Useful for A2 Short Film and Trailer students and AS Opening students.
Showing posts with label Editing. Show all posts
Showing posts with label Editing. Show all posts
Thursday, June 15, 2017
Steven Spielberg: Opening Shots 1971-1991
Interesting video collection of Steven Spielberg's opening shots from 1971-1991.
Useful for A2 Short Film and Trailer students and AS Opening students.
Useful for A2 Short Film and Trailer students and AS Opening students.
Sunday, February 19, 2017
Under the Influence: Barry Jenkins on Wong Kar-Wai
It is always interesting to see how one director influences another...
In this video, Barry Jenkins discusses the influence that Wong Kar-Wai had on his work.
Here is a side by side comparison of shots from 'Moonlight' and various Wong Kar-Wai films.
Wong Kar-Wai is one of my favourite directors. Every film student must watch 'In the Mood for Love'. It is a masterpiece of cinematography, mise-en-scene, sound and editing working in unison to make a true work of art.
Both videos were found via: FilmSchoolRejects, which is a fantastic site that regularly shares interesting articles and videos about film. Consider following them on Twitter or Facebook.
In this video, Barry Jenkins discusses the influence that Wong Kar-Wai had on his work.
Here is a side by side comparison of shots from 'Moonlight' and various Wong Kar-Wai films.
Wong Kar-Wai is one of my favourite directors. Every film student must watch 'In the Mood for Love'. It is a masterpiece of cinematography, mise-en-scene, sound and editing working in unison to make a true work of art.
Both videos were found via: FilmSchoolRejects, which is a fantastic site that regularly shares interesting articles and videos about film. Consider following them on Twitter or Facebook.
Sunday, December 04, 2016
Editing: The 'Match Cut'
A fantastic compilation of match cuts from various films... useful for editing revision and inspiration for your practical work. :)
Art of the Title: Stranger Things
Another fantastic breakdown and analysis from 'Art of the Title'; this time for 'Stranger Things' (my fave show of 2016).
As you continue your coursework research, you must make use of the site 'Art of the Title'. They have covered some of the most iconic title sequences in significant detail, including:
Wednesday, August 03, 2016
Kubrick
A look at the cinematic experience of Stanley Kubrick. His work is a tour-de-force of symbolism, narrative exposition and cinematography. His attention to detail may only be matched by Wes Anderson and his editing is without a doubt meticulous.
Much can be learned here, both in terms of your own production work but also in terms of Postmodern Media. Enjoy!
Much can be learned here, both in terms of your own production work but also in terms of Postmodern Media. Enjoy!
Sunday, July 24, 2016
Learn Cinematography and Composition by following @comp_cam
To learn more about cinematography and composition, follow Composition Cam on Twitter (@comp_cam) and Instagram.
— Composition Cam (@comp_cam) June 1, 2016
Monday, June 30, 2014
Thursday, October 31, 2013
A Talk With Hitchcock
Tuesday, October 22, 2013
Quote!
"Editing is manipulative; it forces us to see what the filmmaker wants us to see."
Hill, J., & Church Gibson, P. (1998) The Oxford Guide to Film Studies. Oxford: Oxford University Press.
(via Joshua Gray)
Hill, J., & Church Gibson, P. (1998) The Oxford Guide to Film Studies. Oxford: Oxford University Press.
(via Joshua Gray)
Monday, September 30, 2013
Wednesday, January 16, 2013
Learn Adobe Premiere Pro
For those of you embarking on your first video-based editing project and for those of you who need a refresher, Adobe have put together a useful set of video's to help you learn to use Adobe Premiere Pro.
Wednesday, November 14, 2012
AS: Group Writing on Editing / Sound
Currently working on analysis and quality of writing, here are the paragraphs that you wrote in small groups... please use them to critique and reflect on your own writing.
Some key points:
- Ensure that you open paragraphs with a clear point, referring back to the area of representation that you have been asked to write about
- Avoid run on sentences - clear grammar and punctuation adds to the clarity of your analysis
- Avoid description; ensure that there is evidence of technical analysis in every sentence
- Use key terms frequently and accurately
- Make sure you know the difference between 'dentotation' and 'connotation'
- Try to make links between the different technical features. This demonstrates a deeper level of understanding.
Sunday, September 23, 2012
School Magazine
Josh and Toria are launching a School Magazine. This is an exciting endeavour and they are looking for students in Year's 10-13 to get involved. There are roles for students who are interested in:
- Writing
- Photography
- Design
The team is meeting every Wednesday in Media 1. If you're interested, come along and find out more.
Here is a sample of what the magazine might look like...
Wednesday, March 07, 2012
Art of the Title: The Girl with the Dragon Tattoo
"A discussion with director David Fincher, title sequence creative director Tim Miller of Blur Studio, and type and poster designer Neil Kellerhouse of Kellerhouse, Inc."
This interview offers a fascinating insight to title design... MUST WATCH!
Wednesday, February 08, 2012
Tutorial for Tom
How to create a VHS style 'rewind effect' in After Effects: http://ae.tutsplus.com/tutorials/motion-graphics/rewind-your-animation-like-an-old-vhs-tape/
Wednesday, November 02, 2011
Mouth Taped Shut
Check out this fantastic blog promoting the upcoming release of David Fincher's 'The Girl With The Dragon Tattoo'.
http://mouth-taped-shut.com/
It includes many artistic images on-set, on-location and in the editing suite. Also, you can see the film poster, parts of the script and also the trailer.
Wednesday, July 06, 2011
Monday, February 14, 2011
Recommended Website: Video Copilot
If you wish to take your video editing to the next level and have been trying to learn after effects then this website is for you:
http://www.videocopilot.net
It features advanced plugins and tutorials for use with after effects. In the words of James Hall (a current A2 Media student): "You learn so much from using it."
http://www.videocopilot.net
It features advanced plugins and tutorials for use with after effects. In the words of James Hall (a current A2 Media student): "You learn so much from using it."
Tuesday, February 08, 2011
Media Language - Huge 30 Page Resource
The document below is 30 pages of useful material (Courtesy of Mr Wallis at Ringwood) that will help all AS and A2 students with your exam preparations. I hope that most of you know the material within but I recommend downloading and printing it to kick start your revision which should be happening now. Don't wait until May!
Friday, January 07, 2011
AS: Editing and Representation
Must read material on how editing effects representation by David Allison.
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camera-work Рsuch as close-ups and low angles Рconveys status and emotion to the audience. The use of costume, props and settings Рfunctions of mise en sc̬ne Рare also pretty transparent. But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof – for the same reason that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context.. So use your own intelligence!
Action match
When following a single character (e.g. Billy Elliot) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations – an opportunity for juxtaposition. eg: in Skins, the young Russian woman’s swinging of the axe – all sex and power – is juxtaposed with the fat Russian dinnerlady’s heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
Eyeline match
Eyeline match usually provides insight to a character's private thoughts. eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.
Final shot
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify. eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every EastEnders cliffhanger ever.
Intercutting: juxtaposition
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
Intercutting: tension
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience;’s identification with a particular character. eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. These lead the audience to identify with both characters
Jump cuts
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules! eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
Motivation
A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate. eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many cuts in this sequence, reinforcing his status as the protagonist, if not the Proppian hero. Not sure who Propp is? Then read this: Narrative.
Pace of editing
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
Prevalence
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change characters’ status. eg: in Hotel Babylon, Adam is invisible – just one of many refugees – until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
Selection: to show or not to show
As experienced film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit. eg: in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it’s also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
Shot/reverse shot and reaction shots
S/RS indicates the relationship between two characters: it signifies and sometime exaggerates their closeness – or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two character are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally? eg: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
Keep thinking
This is just the start. What ways can YOU see in which editing influences representation in TV Drama? And are you sure all of these are right? They won’t always mean the same thing!
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