508928
Descripción
Fichas por Hansa Luximan, actualizado hace más de 1 año
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Creado por Hansa Luximan
hace casi 11 años
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| Pregunta | Respuesta |
| Editing | Pudovkin = film is not shot, it is built. Hitchcock = scene is a piece of raw material which must be broken up, taken to bits before being woven into expressive visual pattern. |
| Selectivity | Basic editing function = best shots. Editor chooses segments provide powerful, effective, significant visual and sound. |
| In camera editing | Single shot. George Melies manipulates limit. Rearranging mise en scene. |
| Shooting ratio - coverage | Cameraperson provides many takes of same action. Relationship between length and shot and which is used is called shooting ration. Coverage - number of shots of particular scene are taken from different angles/distances. Master shot intercut. Smooth editing of the finished scene. |
| Post production | Rough cut, final cut. Fiction films - dailies in order to evaluate available footage. Post production, editor assembles takes into rough cut, making larger units. |
| Shot transitions | Fade in, fade out Rear Window - passing of time Dissolve, lap dissolve Wipes, editing rules to limit number of probable combinations. |
| Continuity Editing | System that uses cuts to establish space and tell stories efficiently, require min mental efforts from viewer. Each shot has a continuous relationship to next shot. -establishing shot, imaginary 180 degree space in which action happens -approximate experience of real time by following human actions |
| Spatial continuity | establishing shot two shot reestablishing shots inserts cutaway non diegetic insert |
| Transitional devices | Dissolves, fades, manipulate duration of narration. Acceptance of conventions, else we would be disoriented. Cutaway, condense time Duration of shots determine pace of editing. Controlling pace = long takes |
| Inserts | Brief shot, close up, shot of a hand slipping into a pocket, smile that another character doesn't see. |
| Non diegetic insert | Breaks continuity. Introduce object from outside of the world. |
| Temporal Relations | Condense or expand time. Flashback, flashforward. |
| Abstract editing | Match on action, direction of an action is editing to a shot depicting continuation of action. |
| Disjunctive editing | Visible editing, links shots in less predictable relationships. Aesthetics, conceptual or psychological reasons. Disorient, disturb viewers JUMP CUT. |
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