Media Techniques Chapters 14 18 Complexity editing Graphic Vector Continuity Index Vector Continuity Continuing Converging Diverging Main purpose of complexity editing is intensification Tends to affect subjective rather than objective time Probing the depth and complexity of an event or idea Main focus is establishing and maintaining an effective map in the viewer Ideal if the cognitive mental map intact as well but not primary concern Helps establish rhythm and highlights emotional vectors Complexity editing closely aligned with inductive sequencing continuity editing more aligned with deductive sequencing Continuity editing Primary aim is the clarification of an event through a smooth visual narrative Concentrates on structuring on and off screen space and on establishing and maintaining the viewer s mental map Mainly concerned with clarification of an event What are the various types of continuity including all types of vector continuity In an outdoor scene you may want to keep the horizon at the same level or screen height throughout the scene In an indoor scene graphic vectors like the back of a couch or a windowsill in the background should not change position If you start with an establishing shot of someone looking at an object you must keep the index vector If you begin with a 2 shot with two people looking at one another converging index vectors the vectors must maintain their convergence in subsequent close ups of each person Just like converging index vectors if you begin with a 2 shot with two people looking away from each other diverging index vectors the vectors must maintain their divergence in subsequent close ups of each person The Index Vector Line 180 line Motion Vector Continuity a line that bisects the action on screen the camera must remain on one side of the line Continuing motion vectors the direction of motion of an object cannot change from shot to shot Converging motion vectors if you want two people to head toward each other one will move from right to left the other from left to right in subsequent shots Diverging motion vectors if our people pass each other and keep walking or running in opposite directions they now represent diverging motion vectors Z axis motion vectors as objects move toward or away from the camera they produce z axis vectors which have no directionality Match on action cut during the action a single primary motion to maintain continuity not before or after it Avoid cutting from an extreme long shot to an extreme close up Your audience may not be able to tell whether the people in the close up were the ones in the long shot Keep colors and lighting consistent between shots unless you change the event to a different place or time Your scene should have the same elements in it from shot to shot Costumes and set pieces should remain consistent throughout a scene Must make sure props costumes environments were around at the time Action continuity Subject continuity Color continuity Continuity of environment Historical Continuity Sound continuity Lighting Continuity Difficult because shooting out of order Weather can be a problem since a scene can be shot over several hours or even days How are they related to inductive and deductive sequencing Inductive sequencing several close up shots to explore the nature of a scene rather than an establishing shot to start with deductive sequencing Montage Idea associative montage literally means setting together or assembling The creation of meaning through sometimes non linear non logical non continuous juxtaposition of images sounds etc Essential principle of complexity editing Takes two seemingly disassociated events and puts them together to create a third idea or concept tertium quid not contained in either of the first two events Whereas analytical montage is concerned with showing an event associative is about showing an idea Comparison or thematic montage Uses shots that compare and contrast two thematically related events to reinforce a theme or basic idea tertium quid Takes two opposite events and compares them in stark contrast to suggest an idea or feeling Collision or intellectual montage Analytical montage Concerned with communicating an event An analytical montage involves three steps Analyze an event for its thematic and structural elements Select the essential elements Synthesize those elements into an intensified screen event Two types of analytical montage Sequential Sectional Sequential What is the difference between sectional and sequential analytical montage a scene is condensed into its key developmental events It tells a story in shorthand the main event is sometimes not actually shown but implied The audience is forced to apply psychological closure to fill in the gaps Examines an isolated moment of an event from several viewpoints revealing its tension and emotional power Shown as split screen images or on multiple screens to promote the idea that the shots are simultaneous A line that bisects the action on screen the camera must remain on one side of the line Simultaneous combination of specific tones The harmonic combination of two notes is called an interval with three or more it is called a chord A specific sequential arrangement of tones a tune Video and audio not tightly synchronized out of phase picture precedes the sound event or vice versa When a single melody is supported by chords When two or more melodies are played at once forming harmony are the frequencies with which a sound source vibrates in addition to its primary frequency Adding instruments sound effects laugh tracks etc Many of the sounds you hear are not recorded on set but added later Automated Dialogue Replacement or Additional Dialogue Recording used if the sound from the original film video recording isn t good enough or wasn t recorded Objective time in media total running time of the entire film or show running time of sequences and of scenes Not actual clock time that the show takes but the passage of time that the viewer feels A precise amount of measured time Clock time exists whether in real life or on fictional television Sectional 180 degree line The 6 elements of sound Pitch Timbre 1 2 3 Duration 4 Loudness Attack Decay 5 Harmony Melody Octave Phasing Homophony Polyphony Overtones Sweetening Foley ADR Objective time Subjective time Clock time Running time Sequence time Scene time Shot time Story time Character time Real time Plot time Pace Rhythm Timing Primary motion The length of
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