P. 1
- The Technique of Film Editing

- The Technique of Film Editing

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Published by Andrew Hegarty

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Published by: Andrew Hegarty on Jan 22, 2012
Copyright:Attribution Non-commercial


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While the cameraman is shooting the film, he takes care to maintain a constant photographic quality through-
out the whole of his work. When the editor comes to cut the material he must guard against joining two
shots in which the key of the lighting is noticeably different. The sheer physical difference in the light and
shade values of the two shots will draw the spectator’s attention to the transition and result in a harsh cut.

With the cameraman constantly in control of the lighting and the grading of the prints, this problem of
matching shots according to their tone is generally not great. In a documentary or compilation film, where
the material has often been shot by several cameramen working separately, it becomes much more acute.
Equally, the editing of colour films sometimes presents great difficulties in matching the colour values in adja-
cent shots. This is, however, primarily a problem for the art director, cameraman and colour expert and is in
most cases outside the editor’s control.

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