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COMM 231: Film 231
What are the four purposes of editing? |
1. cut down action in space/time
2. create meaning and multiple perspectives
3. establish rhythm/ pace scene
4. cover mistakes/conceal stunts |
shooting ratio |
the amount of footage that is shot relative to the finished product (most films are from 6-1 to 15-1, for eery hour of screen time they got 6 to 12 hours of film) |
takes in editing process |
multiple takes of every action |
takes in editing process |
multiple takes of every action |
circle takes |
when you are on the set and you know you got the right shot, circle shots are the ones you cue the editor to use |
daily's and rough cut |
the editor has strung some scenes together, those are watched at the end of the day by the director and the editor |
work print |
the first version of the whole film together that the editor is constructing. The producer, editor, and possibly writers watch it from start to finish, does not have music, color, or special effects |
answer print |
the first version of a given motion picture that is printed to film after color correction on an inter positive. It is the first version of the movie printed to film with the sound properly synced to the picture |
final cut |
the first cut is up to the director and then the producers come in and take out certain things, add special effects, etc. |
release print |
all the prints that go to the theaters that the audience sees (usually 500-3,000 prints) |
Types of edits- straight cut |
no transition, taking two different shots and putting them right up next to each other |
Types of edits: Match cut |
cutting on action, changing perspective to a closer one. Time of the cut needs to shoot flow of time seamlessly |
Type of edits: Jump Cut |
disorienting break in terms of action, time, or place |
Types of edits: Focus out and in
|
the entire image gets tossed out of focus, ends the scene. Can start a scene very out of focus and then gradually clearer to open the scene |
Types of edits: Dissolve |
overlapping two images to create one continuous image |
Types of edits: Wipe |
rare edit, as the scenery is being pushed away to start another scene |
Types of edits: Cut away/insert |
interrupting the scene to show a cutaway, often used to cover mistakes |
Theories in editing: Kuleshov Effect |
interpreting the actors emotions based on which shot is preceding them (early 20th century film theorist)
Ex. man--> bowl of soup --> must be hungry |
Theories in editing: Pudovkin
|
A+B does not equal A&B, A+B=C (synthesis, nor third meaning)
Russian early 20th century film theorist |
Theories in editing: Edwin S. Porter |
parallel editing, multiple perspectives (the life of an american fireman) |
Theories in editing: D.W. Griffith |
parallel editing, multiple perspectives (the birth of a nation) |
Theories in editing: Sergei Eisenstein |
montage (battleship potemkin) |
non-diegetic sound |
sound that is represented as coming from a source outside of the story space, the source is not visible in the scene or implied to be visible in the action (narrations) |
dramatic/
thematic montage |
Ex. The Space Odyssey- Stanley Kubrick, jump cut from bone in the air, terrestrial location, to a space ship in outer space |
continuity editing |
avoiding disjuncture in time/space |
script girl |
sits on set, focuses on continuity, makes sure that the scene is being shot in a way that editor can put it all together |
super impositions |
double exposure, two images on top of one another |
How old are we when our hearing develops? |
4.3 months in the womb we can hear, before any other senses develop |
Sound in film: what are the chronological sequence of events?
|
1877- Edison invents the phonograph to record and play back sound for the first time
1894- Edison marries sound and images
1927- motion pictures officially adopted sound (The Jazz Singer) |
What is the impact of adding sound to film? |
There is a lack of sensory incompleteness like we have in other art forms |
diegetic sound |
sound the characters and the audience can hear, has a logical connection to the world conveyed on screen |
What are the three phases of making sound? |
sound, recording it, mixing it |
4 types of sound |
dialogue, music, sound effects, silence |
ambient sound |
general sound in scene of a film |
room tone |
ambient sound, recreates sound in a naturalistic way |
ADR/ automated dialogue replacement |
recreation of voices and dialogue |
digital manipulation |
vocals--> actors take turns speaking unless going for a chaotic effect, perceived synchronicity
effect--> are they coming from on screen as part of the action or off screen |
what are the three reasons for using foley? |
1. necessity- not able to pick up a certain sound while filming
2. straight cut
3. dissolve (like an image but with audio) |
what are the three types of transitions? |
1. sound bridge- the sound of the next scene comes in a second or two into the first scene
2. straight cut
3. dissolve |
acoustic properties: loudness |
volume |
acoustic properties: pitch |
high/low frequency |
acoustic properties: timbre |
tone color, layering of the different sounds and their properties on the sound track |
rhythm |
speed of sound established |
fidelity |
faithfulness to what we hear to what we see |
mickey mousing |
music as literal equivalent |
what is the importance of juxtaposition of music and images? |
Too literal- robs us of the cinematic experience of figuring out aspects of the plot/takes away the mystery or discovery process
Integrity- retain this on its own, should never be used as an accompaniment and should have integral contribution to the film |
Composer's job |
translate source drama into music |
composers: contribute music |
as the film is being made, the composer sees bits of the film and then works on music for it |
composers: after the fact music |
the composer comes in after the film is completed, then composes the score for them |
composers: originate |
the composer is working on the film right before the start of the film, even before they shoot anything (often case in musical films) |
function of music: overture |
gives us a sense of mood, spirit, time, or place |
function of music: orientation |
suggests a certain location, socioeconomic class, ethnic group, culture |
function of music: foreshadowing |
either a sense of impending doom or sense of rejuvination (Ex. yay that couple is back together finally!) |
function of music: internal states |
hidden emotions and or psychological state of characters |
function of music: irony/tension |
using music in ways that we wouldn't expect |
function of music: character music |
music to accompany specific character in film: example would be Darth Vader's music in Star Wars |
parallel music |
music goes hand and hand with the scene |
counterpoint music |
music does not go hand in hand with the scene (Ex. kids playing at beach and fast and scary music playing) |
film musicals: realists |
have production numbers that are presented as dramatically plausible (Ex. Moulin Rouge/ New York, New York) |
film musicals: formalists |
musicals make no pretense to the plot, characters break into song and dance without plausible pretext (Ex. Chicago) |
film musicals: musical biography |
documentaries about a musician and their lives (Purple Rain, 8 mile) |
film musicals: mix |
the film is about musicians and vocalists but there are also scenes without music in them. There are musical numbers that are apart of the plot, and others that seem to come out of nowhere (Dream Girls, Across the Universe, Singin' in the Rain) |
musical documentaries |
documentaries about a musician, musical city, etc. (Scratch. Hype) |
concert movies |
a film of a concert, duh |
film operas |
there is no spoken word
everything is lyric
(unlike musicals which do have dialogue) |
experimental music |
most of the music that we hear in films is readily identifiable as just that, music. However, a number of composers create experimental music scores
-Non traditional instruments (garbage cans, conk shells, broken glass, modified pianos)
-Unusual combinations of instruments and genres (electric guitar, arabic vocal trills with hip hop beats) |
according to kirkpatrick... culture is what |
ambiguous and has flex |
what are the two things you need to tell a story |
audience and a story |
What is the most concern in movie testing today? |
referential/riskaversion |
global village |
we must be members of the global village, somebody who participates in culture, in order to select ideas for movies |
what is the average amount spent on a motion picture? |
$75 million |
what age are scripts largely focused on? |
under 25, most often under 40 |
what percent of box office sales are attributed to people under age of 25, kids, and teenagers? |
80 percent |
how many audience tests are there on average? |
10 audience tests |
2 key factors in audience tests |
likeability
recommends |
how much money in marketing does it take to get above the noise? |
40 million |
nonfiction filmmaking uses what kind of elements? |
formalist (music, narration, montage, even animation) in its effort to achieve a sense of realism
But it needs to be a delicate and justifiable use of formalist events |
thematic montage |
shots joined together in a film sequence with no regard for elements or relationships of narrative, time, and space (etc) |
motif |
reoccurring element that has significance |
match cutting |
between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots metaphorically |
establishing shot |
a shot that establishes context for a scene by showing the relationship between its important figures and object |