Chapter 8 Osgood notes

The aesthetics of editing

Process:

Reviewing footage

Notes from production log sheet and interview questions

Watch footage

Logging in editing software

Typical entry level post production position

Evaluation

Enough footage -- Coverage

Different kinds of shots

The right kind of shots

Need to reject some shots

Natural sound- background sound

What is editing?

Individual shots put together to make story

Shot- when camera starts to stops

Cut is when you break up shot, move to another shot.

Editing collapses time

Editing helps create believable spaces

Editing shows associations

Early discoveries

Parallel editing (narratives usually)

We see action in two places by moving back and forth between shots/scenes

Montage- juxtaposition of shots

Eisenstein—Russian director circa 1920’s theorized how montage is effective

Metric montage- varying the duration of shots on screen

Rhythmic montage- where onscreen content is located in frame

Like graphic vectors and graphic matches

Tonal montage- the emotions created through the shot

Intellectual montage- the ideas associated with shot

Kuleshov effect: unrelated shots are juxtaposed to create a new meaning

Editing and psychology

Need to justify edits through the kind of story being told

How much you see and thru whose perspective

Duration and rhythm of shots

Should move you forward in story

What is the order of the story being told

Discovery

Shot order DVD – watch the dvd!!

See Person sitting there, then camera clicks then she looks up and discovers camera person

Camera person first, then see who she is looking at, then clicks camera, person turns around because surprised.

Time manipulation

Keep it believable while compressing time.

In documentary voice cues can take you to next or new scenes

In narrative or continuity editing, cutting on movements, and having diverse shots can fill lots of action in but without the literal time