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toning, the use of home-movie style footage, period costume or even through obvious devices such as clocks and calendars or direct character linkage. For example, if after viewing a grown man in the story present, a cut to a young boy being addressed by the man's name occurs, the viewer can assume that the young boy scene depicts time previous to the story present. The young boy scene would be a flashback.
319:, one may allude to the relative duration of ellipses where the dissolve sustains a visual link but the fade to black does not. It cannot be argued that one constitutes short ellipsis and the other long however, as this negates the very functional ambiguity created by such transitions. Ambiguity is removed through the use of captions and intertitles such as "three weeks later" if desired.
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take to keep from having to edit together different shots, causing the viewer's temporal disorientation. However, in a story that is to occupy long periods of time, a viewer would have to spend too long watching the film. So although in many cases the ellipsis would prove necessary, elimination of it altogether would best preserve any film's temporal continuity.
372:. The rule prevents the camera from crossing the imaginary line connecting the subjects of the shot. Another method is the eye-line match. When shooting a human subject, he or she can look towards the next subject to be cut to, thereby using the former's self as a reference for the viewer to use while locating the new subject within the set.
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is a technique which conveys an undeniable spatial discontinuity. It can be achieved by cutting back and forth between shots of spatially unrelated places. In these cases, the viewer will understand clearly that the places are supposed to be separate and parallel. So in that sense, the viewer may not
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is one that provides a view of all the space in which the action is occurring. Its theory is that it is difficult for a viewer to become disoriented when all the story space is presented before him. The establishing shot can be used at any time as a reestablishing shot. This might be necessary when a
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is a relocation of time within a story, or more accurately, a window through which the viewer can see what happened at a time before that considered (or assumed) to be the story present. A flashback makes its time-frame evident through the scene's action or the use of common archetypes such as sepia
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is that which is to have occurred within the story during the action being viewed. It is sound that comes from within the narrative world of a film (including off-screen sound). Continuous diegetic sound helps to smooth temporally questionable cuts by overlapping the shots. Here the logic is that if
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is the process, in film and video creation, of combining more-or-less related shots, or different components cut from a single shot, into a sequence to direct the viewer's attention to a pre-existing consistency of story across both time and physical location. Often used in feature films, continuity
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With the establishing shot, 180-degree rule, eye-line match, and the previously discussed match on action, spatial continuity is attainable. However, if wishing to convey a disjointed space, or spatial discontinuity, aside from purposefully contradicting the continuity tools, one can take advantage
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technique can preserve temporal continuity where there is a uniform, unrepeated physical motion or change within a passage. A match on the action is when some action occurring before the temporally questionable cut is picked up where the cut left it by the shot immediately following. For example, a
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is a simultaneous overlapping transition from one shot to another that does not involve an instantaneous cut or change in brightness. Both forms of transition (fade and dissolve) create an ambiguous measure of ellipsis that may constitute diagetic (narrative) days, months, years or even centuries.
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is an apparent break in natural time continuity as it is implied in the film's story. The simplest way to maintain temporal continuity is to shoot and use all action involved in the story's supposed duration whether it is pertinent or not. It would also be necessary to shoot the whole film in one
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Continuity editing can be divided into two categories: temporal continuity and spatial continuity. Within each category, specific techniques will work against a sense of continuity. In other words, techniques can cause a passage to be continuous, giving the viewer a concrete physical narration to
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shot of someone tossing a ball can be edited to show two different views, while maintaining temporal continuity by being sure that the second shot shows the arm of the subject in the same stage of its motion as it was left when cutting from the first shot.
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a sonic occurrence within the action of the scene has no breaks in time, then it would be impossible for the scene and its corresponding visuals to be anything but temporally continuous.
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was formulated to eliminate jump cuts. The 30-degree rule requires that no edit should join two shots whose camera viewpoints are less than 30 degrees from one another.
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Just as important as temporal continuity to the overall continuity of a film is spatial continuity. And like temporal continuity, it can be achieved several ways: the
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and the fade. Other editing styles can show a reversal of time or even an abandonment of it altogether. These are the flashback and montage techniques, respectively.
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The jump cut is undoubtedly a device of disorientation. The jump cut is a cut between two shots that are so similar that a noticeable jump in the image occurs. The
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is achieved with a collection of symbolically related images, cut together in a way that suggests psychological relationships rather than a temporal continuum.
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become particularly disoriented, but under the principle of spatial continuity editing, crosscutting is considered a technique of spatial discontinuity.
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follow, or discontinuous, causing viewer disorientation, pondering, or even subliminal interpretation or reaction, as in the montage style.
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editing, or "cutting to continuity", can be contrasted with approaches such as
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The
Healthy Edit: Creative Editing Techniques for Perfecting Your Movie
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complex sequence of cuts may have served to disorient the viewer.
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Film editing technique to create logical connections between shots
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90:. Unsourced material may be challenged and removed.
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466:Bordwell, David; Thompson, Kristin (2006).
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212:Learn how and when to remove this message
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470:. New York: McGraw-Hill.
468:Film Art: An Introduction
437:Rosenberg, John (2010).
376:of crosscutting and the
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140:November 2009
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101: –
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73:This article
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1787:Film editing
1757:Split screen
1752:Smallgantics
1742:Match moving
1550:Pyrotechnics
1500:Animatronics
1340:Lens effects
1201:Camera angle
1189: /
1072:Non-diegetic
877:
776:Slow cutting
750:Flashforward
736:Contrast cut
724:Storytelling
696:Fast cutting
596:Split screen
550:Parallel cut
530:Choreography
516:Film editing
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82:Please help
77:verification
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36:Please help
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1762:Stop motion
1737:Introvision
1717:Compositing
1707:Bullet time
1689:Stop motion
1677:Slow motion
1672:Fast motion
1617:Lens flares
1592:Bullet time
1565:Sugar glass
1555:Rubber mask
1489:wire-flying
1395:Master shot
1249:Dutch angle
1159:Perspective
675:Slow motion
641:Timelapsing
545:Master shot
1712:Chroma key
1667:Time-lapse
1632:Filtration
1597:Dolly zoom
1525:Kitbashing
1331:Dolly zoom
1229:Crane shot
1224:Bird's-eye
1219:High-angle
1107:Field size
1082:Film score
1024:Lens flare
994:Background
601:Transition
424:References
202:March 2010
186:improve it
110:newspapers
39:improve it
1732:Go motion
1657:Slit-scan
1579:In-camera
1478:Practical
1410:Long take
1316:SnorriCam
1311:Steadicam
1291:Hand-held
1239:Low-angle
1077:Narration
1039:Rembrandt
835:Long take
771:Cross cut
766:Smash cut
746:Flashback
658:Axial cut
627:Long shot
622:Match cut
610:Insertion
559:Technique
325:flashback
190:verifying
45:talk page
1781:Category
1545:Puppetry
1415:One-shot
1301:Tracking
1284:Whip pan
1234:Jib shot
1139:Two shot
1129:Close-up
1119:American
1099:Shooting
1067:Diegetic
1014:High-key
986:Lighting
711:Supercut
670:Dissolve
653:Jump cut
617:Dialogue
402:See also
378:jump cut
313:dissolve
308:dissolve
301:dissolve
281:Diegetic
273:ellipsis
1721:digital
1719: (
1587:Bipacks
1534:hanging
1532: (
1487: (
1374:Zooming
1362:Shallow
1352:Racking
1279:Panning
1274:Tilting
1177:Reverse
1134:Italian
1029:Low-key
871:Editing
850:Footage
706:Montage
571:Cutaway
523:Concept
334:Montage
315:or the
248:montage
184:Please
124:scholar
1699:Visual
1420:Insert
1400:B-roll
1326:Follow
1214:Aerial
1187:Single
1124:Medium
855:B-roll
759:Action
680:Prelap
632:Insert
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351:, and
347:, the
343:, the
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1347:Focus
1306:Dolly
1296:Shaky
1182:Trunk
1171:(POV)
1059:Sound
1044:Stage
1009:Flood
999:Cameo
910:(NLE)
689:Other
566:Clues
283:sound
131:JSTOR
117:books
1367:Deep
1209:Tilt
1049:Soft
1034:Mood
1004:Fill
811:Term
790:Rule
665:Wipe
472:ISBN
443:ISBN
358:The
322:The
317:fade
103:news
1019:Key
648:Cut
271:An
188:by
86:by
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