{"id":280,"date":"2019-01-22T21:46:09","date_gmt":"2019-01-22T21:46:09","guid":{"rendered":"http:\/\/mycours.es\/ems\/?page_id=280"},"modified":"2022-04-14T13:40:42","modified_gmt":"2022-04-14T13:40:42","slug":"film-storytelling-continuity-editing","status":"publish","type":"page","link":"http:\/\/mycours.es\/ems\/film-storytelling-continuity-editing\/","title":{"rendered":"Film Grammar and Continuity"},"content":{"rendered":"<p>Before we get into experimental storytelling we need to familiarize with the conventions of storytelling through moving images.<\/p>\n<h2>Continuity Editing<\/h2>\n<p>Before continuity<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-281\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2-1024x576.jpg\" alt=\"\" width=\"840\" height=\"473\" srcset=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2-1024x576.jpg 1024w, http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2-300x169.jpg 300w, http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2-768x432.jpg 768w, http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2-1200x675.jpg 1200w, http:\/\/mycours.es\/ems\/files\/2019\/01\/the-arrival-of-a-train-18a7c25a30bb5ca2.jpg 1920w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>Play <strong>Lumiere Brothers&#8217; First Films (1895-1897)<\/strong><\/p>\n<p><iframe loading=\"lazy\" title=\"Le Voyage dans la Lune (1902) - Georges M\u00e9li\u00e8s  - (HQ) - Music by David Short - Billi Brass Quintet\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/ZNAHcMMOHE8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Still theatrical&#8230;<\/p>\n<h3>Continuity<\/h3>\n<p>Continuity is\u00a0the organization of a film or television programme to make it seem that the action happens without pauses or interruptions.<\/p>\n<p>The purpose of <b>continuity editing <\/b>is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.<\/p>\n<p><strong>In general all properly made cuts are unnoticeable.<\/strong> So when they are not, they can be more impactful.<\/p>\n<p><iframe loading=\"lazy\" title=\"Shaun of the Dead (1\/8) Movie CLIP - Roommate Troubles (2004) HD\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/t--mSXDeETc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><strong>Continuity errors<\/strong> are different and related to other aspect of production. Examples are objects that break and are seen intact in the following scene, or actors who magically change clothes and hair styles.\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=WibfRyQK0kY\">Some examples here<\/a>.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-285\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/Continuity_Error_Star_Wars.jpg\" alt=\"\" width=\"1000\" height=\"584\" srcset=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/Continuity_Error_Star_Wars.jpg 1000w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Continuity_Error_Star_Wars-300x175.jpg 300w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Continuity_Error_Star_Wars-768x449.jpg 768w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>As with the &#8220;rules&#8221; of composition, continuity <strong>editing<\/strong> rules can be broken, but it should be for a reason.<\/p>\n<p>By breaking continuity, you break the suspension of disbelief, and make\u00a0the audience aware of the unreality of the film experience.<\/p>\n<h2>180 Degrees Rule<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-283\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/180bad.gif\" alt=\"\" width=\"753\" height=\"377\" \/><\/p>\n<p><iframe loading=\"lazy\" title=\"SFX Secrets: The 180 Degree Rule\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/gZUClrDCku0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>You can cross the axis or change the subjects&#8217; spatial relationship, but you may need to re-establish the shot.<\/p>\n<p><iframe loading=\"lazy\" title=\"Film Studies: 180\u00b0 Degree Rule\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/y4wX_dmh8_g?start=46&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>The 180 degree rule is crucial to maintain the <strong>eyeline match<\/strong>, when a character is looking outside of the frame.<\/p>\n<h2>Establishing and master shots<\/h2>\n<p><iframe loading=\"lazy\" title=\"Example of the Establishing Shot\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/rmF-PBPLlcA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>They establish the context of a scene and the spatial relationship between characters and objects.<\/p>\n<p>They can be a typical long shot showing a location and the time of the day, but also anything that gives an overview of all the people in a certain location before you cut to close ups and shot-reverse shots.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1223\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/04\/breaking-bad-buyout-walt-skyler-jesse-dinner.jpg\" alt=\"\" width=\"1145\" height=\"601\" srcset=\"http:\/\/mycours.es\/ems\/files\/2019\/04\/breaking-bad-buyout-walt-skyler-jesse-dinner.jpg 1145w, http:\/\/mycours.es\/ems\/files\/2019\/04\/breaking-bad-buyout-walt-skyler-jesse-dinner-300x157.jpg 300w, http:\/\/mycours.es\/ems\/files\/2019\/04\/breaking-bad-buyout-walt-skyler-jesse-dinner-768x403.jpg 768w, http:\/\/mycours.es\/ems\/files\/2019\/04\/breaking-bad-buyout-walt-skyler-jesse-dinner-1024x537.jpg 1024w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>Establishing shots usually happen once at the beginning of a scene while master shots can be brought back to re-establish the scene after something changed, eg a new character enters the scene etc.<\/p>\n<h2>Shot size progression<\/h2>\n<p>It&#8217;s generally a good idea to not jump from long shots to close-ups. It can feel abrupt and confusing, adding mid-shots in between.<br \/>\nAlso, extreme close ups should be reserved for moments of a certain intensity.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1222\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM.png\" alt=\"\" width=\"2008\" height=\"390\" srcset=\"http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM.png 2008w, http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM-300x58.png 300w, http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM-768x149.png 768w, http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM-1024x199.png 1024w, http:\/\/mycours.es\/ems\/files\/2019\/04\/Screen-Shot-2019-04-07-at-4.23.28-PM-1200x233.png 1200w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<h2>30 Degrees Rule<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-282\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM-1024x573.png\" alt=\"\" width=\"840\" height=\"470\" srcset=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM-1024x573.png 1024w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM-300x168.png 300w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM-768x430.png 768w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM-1200x671.png 1200w, http:\/\/mycours.es\/ems\/files\/2019\/01\/Screen-Shot-2019-01-22-at-2.56.11-PM.png 1530w\" sizes=\"auto, (max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>The camera should move at least 30 degrees relative to the subject between successive shots of the same subject. If you don&#8217;t follow it, the cut will appear jarring.<\/p>\n<p>If you don&#8217;t substantially change the distance or zoom, you also don&#8217;t give new information that justifies a new cut.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-284\" src=\"http:\/\/mycours.es\/ems\/files\/2019\/01\/30bad.gif\" alt=\"\" width=\"753\" height=\"377\" \/><\/p>\n<p>If you don&#8217;t move the camera at all you end up with a jump cut.<\/p>\n<p>Jump cuts are ok to suggest passage of time, or for humorous purposes<\/p>\n<p><iframe loading=\"lazy\" title=\"Jump Cut Example\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/wH4cNrUB4ss?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Or if you are Godard and you don&#8217;t give a damn<\/p>\n<p><iframe loading=\"lazy\" title=\"\u00c0 bout de souffle (Breathless) (1960) \u2014 Director : Jean Luc Godard , car scene\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/1KUVwKp6MDI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h3>Insert shot<\/h3>\n<p><iframe loading=\"lazy\" title=\"Cutaway Shot\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/0Hqa34dZp-E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>An insert shot is the interruption of a continuously filmed action by inserting a view of something else, a detail, a reaction shot. It can be use to avoid jump cuts or to fix editing problems such as concealing an edit or add a pause.<\/p>\n<p>Details of the environment, close up on gestures, supplemental footage etc are referred to as B-roll.<\/p>\n<h3>Cut on action<\/h3>\n<p><iframe loading=\"lazy\" title=\"Fight Club (3\/5) Movie CLIP - Chemical Burn (1999) HD\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/zvtUrjfnSnA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Maintaining consistency in movement directions<\/p>\n<p><iframe loading=\"lazy\" title=\"Example For Continuity Cutting (editing ) - Irrational Man\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/PpE8RKONlXw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>This is important when planning a shot. How many times did they film this door opening?<\/p>\n<p><iframe loading=\"lazy\" title=\"Pulp Fiction | &#039;Big Kahuna Burger&#039; (HD) - Samuel L. Jackson, John Travolta | MIRAMAX\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/Mnb_3ibUp38?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Film your shots from different perspectives, over and over, train your actors to repeat exactly the same lines and perform the same actions. Some continuity issues will emerge only in the editing phase.<\/p>\n<p>Start filming at least a few seconds before the action and stop a few seconds before the action so you&#8217;ll have more options in the editing phase.<\/p>\n<h3>&#8220;Graphic&#8221; Match Cuts<\/h3>\n<p>Stylish\/metaphorical\/intellectual ways to connect disparate scenes<\/p>\n<p><iframe loading=\"lazy\" title=\"Match Cuts\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/BPumZgU_-p4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h3>J cuts and L cuts<\/h3>\n<p class=\"p1\"><strong>Audio and video don&#8217;t have to be cut at the same point<br \/>\n<\/strong>Sound can anticipate a cut, a voice can come from offscreen.<\/p>\n<p><iframe loading=\"lazy\" title=\"SFX Secrets: The J Cut &amp; The L Cut\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/eyH-a964kAs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h2>Recommended material on editing<\/h2>\n<p><iframe loading=\"lazy\" title=\"How Does an Editor Think and Feel?\" src=\"https:\/\/player.vimeo.com\/video\/166319350?h=ff64dd06df&amp;dnt=1&amp;app_id=122963\" width=\"840\" height=\"473\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Editing In Storytelling\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/nnXEIlCrEgA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>A Radiolab episode on <a href=\"https:\/\/www.wnycstudios.org\/story\/91925-blink\">editing and blinking<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before we get into experimental storytelling we need to familiarize with the conventions of storytelling through moving images. Continuity Editing Before continuity Play Lumiere Brothers&#8217; First Films (1895-1897) Still theatrical&#8230; Continuity Continuity is\u00a0the organization of a film or television programme to make it seem that the action happens without pauses or interruptions. The purpose of &hellip; <a href=\"http:\/\/mycours.es\/ems\/film-storytelling-continuity-editing\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Film Grammar and Continuity&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-280","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/pages\/280","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/comments?post=280"}],"version-history":[{"count":10,"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/pages\/280\/revisions"}],"predecessor-version":[{"id":1611,"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/pages\/280\/revisions\/1611"}],"wp:attachment":[{"href":"http:\/\/mycours.es\/ems\/wp-json\/wp\/v2\/media?parent=280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}