty McFly's reaction before cutting back to the same shot of George and the other characters in the diner.
They can also be used to get inside the head of a character. For example in Filth, Bruce often has strange hallucinations when interacting with other characters.
cross cutting
This is when two scenes are inter-cut between locations to establish continuity. When used effectively, cross cutting can be used to amp up the tension and suspense in a sequence. As we can see, cross cutting is used in inception to deviate between the real world and dream world using actions in the real world to fluctuate into the dream. The colour pallet used in each reality contrast with each other, the first creating an atmosphere of serenity and calmness as the characters are sleeping in the van while the second uses a deep toned brown hue which creates an unbalanced ambience in the world the characters are currently in.
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It can also be used for phone call scenes like in Bridget Jones.
Jump cuts
Jump cuts are when the editor jumps between the same shot . They are often used to show the passing of time or add a level of urgency to the scene.
Match cuts
One important technique that always should be considered during editing is where your viewer is most likely look on the screen as cuts are made. I think it is really important to keep that area of focus the same in the following shot to save our viewer from moving their eyes from one side of the screen to the other. If you are taking a continuity edit approach , match cuts improve the flow of the edit which smooths over the existing discontinuity of shot changes to establish a logical coherence between shots. Match cuts cut from one shot to a similar shot by matching the action or composition. They can be used to change scene and can match visually or verbally. Often match cuts ca be used to keep the viewers visual attention on one part of the screen. This is because the audience could find a scene where the focal points in two shots are separate distracting as they have to keep moving there eyes on the action taking place. As we can see in the opening sequence of Trainspotting (1996), the editor has used match cuts to harmonise the shots used on the football pitch and in Renton's house while he falls to the floor. The audiences focus stays on Renton in each shot because he is in the centre of all of them. The green mid-tones used in the shots on the left contrast with the dull red and brown tones we see in the shots on the right. The washed out browns create quite the opposite to a homely environment and the hole in the wall can represent their decaying life styles as heroine addicts. The dark green kits they wear on the football pitch conveys a image of ambition, greed, and jealousy. This could be the front of which the main characters put on to try and fit into society.
fade in/fade out
Fade in / out involves dissolving to or from black. These are most commonly used for opening and closing scenes, like in the diner scene in Pulp Fiction, where fade ins/ outs are transition the audience between time frames within the film.
disloves
Dissolves can be used to transition between scenes. Commonly used in montages and can also be used to show the passing of time. They are used in The Godfather to show how news about the mobs has spread all over the newspapers. The newspaper headlines are cross dissolved with the
If a dissolve is used with the same shot the items in the first shot will fade away .
Smash Cuts
Smash cuts are abrupt transitions. This could be someone waking up from an intense dream, going from something intense to quiet or quiet to intense.
Iris
The Iris was originally an in camera effect used by directors like D.W Griffith in the film Birth of a Nation. The iris was manually opened to transition to and from black
Today it is used as a stylistic choice and many are found within a scene rather than between scenes.
Wipe
This is where the image displayed is distorted or split up to transition into another scene.
Invisible cut
Invisible cuts are used give the impression of a single take, however cuts are hidden in blackness, blurs or movement.
Here in Shaun of the Dead, we see a car cross the alley way, but brings the next scene with it. This is an effective example of an invisible cut.
L-cut and v-cut
An L-cut is an audio based transition where the audio from one clip continues in the next. This can be used to establish where the following subjects shown on screen are in relation to the subject making the sound. A J-cut is similar to this but instead the audio from one clip starts before it is shown. This clip from The Dark Knight (2008) shows effective examples of both L and V cuts. At 0:10, the video starts with a J-cut. This is because The Joker starts by saying "Ah, the good" in shot 1 and "cop bad cop routine" in shot 2. This is effective in placing the Joker over the dark background before the lights are tuned on and we see the Batman behind him.
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Then at 0:39, we see the police department outside of the interrogation room (shot 3) but we hear the Joker says "I wanted to see what you'd do". Then we cut back into the room to a close up of the Joker (shot 4) who says "and you didn't disappoint." This is an example of an L-cut. J and L cuts are designed to specifically create a seamless flow or transition from one scene to another
References
Sheffield Audio and Visual productions. (2017). Importance of video editing. Available: http://www.sheffieldav.com/production/importance-video-editing. Last accessed 6/11/17.
Dallas Video Production. (2016). 3 Reasons Why Video Editing is Important. Available: http://rdmproductions.com/3-reasons-video-editing-important/. Last accessed 6/11/17.
Farmer, D. (2017). Cross Cutting. Available: https://dramaresource.com/cross-cutting/. Last accessed 06/11/17.
RocketJump Film School. (2016). Cuts & Transitions 101. [Online Video]. 3 March 2016. Available from: https://www.youtube.com/watch?v=OAH0MoAv2CI&t=449s. [Accessed: 7 November 2017].
Dallas Video Production. (2016). 3 Reasons Why Video Editing is Important. Available: http://rdmproductions.com/3-reasons-video-editing-important/. Last accessed 6/11/17.
Farmer, D. (2017). Cross Cutting. Available: https://dramaresource.com/cross-cutting/. Last accessed 06/11/17.
RocketJump Film School. (2016). Cuts & Transitions 101. [Online Video]. 3 March 2016. Available from: https://www.youtube.com/watch?v=OAH0MoAv2CI&t=449s. [Accessed: 7 November 2017].
Video analysis
drama - Apocalypse now (opening sequence)
Apocalypse Now (1979) is a film set in the 1970's during the Vietnam War and follows Captain Benjamin L. Willard who is on a secret mission to assassinate Colonel Kurtz, a renegade who is presumed insane. The film is adapted from the story 'Heart of Darkness' by Joseph Conrad , changing its setting from late nineteenth-century Congo to the Vietnam War. The opening scene displays a montage of helicopters napalming Vietnam exposed with Captain Benjamin laying on his bed. The editing in this clip is extremely effective in displaying the fear, violence and loneliness of the Vietnam war.
The first shot in this sequence shows a Vietnamese forest, followed by the entire landscape being destroyed by a napalm. The audience sees the forest landscape for a minute before it is blown up. Throughout the minute, a helicopter flies past and we see slow waves of dust pass the screen. This transcends the true extent of the destruction caused during the Vietnam war as the two shots contrast from a peaceful setting to and explosive burning image which sets the tone of action for the film.
We next see a low opacity shot of Captain Benjamin, who we can establish as main character due to how close the camera is to his face. The upside down image which suggests there is no identity in war and the look in his eyes tells the audiences he is visualising the horrors he has experienced. His face can be identified over the burning forest which represents the destruction of sanity, passion and power. Many soldiers in the war would have enjoyed having the power to control life and death and the fire transcends this.
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The shot of Captain Benjamin is then overlaid by a ceiling fan spinning round. This is an effective juxtaposition of the helicopters constantly flying over the war zone but also can represent the constant cycle of war the soldiers are experiencing. We see the ceiling fan appear multiple times throughout this sequence which constantly reminds the character of his experiences and that there is no escaping the trauma.
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As we see more of Captain Benjamin's room, a small section of flames remain on screen. These flames sit on top of his head which shows the war is burning him mentally and that it has changed who he his. At the same time the centre of the ceiling fan is positioned in the middle of Captain Benjamin's face putting him in the centre of all the chaos and reminds us he is far from a normal person.
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The opening sequence to Apocalypse Now uses flashbacks and multiple exposures to emphasise the feelings and state of mind Captain Benjamin and the other characters are going through during the Vietnam War. The contrast between the vast open Vietnam forest and the enclosed bedroom give the impression that our main character is trapped both physically and mentally in violence, dominance and is stuck in a place nothing like home.
Action - Kingsmen: the secret service (pub fight)
Kingsman; The Secret Service is a film about a collective of secret agents trying to stop Valentine (Samuel L. Jackson) from wiping out the earths population. In this scene, Eggsy and Harry are conversing over a pint before Eggsy's step dad's friends walk in to start a brawl. Harry gets up and fights all of them through a fast paced quickly cut scene.
The action starts when Harry uses an umbrella to launch a beer glass at one of his opponents (Rottweiler). The music draws quiet as the glass flies through the air but plays louder once Rottweiler hits the floor. The first instance of the action is really important as it builds up the tension before the real brawl takes place. The glass hitting Rottweiler is dragged out; this can be shown through the 4 shots above where Harry throws the glass and we see it is about to hit Rottweiler, then we cut almost back in time a few split seconds as, in the next shot, the glass takes a little more time to hit his face than expected. There is then another quick cut to Rottweiler falling to the ground. Although there is no fight taking place yet, the pace of the scene has completely changed from a quiet pub setting. The dragging out of shots helps bring the audience into the action, which they have been anticipating since Eggsy's step dad's mates walked into the pub.
Eggsy's reaction is captured in a quick cut before we move back to the action; this is important in the sense that Eggsy is learning more about Harry's character, but is also humorous because of how blown away he is by what is taking place. The audience will also find this amusing because they are in Eggsy's favour and in this conflict, all he has to do is stay seated.
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The first punch is made by one of the other opponents and is forwarded by Harry towards Poodle, knocking a tooth out.
This assembly of shots is really effective as the speed of the action is played with. Before the brawl really takes off, the punch is slowed down and we see the fist hit Poodle in the jaw. The actions speeds up a little bit, moves on to the next character, slows down and we get his reaction of the flying tooth. The slow motion prepares the audience for the fast pace action about to take place as they contrast and create tension.
Similar to the glass smashing, the punch is then repeated in 'real time' and the brawl kicks off. The fight is around 1 minute and keeps a snappy rhythm the entire time. The order, length and speed of shots have been used in this scene to showcase the action, create tension, build on it, slow everything down and hit the audience with a snappy, fast paced scene that the audience will stay focused on.
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Like many in many action films, this scene uses multiple shots to create the impression of violence, and relies on the audience to make those links as the jump cuts are made. This scene is extremely successful due to its camera movements and editing approach creating an immersive fight the audience feels they are in the centre of.
horror - the shining (here's johnny!)
The Shining stars Jack Torrance (Jack Nicholson), an aspiring writer and recovering alcoholic who accepts the position as the winter caretaker of the Overlook Hotel in the Colorado Rockies. The hotel had a previous winter caretaker who went crazy and killed his wife, two daughters and then himself. After a winter storm leaves the Torrances snowbound, Jack's sanity deteriorates due to the influence of the supernatural forces that inhabit the hotel, placing his wife and son in danger. I picked the iconic "Here's Johnny' scene because it uses effective editing conventions to fit the horror genre.
The first thing I noticed about this scene is the length of shots in regard to the action taking place. The first few shots as Jack approaches the bathroom and considerably longer than the shots used when he is swinging his axe. This is the editor building on the action, speeding up the shot count to thrill the audience. At the beginning of the clip we see the longest of the shots shown which is Jack walking down the hall towards the bathroom. This is because Jack hasn't found his wife yet, who he intends on killing, which the audience are anticipating and the editor builds app t this moment.
This 7 second shot can be contrasted with the moment Jack says "not by the hairs on your chinny chin chin, then I'll huff and I'll puff and I'll blow your house in" which follow with Jack swinging the axe at the door. 3 different shots are used over 7 seconds to display the same Jack stood outside the door. Using these 3 shots seamlessly creates unsettling tension and suspense because more cuts are taking place on screen, drawing the viewer towards the conflict.
The editor also uses sound to build up to this moment. There is intense violins as he gets to the door but the sound drowns out so we can hear Jack try and unlock the door. The audience is given a moment to see Jack realise his wife is in there before the music simmers back and forth. This is used to keep the audience on edge while Jack breaks down the door. The music will die down so that the shattering of the door startles the audience. This is especially effective when we see the axe shoot through the door; there is no music and the axe makes the audience jump. We are completely sympathetic for Jack's wife Wendy because Jack is getting closer and closer to hurting her and it is only moments before he gets into the room with her.
Comparison
Although the scenes analysed here are very different, the editors have used various cuts, transitions and timings to gain a different reaction from the viewer. Firstly, let's look at the structure of each scene and what the audience learns from this. The opening sequence in Apocalypse Now starts in a remote forest in Vietnam and ends in a confined room belonging to Willard and his fellow soldiers. The fact that throughout this sequence we keep being drawn back into this room creates a concept that our main character is trapped in the middle off this war which is an ongoing cycle of violence, fear and strong male presence. On the other hand, the Kingsman clip is set in the Black Prince pub and tells the audience more about Galahad (Colin Firth) and his occupation as a Kingsman, showing off his fighting skills and composure. The clip is structured to build on the action we see; we start with Galahad and Eggsy sat drinking their pints and end with them sat in the same place, drinking their pints. This shows that the action we see is a part of everyday life for Galahad and gives Eggsy a father figure or at least someone to look up to in his life. The video from the Shining is structured with clips that become shorter as the catastrophe unfolds. This is used to create tension and keep the viewer on edge as Jack gets closer to his wife Wendy, who is locked in the bathroom. This shows how the assembly of different shots can be used to create a different impression on the audience.
Next, I am going to talk about the techniques the editors have chosen to use and how these relate back to the genre and affect the viewer. In Apocalypse Now, the editor uses dissolves to get us inside Willards head. We see helicopters, ceiling fans, fire, smoke, cigarettes, alcohol, weapons and photos of relatives. The use of these dissolves means we can see multiple exposures on screen that transcend the grittiness, repetition and goals of the soldiers during the Vietnam war. We can tell that the soldiers clearly work for luxuries of home from the alcohol and cigarettes surrounding their bed. The gun tucked underneath Willard's pillow also signifies that there are not safe in their location suggesting the squadrons are constantly on the move so they have no time to settle in. This must be extremely difficult for these characters knowing that their place of rest could also be their place of death. The dissolves used are a convention that can often be identified in dramatic films to convey emotions or state of mind and is an effective way to open a film. They differ from traditional uses of dissolves which often adopted them as a transition into another scene. The Kingsman film uses a number of seamless editing techniques to create a realistic fast paced fight. The shot timings are kept short to keep up with the pace of the action, the clip cuts on action which is a way of preserving continuity and making cuts flow together. Cutting at the point of action, while everything is in motion, makes the edit smooth and less noticeable, allowing the audience to focus on the activity on screen. Because the editor has not waited for any pauses in the fight to cut, the pace of the sequence is not lost and the bar set scene continues to be an energetic clip. Some parts of the Shinning do the exact opposite of this - not cutting shots on the action for dramatic effect. This is a result of different paced sequences; the Kingsman clip was full of rapid conflict and requires quick cuts to keep up whereas the Shinning clip builds on the pace to create tension resulting in a blood chilling piece. The use of cutaways in this scene are effective in giving the viewer a direct idea of what both characters are experiencing. By moving in and out of the bathroom with cutaways the audience is able to track Jack and Wendy's individual progress as we move through the scene; we see Jack limp towards the door which is cutaway with Wendy trying to escape the bathroom. These well-planned cutaways add depth to the story as we move back and forth between the two characters, Jack being shown as the psychopath in control of the situation while Wendy is portrayed as Jack's helpless victim waiting on her own death.
In conclusion, the three clips use different editing techniques to add depth and dimension to the stories being told. In Apocalypse Now, the editor uses dissolves to get us inside Willard's head as well as outside the room he's in, in the Kingsman clip, the editor uses seamless techniques, cutting on action, preserving continuity and making cuts flow together while the editor for the Shining uses cutaway shots to track both character progress in the catastrophe that is about to take place, adding suspense to the already horrifying the scene.
Next, I am going to talk about the techniques the editors have chosen to use and how these relate back to the genre and affect the viewer. In Apocalypse Now, the editor uses dissolves to get us inside Willards head. We see helicopters, ceiling fans, fire, smoke, cigarettes, alcohol, weapons and photos of relatives. The use of these dissolves means we can see multiple exposures on screen that transcend the grittiness, repetition and goals of the soldiers during the Vietnam war. We can tell that the soldiers clearly work for luxuries of home from the alcohol and cigarettes surrounding their bed. The gun tucked underneath Willard's pillow also signifies that there are not safe in their location suggesting the squadrons are constantly on the move so they have no time to settle in. This must be extremely difficult for these characters knowing that their place of rest could also be their place of death. The dissolves used are a convention that can often be identified in dramatic films to convey emotions or state of mind and is an effective way to open a film. They differ from traditional uses of dissolves which often adopted them as a transition into another scene. The Kingsman film uses a number of seamless editing techniques to create a realistic fast paced fight. The shot timings are kept short to keep up with the pace of the action, the clip cuts on action which is a way of preserving continuity and making cuts flow together. Cutting at the point of action, while everything is in motion, makes the edit smooth and less noticeable, allowing the audience to focus on the activity on screen. Because the editor has not waited for any pauses in the fight to cut, the pace of the sequence is not lost and the bar set scene continues to be an energetic clip. Some parts of the Shinning do the exact opposite of this - not cutting shots on the action for dramatic effect. This is a result of different paced sequences; the Kingsman clip was full of rapid conflict and requires quick cuts to keep up whereas the Shinning clip builds on the pace to create tension resulting in a blood chilling piece. The use of cutaways in this scene are effective in giving the viewer a direct idea of what both characters are experiencing. By moving in and out of the bathroom with cutaways the audience is able to track Jack and Wendy's individual progress as we move through the scene; we see Jack limp towards the door which is cutaway with Wendy trying to escape the bathroom. These well-planned cutaways add depth to the story as we move back and forth between the two characters, Jack being shown as the psychopath in control of the situation while Wendy is portrayed as Jack's helpless victim waiting on her own death.
In conclusion, the three clips use different editing techniques to add depth and dimension to the stories being told. In Apocalypse Now, the editor uses dissolves to get us inside Willard's head as well as outside the room he's in, in the Kingsman clip, the editor uses seamless techniques, cutting on action, preserving continuity and making cuts flow together while the editor for the Shining uses cutaway shots to track both character progress in the catastrophe that is about to take place, adding suspense to the already horrifying the scene.
Proposal
For my production, I am going to create 3 short films based on different genres, with the same scenario. I will use the genres used in my analysis (Drama, Action, Horror) and have chosen to have a character shoot a football into a goal because it is a simple idea and I would like my editing style to define each genre, rather than the narrative. Each film will relate back to the examples I chose to analyse. Based on my research from this page my 3 productions will demonstrate my understanding of the specialism and different approaches made in editing regarding genre. My first production, the drama, will feature some of the conventions used in the Apocalypse Now opening, such as cross-fades to get into the characters head and establish their mind set. I will also use these cross fades to establish the characters background, social situations as well as his aspirations all before he shoots and scores. For my action, I will follow the editing style used for the Kingsman pub scene and stick to a fast pace with seamless techniques, cuts on action to preserve continuity. For my horror, I will use the length of shots to my advantage and build tension as we the character draws closer to kicking the ball. To create a realistic horror, I think will add some more context to this scene to create a horror-based motivation for my character to kick the ball (for example he may need to score the goal to save his life.