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Basic creative

Editing is the basic creative force of cinema. It is the process of combining and coordinating shots into a cinematic whole. It is considered as the language of filmmakers because it is how they tell their story in the sequence they want. 2. The basic building block of film editing is the shot, and its most fundamental tool is the cut. 3. Editors are responsible for constructing the overall form of the movie and helping the production team realize its collective artistic vision by selecting, manipulating, and assembling its constituent visual and aural parts.

The editor is responsible for managing the following aspects of the final film: Spatial relationship between shots, temporal relationships between shots, and overall rhythm of the film. 4. Continuity editing is telling the story as clearly, efficiently, and coherently as possible. It is sometimes called seamless or invisible editing because the sequence is so smooth that the audience doesn’t get distracted by the cuts. Continuity editing ensures that: Everything that happens on screen has sense, consistency in screen direction is maintained, and graphic, spatial, and temporal relations are also maintained.

5. The 180 degree system or axis of action is an imaginary horizontal line between the main characters being filmed, it determines the proper placement of the camera to preserve screen direction, in turn, it contributes to the continuity of the film. Shots that follow this system orient the audience within the scene, maintain consistency in screen direction across and between cuts, and establishes the location of the scene. 6. Discontinuity editing is when editors purposely make transitions between scenes “unsmooth” or seemingly unrelated.

The editing itself is noticed by the viewers rather than the story’s movement. Its role is to break the monotony of films that follow continuity editing, and on the movie itself, viewers think more, as they try to find the relationship between scenes. 7. Match-on-Action Cut – shows the continuation of a character’s or objects’s motion through space but the whole action is not really shown to the viewers. It is a technique used to cut down cost of production or a technique to be seen as expressive.

Graphic match cut – in this cut, similarities between shots is emphasized. The objects on the next scene match with the physical attributes of the preceding scene to show continuity. Eyeline match cut – shots of points of view of characters are joined e. g. a person looking off screen in one direction (shot A) is joined with the person or object being looked at by the person in shot A (shot B). 8. Match cuts are multiple shots that are matched in action, subject, content, or the joining of point of view of characters.

Match cutting provides continuity between shots. While parallel editing is putting together actions that happen at the same location or actions that happen at different times. It is more known to be two or more actions happening at the same time in different locations. 9. The jump cut is a basically pressing the forward button, a sudden change in the plot that may confuse the viewers because events that happened that resulted to the current scene are hidden from the viewers.

Sometimes this technique is criticized for being just an excuse to correct an error that was done in the production of the film. 10. It is advised for the editor to work on the film even on preproduction so that the editor can make suggestions to the director and cinematographer for composition, blocking, lighting, and shooting. The editor can make suggestions that would make his or her job easier by working early on the film. Even if they are not fully involved in the shooting itself, their contributions can make or break the movie.

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