Pre EMEC CUE editing transition. Quite simply, a film cut serves to transition directly from one shot to the next, or one Reo en ences Ue ony different types of cuts in film Pontes tee Rena narrative — but they're all technical PEM ow nese ent encesne Oconee terrace gen eres bewveen two sequential shots. In these shots, the camera position doesn’t change (or only changes a small amount), but the subjects move, giving the appearance of jumping around the frame. Jump cuts give the effect of moving forward through os PO Vernet ere eters technique cuts from one elip to another, creating smooth edits Sr Te ere Ce On ec Ce within a scene, as using a hard cut to transition between scenes canbe visually jarring for the audience. OMe CC crac ircnt shue iy ‘where visual elements at the end of one scene are matched, Cer eaten cee NORM Re eee ee eeecerceAnnee eset na ee nes rece Rn Oe eS Eocene times, In asplit edit, the audio from the next scene precedes the video or vice versa. Editors use split Pere ve ae one nero and reaction shots, AN Pere eR COND ee ane RU CO OER See EST ce cee TU COREL matches it An L-cut isa variation ofa split edit where the audio transitions from a particular scene before the video that matches i ene N eT utr RRO scene, offering a close-up or detailed view of a specific OM SCE RSD Cee Ce COLL ofamoment, and add to the smoothness and continuity CO oreaae iAlso known as parallel editing, this editing technique cuts between the ation happening in two simultancous scenes as they progress. Editors use cross- cutting to establish that multiple scenes are occurring at the rer Pere eee eee este eee ee eee Sy cutting back to the original scene afterward. C AOAC Rea Denson econ offering a different perspective or context, or providing a moment of comic relief aways Crrentca The smash cut isa sharp, abrupt cut from one scene to another. Smash cuts occur at an unexpected moment, sometimes even cutting offa character's dialogue mid-sentence. A smash cutis perfect for contrasting the tone between two scenes, ending a scene in mystery, or creating. FearnTHE KULESHOV EFFECT 1a e = NICE OLD MAN is the essence of film editing: cutting from shot A to shot B, then back to shot A, creates in the mind of the viewer a enero ae in any of the individual SOC ens hiedNo nes og eee OTE aT a rer een enn a ee ReerreRO SN OED Teor He used one shot ofa man wearing a neutral expression in three diffe TRS OURO ees EY yom ets coffin, and a woman on a couch. Kuleshov asked audiences what rete eee enn ieee reer Teer teeta eg orSe ee ene nd creative approach to constructing one em Oe Afier the 1917 Russian Revolution, filmmakers began experimenting with different creative editing techniques. Senor aE ee con Ca fin trademark montage editing. Rather than simply cutting Roses Pee renee oem ee ma erst) approach to the art form.Throughout his career, he developed five unique methods of montage: Cutting in order to Pea ren Ponte eee ere POO are eR KO UR ee TT ees Av i COT REO RO RMR NT LTLLICOME TICES Poms Ptr Mixing in shots that are unrelated to the film to make eens Editing shots afier a specific Ree ee een action.Penne aren) Seem ttg still, thatare edited Tova Tapa ITE te Pree en cen UTE separate scenes froma film CaN one Rec a fren eee that shows the passing of eeu neon ere Seen ema Teen nace oes Saar Oxon ersy * Voiceover narration + Minimal or no tyes + Repeated camera rete) WHY USE MONTAGE? SU. Te ere ence Sena year, ora decade, a montage can accelerate time ina way that makes sense to the audience and stays true to the story. Itcan be like a highlight reel for the action passing. OT OF INFORMATION AT ONCE Sometimes, a story has crucial details to communicate, but a director doesn’t want to devote a great deal of ime to Sy Tia ene Ue ere Re eer On re cee eT catch the audience up ina matter of seconds. POND CU caoee ey montages happen about two-thirds of the way through a movie, often right afier the climax of the story. A montage can renew and reinvigorate an audience’s interest in a character ora storyline as the film builds to a conclusion.A montage can bea vehicle to reveal the ways a character is changing. From quick cuts of a drug hallucination one night to the effects of illness over the course of six TOMER eee Te ee erte Oe UE Re character's physical and/or mental state. ‘There isn’t always time to feature every Soren ee ee COLT OTe eeu Re een en CORO Neer their due storylines and ensure ev er aU Oe eg Te atthe very beginning of a movie. A se that compares and contrasts the CT eC ua one On Re ere te establish their statuses, and thus their levels of power, in relation to one anotherThe Close-Up ig used to show eC Ro ue A good-looking man gets in hie own car. a ean een ee Se The Full Shot UR en en ea) = nwreenocest ~ er NT ee MURR a SR etc a Ae eR PiaAUTO RO Rn ee oO cigarette pack and highlight the brand. The Slou-Zoom reveals the environment 40 ‘how the daily routine of a doctor. The camera ie moving towards him The werld around stope being noticed. NO ae Tae) intoa Cee ea Pare Orne ern eS CC rTUUON lies meng ST ae A Ieee yo kc a 7) ann th amen ec 7 aUer SL Oe) Tks ee eae y — eer ae people, ee tate it eee ent Pe cer ere tarAAV cean ore ae eee neers creas Cee ee CUS Is Sete ane aan Oe aa gerM Uy ce en eta eer aan‘The company pushes the stereotype button by highlighting the toothbrush mustache style both Hitler and Chaplin are known for Poor Orwell!) For this reason, the picture is simple and minimalistic. They are placed right to each other so it gets easy to compare ‘There is no background, colors are dull enough to draw att the outlines without getting distracted. The author knows for sure ‘most people are likely to recognize who is illustrated in this picture and, even more, they know exactly what kind of feeling people looking a itis going to experience. While Hitler is strongly associated with such things as war, destruction, and death, Charlie Chaplin is deeply loved for bringing smiles to faces and joy to hearts, ‘They left completely different marks on history. But in this picture, the only difference between Adolf Hitler and the Great Dictator is just a hat. The picture makes people not just remember this witty Ad easily but also concludes itis the hat that makes a man the man (which is not true though). fe CT