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A Film about film editing.

by: Cheharbakhshi, Henry; International Film Bureau

Publication date: 1974

Topics: 16mm Film, Educational Film, Motion pictures

Publisher: Henry Cheharbakhshi, Released by International Film Bureau

Digitizing sponsor: Internet Archive

Contributor: Internet Archive

Language: English

Illustrates some of the basic terms and techniques used in film editing

Search Educational Film Journals at Media History Project for references to this film

Addeddate: 2015-02-13 21:44:16

Boxid: IA1113010

Identifier: afilmaboutfilmediting

Lccn: 74703496

Oclc_id: 3532594

Ocr: Editing. Is the process. Of. Arranging the shots of the film it is generally considered the most important and powerful element of filmmaking. Editing gives a film it's sense and continuity so that it can tell its story clearly. Good editing keeps a film interesting. In this film you will be shown how the editor arranges shots into a finished film. The basic equipment of the film editor includes a viewer and a pair of rewind. The viewer is good for seeing the composition and action of a shot. But because it is hard to move the film constantly at the correct speed it is difficult to evaluate the rhythm and pace of the film. For this purpose the film should be run on a projector unless you have access to a professional motor driven editing machine which will run at constant speed. Splicing is the basic mechanical task of film editing since places must be strong and accurate a good splicer and skill in its use are very important to the film editor. The firm synchronizer has two basic purposes. It has a footage counter for measuring. And the front sprocket wheel is marked to show the forty frames in each foot of sixteen millimeter film. One revolution of the synchronizer spindle equals one foot of film or forty sixteen millimeter frames. The sink or Nizer is also used to move two or more pieces of film and or some tracks together frame by frame. Editing is usually done with the work print an inexpensive print made from the original film which was shot in the camera work printed used to prevent damage to the original film by scratches finger marks or other accident. The editor can also experiment with cutting and really causing the film without losing frames or having unnecessary splices in the original. Only after the final editing of the work brand does the editor work with the original camera footage conforming or matching it to the edited work print. Most often in working with sixteen millimeter film the original picture is added to it into two rolls called A and B. individual shots in the sequence are alternated between the two roles and are separated from each other by black leader when Prince or negatives I then made from these A and B. year olds this places will be invisible. Using a and B. rolls also allows editing special effects such as Super impositions. And dissolves. Editing effects can be grouped into four major category. Spatial temporal point of view and transition. The first of these groups special effects has to do with the composition. And the movement of the objects in a shot. Went to shots they cut together they must be appreciably different. In distance from the subject or different an angle to the subject in order not to shock or confuse the viewer. A specific way to cut two shots together is the match cut the match cut is almost always made on an action or movement that is identical in both shots they objects in both shots are in identical positions when the cut is made. This gives the cut of flowing forward effect not phoned in a normal cut. Cross-cutting is the cutting back and forth between two main actions which are usually related each main action becomes in effect the cut away for the other cross-cutting originated in the choices of the early silent movies and is an effective device for creating suspense. When crosscutting the action of all the shots in each sequence must move in the same direction to avoid confusion. The term cut away refers to a shot that is not a part of but is still related to. The editor will cut away from the main action to a related shot to cover a lapse in continuity to contract the time an action really takes on screen. Show a character's reaction to the main action. This kind of cut away is sometimes called a reaction shot. Another kind of editing deals with the temporal effects which relate to pay use or rhythm of the cutting the pace of editing is determined by the length of the shots you. A series of longer shots will give a slower pace. A series of short shots will give a fast pace. The editing pace of a sequence can enhance its content. Does a chase scene would be cut to a fast pace. A peaceful scene to a slow pace. And all the good days and in between. Editing for a point of view that has to do with who is seeing what. The greater part of most films takes the on this see and point of view in which the audience views the action X. turn away from a god like perspective to indicate that a shot or series of shots is the point of view of one of the characters in the film the editor inserts before it's a shot of the character. Looking all frames the meaning of an entire sequence can be changed by rearranging the shots so that they appear to be seen from a character's point of view. So far all of the effects we have discussed have been accomplished by cutting and splicing drives issues on the other hand must either be made in the camera while shooting or must be done later biofilm laboratory in traditional filmmaking the fade in. And fade. Out. Are roughly equivalent to the beginnings and ends of paragraphs. They show the definite beginning or end of a sequence of the film. That is zero usually indicates a change of place or the passage of time and these are some of the basic editing effects. No let's see our movie. Let's. Go. Oh. I. The. IT. The put. The. The the. A few points.