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Editing History- The Cutting Edge
1. Editing in Early Film History was non-existent
a. 1st films not cut; just simple recordings of an event or location.
b. No editing back in 1903, they just filmed
c. Editing allows us to combine, condense and correct images.
d. Sequence Shot- one continuous recording of time.
2. Edwin Porter began inter-cutting shots and storylines to create a dramatic impact.
a. Porter came across editing accidentally, he developed inter-cutting/parallel
action.
i. Parallel Action: Two stories happening side by side that meet for dramatic
effect.
ii. The Great Train Robbery showed this style of story telling.
3. Frame is a still image; 24 frames in one second of film.
a. Framing: What you choose to have in your shot
b. Fast shutter shows more images per sec; is good for fast images
4. D.W. Griffith created the grammar of film
a. Griffith was first who used close-ups
i. At first criticized for not showing whole actor; but it shows emotional
connection
ii. First to use flashbacks
iii. Griffith’s Birth of a Nation- 1st feature length film; racist because KKK
were the heros of the film.
b. Established Classical cutting (continuity cutting): matching shots movements
from one shot to the next
i. AKA match action cutting
ii. Match action cut joins two cuts on the action
iii. Continuity is the act of making scenes match
iv. Screen Direction- movement in one direction is continued from one shot to
the next.
5. Contribution of Russian editors Vertov, Kuleshov, Eisenstein and Pudovkin
a. Russians like Vertoz and Eisenstein, liked collisions, wanted sharp cuts, made it
known that it was a movie you were watching, not like fluid match
action cutting
b. Russian influence: Kuleshov effect-combing 2 separate images to create a 3rd
meaning
i. Shot of Man + Shot of Soup = Feeling of Hunger
ii. juxtaposition-combing two images to blend for a sensation. In
French called a montage
c. Pudovkin developed the language of montage-
i. contrast, associational, and rhythmic montage
6. Eisenstein-Battleship Potemkin (1925)
a. Odessa Step Sequence shows montage/coverage- finding the most powerful
perspective to show an event, focusing on important parts.
7. Pacing-duration of shots in a sequence; fast=action, slow=dramatic tension, suspense
a. Cutting suspense: withhold info that audience needs
i. do not always need music for intense suspense
b. how fast an action moves in duration of a shot
i. Pace of movies has become quicker over the year
ii. Long lengthy take to hold emotion like Schindler's List
iii. Fast cutting/action sequences are a roller coaster ride of detail
c. Dialogues can be stretched, compacted for emphasis
d. Linger on a shot to show a message
8. Star power comes from close up editing
a. Editor controls the actor’s performance by selecting the clips to add to film.
9. Eye-line match- making eyes match from angle to angle in different shots/ between
characters
a. Use of character’s eye that are directed at a person or an object to help show
relation
10. Cinema verite: French for truthful film, refers to “documentary-style” filmmaking that
tries to capture the truth of a moment or situation.
a. film stock fast enough, cameras were small enough to use in the field
b. had to find clips and make a story out of a all the recorded footage
c. Doc style used in dramatic movies, dialog scenes is shot with improvisational
acting
11. Classic Hollywood style-is all about the "invisible edit." One technique used to
accomplish this style is called the "master shot sequence"
a. Master shot sequence is a prescribed series of shots used to develop interaction
of characters especially in dialogue scenes. Also know as "the Dance"
-1st. Establishing shot- long, wide shot to show characters involved
-2nd. 2 Waist-shot 2 shots- shows which way people are facing
-3rd. 2 Shot/Reverse shot- over the shoulder shots, gets perspective of
character
-4th. 2 Close-ups- one from each perspective
b. 180 degrees rule-( imaginary line between two people) preserves eye-line,
match/screen direction, and actors position/placement in relation to each other
12. French New Wave-late 1940s 1950s, broke the rules of continuity, classic cutting
a. Jump cuts-break in visual continuity-looks like glitch
b. Less polished lighting and actors/ shot on-location rather than in studio
c. 1967 Bonnie and Clyde- new wave technique, abrasive cutting style, jump cuts,
very violent
i. Eye-line flew back and forth in gun scene in Bonnie and Clyde
13. Coverage- multiple points of view in a moment of time
a. Increase emotion, intensity- (Think of the Odessa Step Sequence)
14. Fragmenting time and space to relish action/movement
a. can cut off part of story if it can tell itself
-1st-selecting just parts of an action to communicate what s going on, instead
of showing
-2nd-combing 2 points of time together
-3rd-flashforwards and flashbacks
-4th -changes in speed; fast vs. slow motion
-5th-multiple angles of an event all together in a jarring way; don't connect in
continuity
15. Digital Age of Ediitng
a. power of pre-visualization- virtually see settings and characters
b. Green screening motion capturing, 3D modeling, digital matte painting
c. Performance Capture is James Cameron's new innovation on the compositing process
d. Ability to edit inside of a frame; can layer shots, called compositing
16. Editor has the ability to change the film by the way they cut.
a. Walter Murch's capability to create a story that went beyond the director's vision
for the film Apocalypse Now
i. Apocalypse Now was shot for two years and was edited for 1 year
ii. editor said that it needed a voice over to guide the film and it was added
well after the production was over.
b. Final Cut- refers to the right a director or studio has over the final version of
the story/movie.