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Selecting and sequencing the parts of an event that will clarify and intensify the event best
What do you want to say, why, to whom and HOW?
What do you think determine your choice in editing?
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In live broadcasts, editing is
accomplished by a director, who
switches between video sources and directs camera operators – instantaneous editing. |
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| very deliberate choices are made after shooting has taken place. You work with prerecorded material- tv & film |
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concentrates on structuring space and on establishing and maintaining the viewer’s mental map. Every shot, put together must make mental sense to the audience
Continuity editing is a cutting method designed to maintain a smooth and continuous flow of time and space from one shot to the next
§Continuity is a consistent and unobtrusive progression from shot to shot in terms of screen direction, lighting, props, audio, and other production details |
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Term
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Definition
Clarification in the following areas:
Graphic Vector Continuity
Index Vector continuity
the index vector line
Motion vector continuity
the motion vector line
others like action, subject, color, environment |
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| Graphic Vectory Continuity |
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Definition
Graphic vectors are weak but must still be considered, they have low magnitude
ex. in an outdoor scene, keep the horizon at the same level throughout the scene |
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Vectors must maintain continuity (be kept consistent) regardless of the type of vector in play
- Continuing- point in the same direction
- Converging- point toward each other
- Diverging- point in the opposite directions
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| If you start with an establishing shot of someone looking at an object, you must keep the index vector (the direction of their eyes) consistent when cutting to a close-up |
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If you begin with a 2-shot with two people looking at one another (converging index vectors), the vectors must maintain their convergence in subsequent close-ups of each person
subjects must maintain their screen position
180 rule |
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Definition
| Just like converging index vectors, if you begin with a 2-shot with two people looking away from each other (diverging index vectors), the vectors must maintain their divergence in subsequent close-ups of each person |
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| Index Vector- Target Object Continuity |
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If a person looking at an unseen object off-camera, the object should appear in a screen position that is consistent with the index vector created by the person’s gaze
On-Screen Continuity
Off-Screen Continuity
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Term
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Definition
BAC positioning- with the host (A) in the middle, butting to two-shots (BA and AC) will switch the position of the host
ABC positioning- by placing the host (A) to one side of the guests (B and C), the subsequent close-ups maintain the screen positions of host and guests and their converging index vectors |
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| Successive Z-axis Vectors: Continuing |
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| If you establish in a single shot that two people are looking in the same direction, viewers perceive successive z-axis close-ups as continuing vectors. The two people look at the same target object |
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| Successive Z-axis Vectors: converging |
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Definition
| when th econtext establishes converging vectors, viewers perceive the successive z-axis vectors as converging |
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| Successive Z-axis Diverging |
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Definition
| If you establish in shot 1 that two people are looking away from each other, viewers perceive the subsequent z-axis close up as diverging z-axis vectors |
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| Index vector line and position continuity |
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Definition
| the vector line is created by extending converging index vectors |
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How do we avoid a weird Z-axis position change? |
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§The jump may be muted if the angle between the two shots is sufficiently different.
§Insert another shot in the middle (a cutaway) that does not include the pair of subjects.
§You can also include the position change in a single shot (move your subjects past the camera or have the camera move around the subjects from front to back.
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Term
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Definition
Operates on the same principles as index vector continuity
Includes continuing, converging, and diverging motion vectors |
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| Continuing Motion Vectors |
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Definition
| the direction of motion of an object cannot change from shot to shot |
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| Converging Motion Vectors |
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Definition
if you want two people to head toward each other, one will move from right to left, the other from left to right in subsequent shots
We expect the two people, shot separately, to eventually meet (pass each other or collide) |
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Definition
We expect the two people, shot separately, to eventually meet (pass each other or collide)
Keep your screen directions constant in order to preserve the idea that the two people are still moving away from each other.
Note – we must SEE the people pass each other, otherwise we will believe that the motion vectors are still converging |
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– as objects move toward or away from the camera, they produce z-axis vectors which have no directionality
- This gives us the ability to choose which direction our subject moves across the screen in subsequent shots
- You can cross the 180 line if you use a zero-directionality shot as a cutaway between the vector reversal shots
- It is always a good idea to shoot several cutaways just in case you need them to fix any continuity errors
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Term
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The motion vector line is similar in function to the index vector line, establishing the principal direction of a motion vector helps you place the cameras so that vector continuity is maintained
Your camera must go on one side or the other of the motion vector line to maintain continuity |
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| Additional Continuity Factors |
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Definition
Action continuity
Subject continuity
Color continuity
Continuity of environment |
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Term
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Definition
Use cuts during the action (a single primary motion) to maintain continuity, not before or after it
›If you cut before or after an action, you emphasize the beginning or end of a motion vector.
›If you cut during a secondary (camera) motion (pan, tilt, zoom) , you should continue the same motion in the next shot.
Failure to do this will disturb your motion vector.
It is extremely difficult to match the speeds of the two cameras unless you have computerized equipment |
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§Avoid cutting from an extreme long shot to an extreme close-up (in a crowded room, for example).
§Your audience may not be able to tell whether the people in the close up were the ones in the long shot.
§Avoid cutting between extreme angles (unless it serves your purposes). |
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§Keep colors and lighting consistent between shots unless you change the event to a different place or time.
§Make sure:
§ all your equipment is calibrated correctly.
§your lighting is set exactly how you want it and can’t be easily changed.
§Your cameras are all white balanced properly under the lighting you are using. |
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| Continuity of Environment |
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›Your scene should have the same elements in it from shot to shot.
›Costumes and set pieces should remain consistent throughout a scene.
Many high-dollar productions have a scenery manager or a continuity manager whose job it is to make sure that every set detail and costume is the same day to day. |
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