Different Techniques used for EDITING:

Cut- Sudden change of shot from one viewpoint or location to another. On

television cuts occur on average about every 7 or 8 seconds. Cutting may:
 change the scene;
 compress time;
 vary the point of view; or
 build up an image or idea.

There is always a reason for a cut, and you should ask yourself what the
reason is. Less abrupt transitions are achieved with the fade, dissolve, and
wipe

Matched cut- In a 'matched cut' a familiar relationship between the shots

may make the change seem smooth:

 continuity of direction;
 completed action;*
 a similar centre of attention in the frame;
 a one-step change of shot size (e.g. long to medium);
 a change of angle (conventionally at least 30
degrees).

*The cut is usually made on an action (for example, a person begins to turn
towards a door in one shot; the next shot, taken from the doorway, catches
him completing the turn). Because the viewer's eye is absorbed by the action
he is unlikely to notice the movement of the cut itself.

Jump cut- Abrupt switch from one scene to another which may be used
deliberately to make a dramatic point. Sometimes boldly used to begin or
end action. Alternatively, it may be result of poor pictorial continuity,
perhaps from deleting a section.

Motivated cut- Cut made just at the point where what has occurred makes
the viewer immediately want to see something which is not currently visible
(causing us, for instance, to accept compression of time). A typical feature is
the shot/reverse shot technique (cuts coinciding with changes of speaker).
Editing and camera work appear to be determined by the action. It is
intimately associated with the 'privileged point of view' (see narrative style:
objectivity).

Cutting rate- Frequent cuts may be used as deliberate interruptions to

shock, surprise or emphasize.

Cutting rhythm- A cutting rhythm may be progressively shortened to

increase tension. Cutting rhythm may create an exciting, lyrical or staccato
effect in the viewer.

Cross-cut-A cut from one line of action to another. Also applied as an

adjectuve to sequences which use such cuts.

Cutaway/cutaway shot (CA)- A bridging, intercut shot between two shots

of the same subject. It represents a secondary activity occurring at the same
time as the main action. It may be preceded by a definite look or glance out
of frame by a participant, or it may show something of which those in the
preceding shot are unaware. (See narrative style: parallel development) It
may be used to avoid the technical ugliness of a 'jump cut' where there
would be uncomfortable jumps in time, place or viewpoint. It is often used
to shortcut the passing of time.

Reaction shot- Any shot, usually a cutaway, in which a participant reacts to

action which has just occurred.

Insert/insert shot- A bridging close-up shot inserted into the larger context,
offering an essential detail of the scene (or a reshooting of the action with a
different shot size or angle.)

Buffer shot (neutral shot)- A bridging shot (normally taken with a separate
camera) to separate two shots which would have reversed the continuity of
direction.

Superimpositions-Two of more images placed directly over each other (e.g.

and eye and a camera lens to create a visual metaphor).

Inset- An inset is a special visual effect whereby a reduced shot is

superimposed on the main shot. Often used to reveal a close-up detail of the
main shot.
Split screen- The division of the screen into parts which can show the
viewer several images at the same time (sometimes the same action from
slightly different perspectives, sometimes similar actions at different times).
This can convey the excitement and frenzy of certain activities, but it can
also overload the viewer.

Stock shot- Footage already available and used for another purpose than the
one for which it was originally filmed.

TRANSITIONS USED IN EDITING:

Fade, dissolve (mix)- Both fades and dissolves are gradual transitions
between shots. In a fade the picture gradually appears from (fades in) or
disappears to (fades out) a blank screen. A slow fade-in is a quiet
introduction to a scene; a slow fade-out is a peaceful ending. Time lapses
are often suggested by a slow fade-out and fade-in. A dissolve (or mix)
involves fading out one picture while fading up another on top of it. The
impression is of an image merging into and then becoming another. A slow
mix usually suggests differences in time and place. Defocus or ripple
dissolves are sometimes used to indicate flashbacks in time.

Wipe- An optical effect marking a transition between two shots. It appears

to supplant an image by wiping it off the screen (as a line or in some
complex pattern, such as by appearing to turn a page). The wipe is a
technique which draws attention to itself and acts as a clear marker of
change.

Manipulating Time
Screen time: a period of time represented by events within a film (e.g. a
day, a week).

Subjective time. The time experienced or felt by a character in a film, as

revealed through camera movement and editing (e.g. when a frightened
person's flight from danger is prolonged).

Compressed time. The compression of time between sequences or scenes,

and within scenes. This is the most frequent manipulation of time in films: it
is achieved with cuts or dissolves. In a dramatic narative, if climbing a
staircase is not a significant part of the plot, a shot of a character starting up
the stairs may then cut to him entering a room. The logic of the situation and
our past experience of medium tells us that the room is somewhere at the
top of the stairs. Long journeys can be compressed into seconds. Time may
also be compressed between cutaways in parallel editing. More subtle
compression can occur after reaction shots or close-ups have intervened.
The use of dissolves was once a cue for the passage of a relatively long
period of time.

Long take. A single shot (or take, or run of the camera) which lasts for a
relatively lengthy period of time. The long take has an 'authentic' feel since
it is not inherently dramatic.

Simultaneous time. Events in different places can be presented as occurring

at the same moment, by parallel editing or cross-cutting, by multiple images
or split-screen. The conventional clue to indicate that events or shots are
taking place at the same time is that there is no progression of shots: shots
are either inserted into the main action or alternated with each other until the
strands are somehow united.

Slow motion. Action which takes place on the screen at a slower rate than
the rate at which the action took place before the camera. This is used: a) to
make a fast action visible; b) to make a familiar action strange; c) to
emphasise a dramatic moment. It can have a lyric and romantic quality or it
can amplify violence.

Accelerated motion (undercranking) . This is used: a) to make a slow

action visible; b) to make a familiar action funny; c) to increase the thrill of
speed.

Reverse motion. Reproducing action backwards, for comic, magical or

explanatory effect.

Replay. An action sequence repeated, often in slow motion, commonly

featured in the filming of sport to review a significant event.

Freeze-frame. This gives the image the appearance of a still photograph.

Clearly not a naturalistic device.

Flashback. A break in the chronology of a narrative in which events from

the past are disclosed to the viewer. Formerly indicated conventionally with
defocus or ripple dissolves.

Flashforward. Much less common than the flashback. Not normally

associated with a particular character. Associated with objective treatments.
Extended or expanded time/overlapping action. The expansion of time
can be accomplished by intercutting a series of shots, or by filming the
action from different angles and editing them together. Part of an action may
be repeated from another viewpoint, e.g. a character is shown from the
inside of a building opening a door and the next shot, from the outside,
shows him opening it again. Used nakedly this device disrupts the
audience's sense of real time. The technique may be used unobtrusively to
stretch time, perhaps to exaggerate, for dramatic effect, the time taken to
walk down a corridor. Sometimes combined with slow motion.

Ambiguous time. Within the context of a well-defined time-scheme

sequences may occur which are ambiguous in time. This is most frequently
comunicated through dissolves and superimpositions.

Universal time. This is deliberately created to suggest universal relevance.

Ideas rather than examples are emphasised. Context may be disrupted by
frequent cuts and by the extensive use of close-ups and other shots which do
not reveal a specific background.

Use of Sound
Direct sound. Live sound. This may have a sense of freshness, spontaneity
and 'authentic' atmosphere, but it may not be acoustically ideal.

Studio sound. Sound recorded in the studio to improve the sound quality,
eliminating unwanted background noise ('ambient sound'), e.g. dubbed
dialogue. This may be then mixed with live environmental sound.

Selective sound. The removal of some sounds and the retention of others to
make significant sounds more recognizable, or for dramatic effect - to create
atmosphere, meaning and emotional nuance. Selective sound (and
amplification) may make us aware of a watch or a bomb ticking. This can
sometimes be a subjective device, leading us to identify with a character: to
hear what he or she hears. Sound may be so selective that the lack of
ambient sound can make it seem artificial or expressionistic.

Sound perspective/aural perspective. The impression of distance in sound,

usually created through the use of selective sound. Note that even in live
television a microphone is deliberately positioned, just as the camera is, and
therefore may privilege certain participants.
Sound bridge. Adding to continuity through sound, by running sound
(narration, dialogue or music) from one shot across a cut to another shot to
make the action seem uninterrupted.

Dubbed dialogue. Post-recording the voice-track in the studio, the actors

matching their words to the on-screen lip movements. Not confined to
foreign-language dubbing.

Wildtrack (asynchronous sound). Sound which was self-evidently

recorded separately from the visuals with which it is shown. For example, a
studio voice-over added to a visual sequence later.

Parallel (synchronous) sound. Sound 'caused' by some event on screen,

and which matches the action.

Commentary/voice-over narration. Commentary spoken off-screen over

the shots shown. The voice-over can be used to:

 introduce particular parts of a programme;

 to add extra information not evident from the
picture;
 to interpret the images for the audience from a
particular point of view;
 to link parts of a sequence or programme together.

The commentary confers authority on a particular interpretation, particularly

if the tone is moderate, assured and reasoned. In dramatic films, it may be
the voice of one of the characters, unheard by the others.

Sound effects (SFX). Any sound from any source other than synchronised
dialogue, narration or music. Dubbed-in sound effects can add to the illusion
of reality: a stage- set door may gain from the addition of the sound of a
heavy door slamming or creaking.

Music. Music helps to establish a sense of the pace of the accompanying

scene. The rhythm of music usually dictates the rhythm of the cuts. The
emotional colouring of the music also reinforces the mood of the scene.
Background music is asynchronous music which accompanies a film. It is
not normally intended to be noticeable. Conventionally, background music
accelerates for a chase sequence, becomes louder to underscore a
dramatically important action. Through repetition it can also link shots,
scenes and sequences. Foreground music is often synchronous music which
finds its source within the screen events (e.g. from a radio, TV, stereo or
musicians in the scene). It may be a more credible and dramatically
plausible way of bringing music into a programme than background music
(a string orchestra sometimes seems bizarre in a Western).

Silence. The juxtaposition of an image and silence can frustrate

expectations, provoke odd, self-conscious responses, intensify our attention,
make us apprehensive, or make us feel dissociated from reality.

Lighting
Soft and harsh lighting. Soft and harsh lighting can manipulate a viewer's
attitude towards a setting or a character. The way light is used can make
objects, people and environments look beautiful or ugly, soft or harsh,
artificial or real. Light may be used expressively or realitically.

Backlighting. A romantic heroine is often backlit to create a halo effect on

her hair.

Graphics
Text. Titles appear at or near the start of the programme. Their style -
typeface, size, colour, background and pace - (together with music) can
establish expectations about the atmosphere and style of the programme.
Credits listing the main actors, the director, and so on, are normally shown
at or near the beginning, whilst those listing the rest of the actors and
programme makers are normally shown at the end. Some American
narrative series begin with a lengthy pre-credit sequence. Credits are
frequently superimposed on action or stills, and may be shown as a
sequence of frames or scrolled up the screen. Captions are commonly used
in news and documentaries to identify speakers, in documentaries,
documentary dramas and dramatic naratives to indicate dates or locations.
Subtitles at the bottom of the screen are usually used for translation or for
the benefit of the hearing-impaired.

Graphics. Maps, graphs and diagrams are associated primarily with news,
documentary and educational programmes.

Animation. Creating an illusion of movement, by inter-cutting stills, using

graphics with movable sections, using step-by-step changes, or control wire
activation.