TERMS Flashcards

Learning some editing & film-making vocab

1
Q

when you cut someone’s discourse, leaving out passages, you create some visual stuttering, each stutter being a…?

A

jump cut

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2
Q

the shooting of the same scene from multiple angles is called…?

A

coverage

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3
Q

long,medium and close-up shots
- what are they?

A

A long shot can be the first one in a scene, giving extensive information about the setting.

In medium shots, the subject is a prominent part of the video frame.

In a close-up, a person’s emotional state will be accentuated, creating enhanced emotional impact on the viewer.

In addition to distance, angles can further convey meaning:
top-down or down/up shots can accentuate relations of power between characters.

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4
Q

Three different people have each their own vision of what one docu / film should look, feel like. They are:

A

the writer

the director

the editor

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5
Q
A
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6
Q

camera movement - pan
what is it?

A

side to side camera movement, from a fixed point

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7
Q

camera movement - tilt
what is it?

A

up and down camera movement, from a fixed point

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8
Q

camera movement - dolly shot
what is it?

A

camera moves in or out

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9
Q

camera movement - trucking shot
what is it?

A

camera moves sideways

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10
Q

camera movement - pedestal shot
what is it?

A

camera moves up and down

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11
Q

camera movement - crane shot
what is it?

A

camera typically moves up, revealing more and more

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12
Q

camera movement - tracking shot
what is it?

A

camera follows the subject as it moves about

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13
Q

lens movement - rack focus
what is it?

A

Change of focus between two objects in the same scene

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14
Q

What is continuity editing?

A

Continuity editing allows editors to reconstruct reality from the various shots during the coverage shooting process.
Continuity editing aims at making the editing as invisible as possible.

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15
Q

continuity editing -
what are the various aspects continuity of whichare sought?

A

continuity of mise en scene: simply means that content is consistent from one shot to the other. This covers actual subjects but also the quality of the shots, that need to have the same lighting - not always easy if your coverage shooting is spread over a significant amount of time (shooting outside may render the job of obtaining the same light across shots difficult).

continuity of performance: involves: pacing, emotion, voice - one person’s voice can vary hugely

continuity of spatial orientation: AKA the 180⁰ rule - the need to be aware of how objects are oriented in the frame from shot to shot. For each**set-up there is an axis of action, whereby the camera should stay on one side of the axis of action - see picture

continuity editing: making the editing as invisible as possible. The 20mm/30⁰ rule - from one shot to another, you need to vary the two shots by a focal length of at least 20mm and by 30⁰.
Also, cutting on action: if the subject is cut in the middle of an action, make sure that the action is completed in the next shot. This is a great technique to hide the edit.

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16
Q

What is complexity editing?
This question asks you about the principles, not the techniques.

A

Complexity editing is, among other things, used to:

  • express the passing of time
  • express the combination of ideas
  • intensify the action

Often, complexity editing results in unsettling the viewer

17
Q

Complexity editing - montage
give examples of montage

A

metric: where is shot is the same length, and you cut to the next shot without an emphasis on what’s going on (the latter is a breach of rule)

rhythmic: length of shot determines emotional energy

tonal: image composition and emotion of shot determines emotional energy (here it’s not shot duration that creates emotion - just the pic)

overtonal: combination of metric, rhythmic and tonal to achieve emotional energy

intellectual: AKA shot collision - intended meaning does not exist in individual shots; meaning emerges when shots are juxtaposed.

18
Q

complexity editing - jump cutting
what is it?

A

Jump cutting breaks continuity rules, mostly obviously the 20mm/30⁰ rule as well as the ‘matching on action’ rule. The shots also are not different enough. Visually, the subject appears to jump position around in a continuous way, drawing attention to the edits rather than attempting to hide them.
Tutor shows a scene from Breathless, with Jean-Paul Belmondo and Jean Seberg driving around Paris. The subject throughout is Jean Seberg, in the passenger seat, shot from the left-hand side backseat. We are presented with a succession of cuts of the subject, each time with a new background (they’re driving around, remember), but the voice of Jean-Paul Belmondo contradicts what we see, since his monologue is continuous, uninterrupted.