Prototyping 2013-11-19 (Lens Based Media)
- 1 Editing Levels
- 2 Shot relationships
- 3 When does a cut work?
- 4 Editing Styles
- 5 Assignment
- 6 Tutorials
Editing helps to construct a film on three levels of film structure:
- macrostructure (for example, the three act structure)
- plot coherence (each scene is designed to advance the action but also to develop or tie off lines of activity set off earlier)
- microstructure (For example, within a scene, we often find patterns of cutting—an establishing shot, reverse angles, close-ups, and so on—meshed with the developing dialogue. The audiovisual patterning carries the story along bit by bit, and these bits we take in and assemble into larger patterns of intelligibility)
- Definition: Spatial editing is when the relations between shots function to construct film space.
- Characteristics: establishes a whole and separates it into parts OR establishes parts to create a whole.
- Definition: Temporal editing is when the relations between shots function to control time.
- Characteristics: works to convey the order, duration, or frequency of events. order: the temporal succession of events.
Continuity in spatial en temporal editing are classic examples of 50's Hollywood 
- Definition: Rythmic editing is when the relations between shots function to control film pace.
- a shot's physical length corresponds to a measurable duration.
- rythmic function occurs when several shot lengths form a discernable pattern.
- equal length will create a steady metrical beat
- lengthening shots can generate a gradually slowing tempo
- successively shorter shots can create an accelerated tempo.
- Definition: the comparison of purely pictorial qualities from shot to shot independent of space and time.
- compares patterns of light and dark, line and shape, volumes and depths, movement and stasis.
- graphic editing can achieve smooth continuity or abrupt contrast
When does a cut work?
- Emotion 51%
- Story 23%
- Rhythm 10%,
- Eye-Trace 7%
- Two-Dimensional plane of screen 5% (for instance, the 180 degree rule)
- Three-dimensional space of action 4% (continuity)
continuity editing (match cut, eyeline cutting)
Crosscutting or parallel editing
not to be confused with montage sequence: It is not concerned with the depiction of a comprehensible spatial or temporal continuity as is found in the classical Hollywood continuity system. Strike example
Goddard's Breathless: example
- Match cut
- Jump Cut
- L and J cuts  (as opposed to 'Dragnet' or tennismatch editing )
For Dec 9th, create a 30 seconds or longer videoclip or photo sequence using one of the above editing styles, except the 'one shot', and include a minimum of 5 cuts.