APRIL 17 TH, 2013 Media Studies. Editing II – Creating Meaning Yesterday we looked at camera shots and angles. Today we are going to examine how you put.

APRIL 17 T H , 2013

Media Studies

Editing II – Creating Meaning

Yesterday we looked at camera shots and angles. Today we are going to examine how you put them together to create meaning.

Warm-Up

Post It LoveLook fors: theme, tone, mood, and how camera

shots and angles contribute to these.

Today’s Schedule

Warm-UpDiscuss EditingWork on iDoc

Editing II – Creating Meaning

Yesterday, I mentioned that early filmmakers began experimenting with different techniques, and thus, the film as an art form began to take shape.

Editing was first called “cutting” as people literally cut the film with scissors, and then glued it back together at the desired point.

Both shots would be taken from the same point, so it would appear as one continuous shot.

Many early filmmakers performed as magicians.

Editing II – Creating Meaning

This gave way to people experimenting with different camera shots and angles, and how putting them together created specific meanings.

In this way, film moved away from shooting reality or being a novelty, to an actual art form.

Now, scenes are often filmed using multiple cameras from various angles and then edited together later.

Shooting Ratios: Average in Hollywood is 20:1Apocalypse Now! (95:1)Hurt Locker (100:1)

Editing II: Creating Meaning

KuleshovIn the 1920s, Soviet filmmaker Lev Kuleshov

discovered that when he combined different shots of unrelated objects, viewers assumed a connection among the shots and created their own context (Kuleshov Effect).

Editors use this concept all the time in film.For example, you might see an establishing shot of a

park, and then a cut to a guy standing next to a tree.Though these could have been taken on different days,

and even in different locations, you will assume continuity.

Editing II – Creating Meaning

The Kuleshov Effect illustrates how the human brain tries to find connections between objects when viewed together.

Other techniques rely on how the human eye works.For example, a car that exits the screen on the right

is expected in a subsequent shot to reappear on the left – otherwise the car could be perceived as a different car coming from a different direction.

Scenes featuring characters in opposition to each other usually feature on character continually facing one direction with the other character continually facing the other direction.

Practice Set

Practice Set

Fast Editing

Refers to several consecutive shots of a brief duration (3 seconds or less).

It can be used to convey a lot of information quickly.It is most often used to imply either energy or chaos.It is also often used when shooting dialogue between

two or more characters, changing the viewer’s perspective to either focus on the reaction of another character’s dialogue, or to bring to attention the non-verbal actions of the speaking character.

Car Race (film)650 HP Car

Slow Editing & The Long Take

This is when you use shots of long duration.Depending on the type of moment/emotion you are

trying to capture, a longer shot may be necessary (i.e. a romantic scene).

Sometimes a filmmaker uses a long take (several minutes long).

These are a bold statement (complicated, difficult).However, they serve to reflect and advance the story in

a way that can’t be achieved with traditional editing.It is used for dramatic and narrative effect.First & Best Long Take –

“Touch of Evil” (Orson Wells) 1958

iDoc Assignment

The rest of the class is yours.Yesterday, you were supposed to:1) Finish mapping out your story (3 acts).2) Begin mapping out how you are going to present

it in a 60 second trailer.

Your mission for today is:1. Map your trailer out on a storyboard.* In the text section of the storyboard, note what

type of shot you are going to use, any important visual information, and dialogue (if used).

Storyboard