1. ~~ EDITING ~~ “Cinema is simply pieces of film put together in a manner that creates ideas and emotions.” - Alfred Hitchcock "I love editing. I think I like it more than any other phase of filmmaking. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit." - Stanley Kubrick

2. What Is Editing? - Editing constructs ‘reality’ – the diegesis of the film/video (the “world” of the story).

3. What Is Editing? - Editing constructs ‘reality’ – the diegesis of the film/video (the “world” of the story). - Any piece of edited film has a point of view.

4. What Is Editing? - Editing constructs ‘reality’ – the diegesis of the film/video (the “world” of the story). - Any piece of edited film has a point of view. - Editing manipulates image, sound, time, and space.

5. What Is Editing? - Editing constructs ‘reality’ – the diegesis of the film/video (the “world” of the story). - Any piece of edited film has a point of view. - Editing manipulates image, sound, time, and space. - The editing process is the one phase of production that is truly unique to motion pictures.

6. The #1 Rule of Editing: THERE MUST BE A REASON FOR A CUT.

7. Reasons to cut are based on what the director/editor wants the audience to know and to feel. Three choices in editing: 1. Why to cut 2. Where to cut 3. How to cut

8. In production, the time and space of the narrative (story) are broken into pieces. In post-production (editing), the pieces are put back together so that the elements of time and space make sense to the audience so they can connect to the story in a meaningful way.

9. There are 3 basic styles of editing: 1. Continuity (Invisible) Editing 2. Soviet Montage Editing 3. Surrealist Editing

10. Early Russian filmmakers developed what is known as Soviet Montage Theory, or “Discontinuity Editing.” 1910-1920: Lev Kuleshov - The Kuleshov Effect - Shots of an expressionless actor edited together with various images (a coffin, a plate of soup, a woman, etc) - Audience made associations that the actor was expressing emotions based on the images in the edits, not on the actor’s actual expressions

11. 1920s: Sergei Eisenstein -“Montage is an idea that arises from the collision of independent shots” toward “emotional and psychological influence.” The Battleship Potemkin - Odessa Steps Sequence (1925) http://www.youtube.com/watch?v=euG1y0KtP_Q Man With a Movie Camera - (1929) http://www.youtube.com/watch?v=Y1fxbcgptFA&feature=re lated

12. - During this same time period, the Surrealist art movement played a role in the development of editing techniques. - Surrealist filmmakers used editing techniques that rejected logic and created hidden unconscious associations. -They wanted the audience to connect to their films using “pure” imagination. Un Chien Andalou (1929) http://www.youtube.com/watch?v=oJexaTmCVfI&feature=related http://www.youtube.com/watch?v=hQ9E18bShzE

13. Continuity (Invisible) Editing - The Rules 1. Cut on movement 2. Match lighting 3. Match direction of action 4. 180º rule and 30º rule 5. Match sightlines 6. Consider composition

14. Chaplin: The Gold Rush - (1925)

15. 4. The 180 Degree Rule http://www.youtube.com/watch?v=HdyyuqmCW14 The Axis of Action

16. The 30 Degree Rule In editing, when you cut from a Long Shot to a Medium Shot or Close-Up (or vise versa), the camera position should be at least 30º right or left from the last shot. Ex: You could draw a line from the subject to the camera for the LS, then draw another line from the subject to the camera for the MS shot. That angle between the two lines should be at least 30º. If not, use a cutaway between the two proximities.

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18. 5. Match Sightlines When a character looks at another character or an object that is off- screen, the direction in which they are looking must be matched in the shots of the other character or object.

19. Two-Character Sightlines

20. 6. Consider Composition “Graphic Match” - Psycho

21. Murch's Rules Walter Murch (who has won 3 Academy Awards for editing & sound, and was also nominated for Cold Mountain which was edited on FCP), says there are six main reasons for deciding where to cut:

22. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film?

23. 2. Story - Does the edit move the story forward in a meaningful way?

24. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? 2. Story - Does the edit move the story forward in a meaningful way? 3. Rhythm - Is the cut at a point that makes rhythmic sense?

25. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? 2. Story - Does the edit move the story forward in a meaningful way? 3. Rhythm - Is the cut at a point that makes rhythmic sense? 4. Eye Trace - How does the cut affect the location and movement of the audience's focus in that particular frame?

26. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? 2. Story - Does the edit move the story forward in a meaningful way? 3. Rhythm - Is the cut at a point that makes rhythmic sense? 4. Eye Trace - How does the cut affect the location and movement of the audience's focus in that particular frame? 5. Two Dimensional Plane of Screen - Is the 180º axis followed properly?

27. 1. Emotion - How will this cut affect the audience emotionally at this particular moment in the film? 2. Story - Does the edit move the story forward in a meaningful way? 3. Rhythm - Is the cut at a point that makes rhythmic sense? 4. Eye Trace - How does the cut affect the location and movement of the audience's focus in that particular frame? 5. Two Dimensional Plane of Screen - Is the 180º axis followed properly? 6. Three Dimensional Space - Is the cut true to established physical and spatial relationships?

28. According to Murch, emotion is the most important of all of the categories in the list. The audience is always first in an editor's mind.