Task Six: Non-Continuity

Task Six: Non- Continuity 

Non continuity editing- A director would use choose to use non continuity editing instead of the more widely accepted continuity editing because non continuity editing it reminds the audience that they are watching a film. Filmmakers such as Jean Luc Gordard and Francois Truffaut where know as the French New Waves because they pushed the limits of editing technique during the late 1950s and throughout the 1960s. Non continuity editing are often based on graphic and rhythmic qualities of film e.g. light, texture, shape and movement. The narrative in the film becomes less important.
Characteristic of non continuity editing:
-May violate 180 rule
-Jump cut
-Nondiegetic inserts
-Jarring shot transitions
-Disturbs normal expectations about art and narrative
-Disjunctive
-Distantiation
In the 1960s French New Waves films and non narrative films used a carefree editing style and did not conform to the traditional editing manner of Hollywood films. French New Waves style of editing drew a lot of attention for it lack of continuity editing and the continuous use of jump cuts or the insertions of material not often related to any narrative.    

In film The Shinning bathroom scene, throughout the whole the scene when filming the camera stays on one side of the imaginary line. If you cross or break the line will look as if they have switched positions on the screen. They did because so that they can create a deliberate effect of interest to the audience.  


A bout de Souffle Jean Luc Godard jump cut. The Jump cut is type of edit that gives the effect of jumping forwards in time. It is the manipulation of temporal space length of a single shot and the fracturing the extent of the audience attention. In this film scene you will see cut from one shot to shot two which will make the subject to appear to jump in an abrupt way. This will startle the audience because the want the audience to draw attention to that scene making them think that they are watching a film.


In this scene from the Hunger Games it shows the breaking of the 180 degree rule on purpose. The bedroom switches from left to right. This is done deliberately to enable the audience visually see the movement. This will make the audience feel part of the action or scene giving the consideration of breaking the rule.      

Task Three: From analogue to digital editing

 Task Three: From analogue to digital editing

Analogue editing

Analogue editing was before all the new technology we have today where you can easily and quickly edit a film. Analogue editing is the cutting together of pieces. Originally films are made up images printed on to acetate negatives. After these are then ''spliced'' together to create a reel of film.These are then fed trough a projector at a constant rapid speed of 24 frames with in a second which makes he picture appear to be moving. This is mostly known as analogue. 

The first moviola

Before the widespread use of non-linear editing systems, the initial editing of all the film negative called a film work print(cutting copy in UK) by physically cutting and pasting together bits of film on a machine with a viewer such as a moviola.

Video editing

Video editing is a core role in film and television production. Video editing is the process of editing segments of motion video production footage, special effects and sound recordings in the post-production process. Before digital technologies became available magnetic tapes were used to store information- these are known as video tapes. Almost all video editing has been replaced by digital editing which is faster and cheaper.It provides different types of effects and ways to edit a film in the modern world. You can crop videos, trim videos, capture pictures, add watermark or adjust the video effect.


Digital editing 
Digital media is a form of electronic media where data are stored in a digital form. Digital editing is the use of computers to order and manipulate this digital data. Digital cinema uses bits and bytes to record, transmit and reply images instead of chemicals on films. The whole process is electronic so there is no printing or splicing involved.

Non-linear editing
Non-linear editing for films and television post production is a modern editing method which enables direct access to any frame in a digital video clip. In digital video editing, non-linear editing is a method that allows you to access any frame in a digital video clip regardless of sequence in the clip. You will be able to access any frame, and use a cut-and-paste method, similar to the ease of cutting and pasting text in a word processor, and allows you to easily includes fades and transitions, and other effects that cannot be achieved with linear editing. Compared to linear editing method of tape-to-tape editing, non linear offers the flexibility of film editing, with random access and easy project organisation.
linear editing is a post production selecting process in arranging and ordering images, sound and clips. When capturing a video by a video camera, tape less camcorder or recorded in a television studio on a video tape recorder and the content must be accessed in sequentially. So you will not be able to place frames in any order you want.  

Final cut 
Final cut pro is a non-linear video editing software. Today most films are edited digitally and bypass the film positive.

Task Seven: Engaging the Viewer/Creating Pace

Task seven: Engaging the Viewer/Creating Pace

Engaging the viewer- knowing who your viewers will be, what their interest and needs are.
Speed of editing- the increment of pace and action.
Cross cutting- an editing technique often used in films to establish action occurring at the same time in different locations. 
Cutaways- is the interruption of a continuous filmed action by inserting a view of something else.
Creating pace- creating pace while editing in a film is where a film speeds up or slows down in certain parts of the film. 
Development of drama- editing is used to develop drama.  

How the pace of editing can be used to create range of effects is it increases the action and makes it more motivating. It makes the viewer feel more elevated and thrilled because the editing will be moving in a quick pace as the shots/scene are changing frequently. Films genres like horror and action movies give a range of different effects of its pace in editing. A scene can can start really slowly and the gradually speed up of the tempo of the scene or it can be the opposite.  The speed of editing can judge the mood of what is taking place on screen. However there are noticeable scenes when the scene last longer and change less frequently. this would usually happen in romantic comedy films. These type of films are in relaxed mood and the audience is drawn in to the scene.
Movie trailers the editing is really fast because they need to be able to fit in enough detail to give a glimpse of what exciting stages of the film will happen before it is exhibited in the future in the future at a cinema. Movie trailers move in a fast pace to create an excitement in the viewers mind, implying to  them to go and watch the film. Trailers would have loud music in the background to link up with the pace of the shot cutting and editing.

To cross cut is to edit together two sqeuences that the audience need to know are connected in the same way. Often in a scene cross cutting in a film something is happening in different locations at the same time in different locations linking them together at the end. Cross cutting can be used to create to a very effectively develop a sense of drama. Horror movies are big fans in creating a development of drama because it also makes the viewers feel an emotion to the character that can possibly be in danger. For example in the film Scream, the death of Casey in the opening scene makes it more dramatic and thrilling by the cross cutting to her parents approaching to her and could possibly save her. This will make the audience eager as they approach the scene when she dies.
   

How we have created are creating pace video and the tension of our sequence is that we used the techniques and ranges of effects. Our played different roles to make this video:
Director- Ronaldo Paloka
Producer- Babajide Shokeye
Editor- Usman Mohammed (myself)
Cameraman- Theo Kindudi
Cast- Edison, Ronaldo and myself
While making this video we created pace of the editing to make it clear to the audience they are about to meet. We filmed and edited a shot sequence in which two characters are approaching each other in different locations. I played as the victim, an innocent student studying in a classroom, and Edison and Ronaldo played as two criminals who attempt to kidnapped the student. We used the effects of speed of Editing. The pace of editing starts slowly, as we go along through the sequence it would start to increase as they get closer together. I used the effect of cross cutting. When cross cutting in two different locations the audience will know that these two scenes or characters are connected to come together sooner or later. In this sequence the innocent student is studying at the same time the two criminals (Edison&Ronaldo) are walking fearless along the peaceful corridors of the school in order to attempt to kidnapped the student, while the student is totally unaware what is going on or what will happen in the final moments. What i feel could have done better was to do more short scene and cross cutting. At the start of the film a felt that i should done the build up to the characters getting closer much  faster. The film was seeing to much of me reading an not enough pace and cross cutting into the criminals. And these mistakes makes the film to predictable.

Task Five: Continuity editing

Task Five: Continutiy editing

Continuity editing is when you follow basic rules in editing, it has a range of techniques. You can see continutiy editing in film/televison/genre. Continuity editing became really popular in early hollywoody, known as 'classical hollywood' style of editing of development by early Euro and USA, directors in particuar D.W. Griffith in his films such as The Birth of a Nation and intoleranc. the classical style ensures tempord and spatial continuity as a way of advancing narrative, using such techniques as the 180 degree rule, match on action and shot, reverse shot.

180 degree rule
The 180 degree rule is a basic guideline that show two characters that they should always stay in same left and right link go each other. If the camera passes the 180 degree rule it will look like the two characters switched places, this will then confuse people when they watch the scene. When filming, the camera should always stay on one side of the imaginary line. A professional filmmaker would use this technique because he wants to make the viewer aware of what they talking about, he would not want to make the viewers confused. Filmmakers would also use the 180 degree rule, so that they can generate a sense of situation continuity or non continuity at editing barriers.

Match on Action
This style of continuity editing combines two shots together. We will be able to see a character start an action in one shot, the camera then cuts to a different angel and we see the character complete the action  in the second scene.  This technique ensures that the action appears to be natural and realistic movement even when the actor may have already performed it twice. A professional filmmaker would use this technique because it is a cut that connects two different views of the same action at the same moment in the movement. By carefully matching the movement across the two individual shots, filmmakers make it feel like the motion continues undisturbed. If a filmmaker does not use this technique when editing a film then we will only see one angel of an action shot.

Eye-line match
The eye-line match is a technique that links two shots together.  We first see a character looking at something of the screen and then the scene is cut to shot of what they are looking at. This allows the audience to experience an event in the film just as the character is expecting. So when the character is looking at something they will then show a second shot on what they are looking at so the audience can know. A professional filmmaker would use this technique because it is connecting with the audience, to try and get the audience involved in the film. If a filmmaker does not use this technique when editing a film then the audience could possibly lose concentration on what is going on in the film and they might feel confuse in what the character is looking at.

Shot reverse shot
Shot reverse shot is a technique that links to shots together. The first shot shows one character and then the second shot shows the second character. By doing this will allow the audience to connect to the two characters and realize that the two characters are interacting with each other. A filmmaker would use this technique when editing a film because it gets the audience involved in the plot of the film while the characters are interacting. If a filmmaker does not use this technique they will not be as much shots to see the other character so we wont know if they are interacting with each other.

Task Four: Montage

Task Four: Montage 

The term montage has a meaning shown be seen as three different types. There is french cinema, soviet cinema and Hollywood cinema. 

In french filmmaking it is referred as a ''montage''.  Montage has its own meaning in french which is (assembly installation) which easily shows it is referring to editing.
In the soviet filmmaking of the 20s, ''montage'' was a method of juxtaposing shots to derive a new meaning that did not exist in either shot alone. Lev Kuleshov was a soviet filmmaker and film theorist and was among one of the first about the relatively young medium of cinema in the early 1920s. He declared that editing a film is a resembling form to constructing a building. Brick by brick (shot by shot)  the building (film) is erected. To prove his point that it was a like he did an experiment. He took an old clip of a noted Russian actor and inter cut the shot with different images. The steal image of the russian actor does not change, he then enter changes with three different images and he places the shots next to each other one by one and the out of the different images will all be different to what he could have possibly been thinking. This experiment was the start of a technique known as the montage.
In Hollywood cinema, a ''montage sequence'' is a short division in a film in which narrative information is presented in a condensed style.

Sergei Eisenstein was a soviet Russian film director and film theorist. He was well known for the film make of his silent film ''Strike'' (1924). Sergei Eisenstein was briefly a student of Lev Kuleshov, however the two parted away as they both had different ideas. Eisenstein contrasted to aggravate the viewer which were introduced as shocks. In 1925 Sergei Eisenstein made a silent film called Strike and was his first full-lenght feature film. The seemingly unrelated shots in ''Strike'' tells us that the workers felt like they were being treated unfairly and shows them running away from the soldiers and the slaughter of cows portrayed how they were treated. This is the effect of non-diegetic shot of animals (cows) being killed to make to make the audience see death of the worker in the same relationship. This would have been extremely shocking to viewers.At the end you will then see all the workers dead like the cows. This type of montage is a soviet montage style because it shows many rapid shots in a short clip which has over 30 shots in under a minute.

In hollywood cinema a ''montage sequence'' is a short segment in a film in which narrative information is presented in a condensed fashion. A good example of this is the Rocky training montage scene. The word montage pinpoints specifically rapid and shock cutting of film scenes.


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Hollywood Montage

Hollywood cinema a montage sequence is a short division in a film in which reported information is granted in a summerised style.

 In our hollywood montage the intention was to Babs play as Joseph Clinton who has a huge boxing match against Theo plays as an old enemy who are both willing to the tittle. In the video Joseph Clinton (Babs) talks about how confident he is for the big fight against an old enemy (Theo) and how hard he has been training.

 Our montage makes meaning because it has a a lot of things happening in the video within a short amount time. It shows the build up to the achivement in the montage we would want. I think are hollywood montage is successful because its short and effective, it shows in the video when Joseph Clinton (Babs) was explaing what he did to get prepared it blended in with the intense training he did with his coach (Ronaldo) which shows how we made the video short.

Russian Montage 

In our Russian montage we had to do a method dating back to the 1920s called juxtaposing shots to gain new meaning that did not exists in any of the shots alone. We basically had to make a clip head shot and inter cut the shot with different images.

In this video Theo is seen to be daydreaming about something that we don't exactly know. Then we made three shots to show a definition of what he is thinking about. Our first shot we imagined Theo was thinking about Phones. Then in our second shot we imagined Theo was thinking about himself getting robbed by two guys in the street played by myself Usman and Edison. The final shot Theo was daydreaming about money.

How are montage makes meaning because we had three possible realistic chooses on what Theo could be thinking about. I think our Russian montage is successful because we followed the method of juxtaposing, which it short and effective.

Task Eight- Transitions and Effects

Task Eight: Transitions and Effects

 How different transitions and effect can be used to control the dietetic time and space in film. The style and editing of Transition is the movement of one shot to next shot. Straight cut is one of the most frequent and invisible form of transitions. How this works is one shot moves instantly to the next shot, without distracting the audience noticing. Straight cuts has a big impact in helping to retain reality. This will not be able to break the viewers interruption of rejection of not believing.
Dissolving is used when a filmmaker wants to show a connection between two characters places or objects. Dissolving effect is to fading shot off the screen, at the same time another shot is fading in. The term fade-out and fade-in is used to represent a transition to and from a blank image. During the time, this will allow the viewers to see both shots on the screen at the mid-point of the dissolve. The use of dissolve is to suggest a period of time has passed between two scenes.
A video fade is when a shot gradually starts to darkening or lightening of an image until it fades in to a single color, mainly black or white. A shot can only be fade to black or white because it generally shows the ending of a shot. The timing of fade indicates the importance of the change in time or location between scenes. When a fade is slower than usual and has more time spent on the fading of black it implies a more powerful and convincing ending/beginning. A fast fade to and from black may suggest that a time lapse of a few minutes/hours, where on the other hand a long drawn out fade suggest a bigger change e.g. two different places.
Wipe is the transition of where one shot is pushed off the screen by another. images can be pushed from left to right. Images are usually pushed to the left because this is the movement is more consistent with the sense of time moving forward. the earliest examples of wipe transition in film is during 1903 in films such as Mary Jane's Mishaps by George Albert Smith. There are many different types of wipe transition, from straight lines to complex shapes. Wipe transition is a good way to show a change of location or viewpoint. Star wards is famous for using this a lot.

Graphic Match is a cut in film editing. Whenever you make a cut it is very important to recognize where the viewers center of attention on the previous shot, because you would want people to focus on the next shot to be in a similar place. By doing this it will make for a smooth transition from one shot to the next. However, if you would want to cause an distressing feeling towards the audience on a cut you can simply make sure that the images to match graphically. An example of a graphical match is very common one, when a water drain slowly fades into the image of an eye. This will make it a strong powerful cut.


Following the action is is when there is movement, or in an action scene, the camera would follow the event/action that is taking place. Filmmaker Edwin S. Porter was one of the first to do this technique in 'Life of an American Fireman'.

Multiple points of view is where the characters/actors are showing each side. where one character will show what he/she is seeing and the it will switch to the other character and do the same. There are different ways to do this. Point of view shows the particular side of each character. There will be one point in where one character will show what he/she is looking at and then it will change to the second character doing the same.

Shot variation is when a shot uninterrupted by editing and the shot distance. The shot must be in continuous motion in order for it to be mobile or static.

Manipulation of diegetic time and space is when a film is uses effects and edit is made to make a person, environment or object is change at age or time. So this could mean that a person will show they are getting age younger or older. When editing you can use simple filter of color to define the prime of time. There are many examples of where films would use this technique such as star wars, harry potter and time machine. DW Griffiths films used early example of this technique, in that they realized that not everything in a plot had to be filmed for it to make sense.
Edwin Porters films 'Life of an American fireman' was an innovation in some of its editing techniques. The film also uses transitions such as fades and screen wipes. These have been developed over the years but are very basic at this point, considering it was only 1903.

In my video task i had to demonstrate how editing can be used to manipulate time and space. This video shows film and edit in a short sequence that includes either a memory or a flashback to indicate that i have manipulated time. This video will show editing techniques so that i can make it clear to the audience that time and space in the sequence has changed. It will also show a use of transitions and effects. There are range of roles that had to made in order to create this film:
Director: Babajide Shockeye, Edison Kastrati
Producer: Ronaldo Paloka
Editor: Usman Mohammed
Cast: Babjide Shockeye, Theo Kintudi, Edison Kastrati, Ronaldo Paloka, Usman Mohammed
In our story for our mini film was bunch of kids (Edison, Theo, Usman & Ronaldo) had a detention for not  doing their maths homework and their displeased teacher (Babs) will be showing some discipline to the kids. Throughout this advert will be showing of what the kids will be doing and showing flashbacks of their annoyed teacher. How i have manipulated time and space in my editing is that  have used editing tools, transitions and effects. We show a use of flashbacks and in every flashback i would then default the color to black and white to indicate that it happened in the past. What i feel i have done wrong is that the film sequence is to long. I should have cut some scenes out or do more shot cutting to speed up the pace of the film.

Task One: Editing in early cinema

Task One: Editing in early cinema 

Thomas Edison
Thomas Edison was one of the first to film edit. He ran a film laboratory where  kinetographic camera and the kintoscope were invented during the same time. During his time his at the film laboratory he produced a 35mm film strip which was the main standard of the time. After time he gradually produced the projector to film it which was a new invention at the time. By doing this his films would amaze people to stay longer to watch. During this period of time film was new and surprising to everyone so this would had shock people how they can see people moving in film.

The Lumiere Brothers
Edison worked with the Lumiere brothers and produced short films that were one long static, looked-down shot. Motion in the shot was all that was required to interest and grab the audience, so the first films openly showed movement and activity such as traffic moving on a city street. This is a short clip of the work the Lumiere brothers did in 1895 called Sortie d'usine. This film was one of the first films the Lumiere brothers created , as they made more films the brothers  began to open up theaters which lead on to be called cinemas.



G.A Smith
Initially, there was no story and no editing. Each film ran as long as there was in the cinema. This meant that they filmed the video in one shot, this would have been really hard to do because if they make a mistake then they will have to retake their shots. This is why they try to make it short. At this period of time in early cinema there would have been no sound so they would have to play music in the background while watching the film.

In 1899 later G.A.Smith made the kiss in the tunnel. this film is said to mark the beginning of narrative editing (creating a story). Smith ''felt that some extra spice was called for'' in the then popular ''phantom ride'' game. He took advantage of the brief onset of darkness as they went the tunnel to splice (cut and then stick two pieces of the film together) in the shot of the couple.


George Melies 
George Melies was a magician  who had seen the films made by the Lumiere brothers. Melies saw at once the possibilities of a creativity more than just motion its self. He obtain a camera, built a studio, wrote scripts, designed sets and soon he discovered and exploited the basic camera tricks we know so well today.
It was reported that he discovered the art stop motion purely by accident when one of his cameras broke  down for only a few seconds. in 1986 he made The Vanishing Lady using a special technique known as in camera in editing. Sadly it did not turn out for him to move the camera close up or long shots and so his work was soon overlooked. George Melies work and ideas is so important because his ideas are used to this present day on the 21st century.



Edwin S Porter 
Edwin S Porter worked as an electrician before joining the film laboratory of Thomas Alva Edison in the late 1890s. He and Thomas Edison worked together to create longer and interesting films. Porter film making progressed after the breakthrough film Life of an American Fireman in 1903. this film was one the first to have a plot, action and a close up of a hand pulling a fire alarm. Porter discovered different important aspects  of motion picture language: that the screen image does not always have to show a complete person from head to toe. And by splicing together two shots creates in the viewers mind a contextual relationship. These were the main discoveries that made all the narrative motion picture and television possible.


Porter discovered important aspects of motion picture language. Porter ground breaking film was The Great Train Robbery in 1903 was a great example of of how early films began to resemble the types of films we see today. In this time period of editing in early cinema was important because some of the films we see today relates to Edwin S. Porter about realistic things in life.



Charles Pathe 
In the film The Horse that bolted in 1907 from Charles Pathe who introduced the first example of a technique known as the parallel editing-cutting between two story lines: the horse and the delivery man.



D.W. Griffith
U.S. film director D.W.Griffith was one of the supporters of the power of editing. He was famous for making the use of cross-cutting method to show a parallel action in a different location,