Art Of Editing Midterm

Front 1

The 6 priorities for making a good cut and their percentage relationship to each other

Back 1

• Emotion
• Story
• Rhythm
• Eye-trace
• 2 dimensional plane of screen
• 3 dimensional space of action

Front 2

What good “random access” editing depends on

Back 2

• You are shown what you ask for. Your choices are only as good as your requests.

Front 3

The two types/categories of editing tools available to an editor generally speaking

Back 3

• Unique- Cut: decides portions to use
Overlap cuts/L and J cuts
Jump cut
Parallel Cut: out of sight
Form cut/Match cut: Indiana Jones
Transition affects: wipe, dissolve, fade
Shot to shot: Italian Job
• Shared- WS, MS, CU, ECU, establishing shot
POV, 2/1 shot, Low/High angle
Master scene
Coverage
Style of film

Front 4

His dream therapy analogy

Back 4

• A technique that pairs the patient, the dreamer, with someone who is there to listen to the dream. As soon as possible after waking, the dreamer gets together with his listener to review the dreams of the previous night.

Front 5

Classic shot progression

Back 5

• Start wide and work your way in.

Front 6

What fades, wipes, dissolves signify

Back 6

• Passage of time

Front 7

The standard structure of the documentary film

Back 7

• Problem/Inciting Incident
• Climax
• Solution

Front 8

7 hallmarks of continuity editing

Back 8

• Seamless
• Eye trace
• Match Action
• Screen Direction
• Time and Space
• Narrative Continuity

Front 9

What Documentary editors are concerned with

Back 9

• Creative freedom
• Narration, B-roll, showing an interview

Front 10

The three elements of rhythm

Back 10

• Alternation
• Repetition
• Tempo

Front 11

What two possible outcomes happen to the shot in continuity editing

Back 11

• Shot is all important
• Whole is more important than the individual shots

Front 12

Subjective vs. objective treatment of material

Back 12

• Subjectivity: perception, make own ideas
• Objectivity: truth without alternate implications

Front 13

The Gestalt impulse

Back 13

• Gestalt Impulse: to make sense of what we see. The viewer will organize the pattern of sounds and images into a progression of thought

Front 14

The relationship between pace and rhythm

Back 14

• Pacing: a felt experience of movement created by the rates and amounts of movement in a single shot and by the rates and amounts of movement across a series of edited shots
• Rhythm: is time, energy, and movement shaped by timing, pacing, and trajectory phrasing for the purpose of creating cycles of tension and release

Front 15

The five roles of the editor + the additional two roles

Back 15

• Select – massive footage and you have to pick what is going to be seen by the audience
• Combine – taking pieces and putting them together to tell a new story
• Condense – make the piece a certain time from all the footage
• Refine (sentence structure poetry) – tell the same story in different ways which gives different feelings
• Maintain – directors/writers ideas survive. Rescue them
• Remain an objective reviewer. Voice of reason
• How to be a fixer/problem solver

Front 16

Synchronous and A Sync sound

Back 16

• Synchronous sounds are those sounds which are synchronized or matched with what is viewed
• Asynchronous sound effects are not matched with a visible source of the sound on screen.

Front 17

Understand the major function of slow motion.

Back 17

• A lot like a close up. More intimate and affectionate for the scene through time.

Front 18

Know what “one of the primary purposes of parallel action” is.

Back 18

• To show two different actions taking place at the same time.

Front 19

Be ready to discuss the two time manipulation devices Pearlman covers in the readings.

Back 19

• Slow mo
• Fast mo

Front 20

Be aware of the three things pacing refers to according to Pearlman.

Back 20

• The rate of cutting
• The rate of movement or change in shots
• The rate of movement over the course of the whole film

Front 21

Understand Pearlman’s description of “Stage Space” and what it means for an editor.

Back 21

• Determining rhythm through the use of various shots. Whether it should be smooth from wide to close, or jump around from the two. Use different angles, different patterns?

Front 22

Be familiar with the questions Pearlman asks about “the phrase”

Back 22

• What is the cadence of rhythm?
• Where are its rests and high points?
• Where are its breaths and shifts of interest?
• Does it have even or dynamic variation of scent by stress?
• What about accent by duration?

Front 23

Be able to define Movement Phrasing as it relates to editing

Back 23

• Movement Phrasing: Compositions of movement into noticeable and intentionally formed rhythmically expressed sequences. A series of related movements and group emphasis points.

Front 24

Be able to define Pulse as it relates to editing

Back 24

• Pulse: smallest, most constant, and perhaps the most ineffable unit of rhythm in film. Tends to stay within a certain range of speeds, and organizes the perception fast and slow to keep the film moving.

Front 25

Continuums of continuity and complexity, etc.

Back 25

• Montage – Decoupage
• Collision - linkage

Front 26

A “device”

Back 26

• Something that makes the audience see something a certain way. The editor picks what he wants to audience to see and feel.
• Slow motion or fast motion

Front 27

Improvisation in film acting/editing

Back 27

• Actors don’t do it once it’s on film.

Front 28

Symmetry and Asymmetry

Back 28

• A smooth style will tend to emphasize symmetry in the composition of frames.
• Disruption of symmetry then becomes important for a dramatic break.