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Principles of Editing

This document discusses key concepts in film editing including shots, scenes, sequences, image sizes, camera angles, and principles of editing. It defines shots as a continuous view filmed without interruption, scenes as the place or setting of action, and sequences as a series of related scenes. It outlines different image sizes from extreme long shot to extreme close-up and camera angles including normal, high, low, and point of view. It also lists six elements of an effective edit: motivation, new information, composition, sound, camera angle, and continuity. Maintaining physical continuity between shots is also emphasized.

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299 views4 pages

Principles of Editing

This document discusses key concepts in film editing including shots, scenes, sequences, image sizes, camera angles, and principles of editing. It defines shots as a continuous view filmed without interruption, scenes as the place or setting of action, and sequences as a series of related scenes. It outlines different image sizes from extreme long shot to extreme close-up and camera angles including normal, high, low, and point of view. It also lists six elements of an effective edit: motivation, new information, composition, sound, camera angle, and continuity. Maintaining physical continuity between shots is also emphasized.

Uploaded by

RockySharma
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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1

Terms we need to understand


Shot: A continuous view filmed by one camera without interruption.
Scene: Defines the place or setting where the action is held.
Sequence: A series of scenes of shots complete in itself.

Elements of Film Grammar
Shoot films that can be joined in continuity.
Solutions for the editorial problems.

PRINCIPLES OF EDITING

IMAGE SIZES
1. Extreme Long Shot (ELS): Opening shot of a scene or sequence,
Used as establishing and re-establishing shot.
2. Long Shot: Shot, which shows all, or most of a fairly large subject
(for example, a person) and usually much of the surroundings.
3. Medium Long Shot (MLS): In the case of a standing actor, the
lower frame line cuts off his feet and ankles.
4. Mid-Shot or Composite Shot (2 shot, 3 shot) (MS): In the case of
the standing actor, the lower frame passes through the waist.
There is space for hand gestures to be seen. The lower frame
line passes through the chest of the actor. Medium shots are
frequently used for the tight presentation of two actors (2 shot), or
with three actors (3 shot).
5. Close Shot (CS): Covers head and shoulders
6. Close-Up (CU): A picture which shows a fairly small part of the
scene, such as a character's face, in great detail so that it fills the
screen.
7. Extreme Close-Up (of a body part or object as big close up)

CAMERA ANGLES
1. Normal / Eye Level
2. High / Top Angle
3. Low Angle
4. Dutch Angle
5. Objective Angle
6. Subjective Angle
7. Point of View

2
Objective Angle:-

Doesnt present the scene from the perspective of any one
character.
Viewers are like unseen observer.
So characters shouldnt look directly into the camera.
Its referred as audience point of view.
Its impersonal as its not from the viewpoint of anyone present in
the scene.

Subjective Angle:-

The audience participates in the screen action as a personal
experience.
Viewers see the event from the perspective of an on-screen
performer.
Camera acts as a stand-in for a performer.
Actor can look into the camera.
The subjective player may be introduced in an objective shot, but
when the camera replaces him, the audience must view everything
subjectively.

Point of View:-

Combines both the features of Objective and Subjective Angle.
Camera is positioned at the side of a player so the audience gets
an impression as if he is standing next to the character.
The performer is like an invisible observer standing next to the
character.
Actors dont look into the camera.
Popular in situational comedy.
Dont show a player looking off-screen, then cut to what he sees
and pan the camera around and end up on the player. Itll become
an objective shot as soon as the player is included.

Principles:-
(The Technique of Film Editing by Karel Reisz & Gavin Millar)
Shot, Scene & Sequence
1. Presentation: Smoothness
2. Matching Consecutive Actions
3
3. Change in Image Size and Camera Angle
4. Preserving a Sense of Direction
5. Preserving a Clear Continuity
6. Matching Tone
7. Making Sound Flow Over a Cut
8. Pace
9. Rhythm
10. Selection of Shots

Filming Techniques:-
1. Master Scene: Single & Multiple Camera
2. Triple Take Technique

Physi cal Conti nui ty to be mai ntai ned:-

o Maintain Position
o Surrounding - BG / FG
o Lights (Time of the day)
o Facial Expression
o Make Up
o Clothes
o Hair Style
o Body Posture
o Direction of Look
o Eyeline
o Physical Action
o Anatomy of the Action / matching feet while walking (Left foot / right foot)
o Direction in movement
o Physical distance between two characters
o Direction in which the characters look and the eyeline match
o Sound Editing

COMPOSI TI ON
i) The important subjects should be in the same general area of the
frame for each of the two shots, which are to be cut together.
ii) Change the composition (cut from LS to a MS, from a CU to a LS or
from a MS to a CU).
iii) Cutting from an Extreme Close-up to a Long shot, many mismatches
will go unnoticed.
iv) Change the angle considerably between scenes.

4
Cl ose Ups: -

Cut i n
i) Establish the Cut-ins earlier
ii) To play up narrative highlights
iii) To isolate significant subject matter and eliminate all
non-essential material from view
iv) To magnify small-scale action
v) To distract the audience

Cut Away
i) Its a secondary action happening elsewhere
ii) To present reactions of off-screen players
iii) To cue the audience on how they should react
iv) To comment on the principal event
v) Do not establish Cut Away Close-ups

The Si x El ements of the edi t (Roy Thompson)

! Motivation
! New Information
! Composition
! Sound
! Camera Angle
! Continuity


Recommended Books:-
1.The Technique of Film Editing by Karel Reisz & Gavin Millar
2. The Technique Of Film & Video Editing Ken Dancynger
3. Grammar of the Edit by Roy Thompson
4. 5 Cs of Cinematography by Joseph V. Mascelli
5. Grammar Of The Film Language Daniel Arijon

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