Film Editing: Out of Sight movie Clip.

Film Editing: Out of Sight movie Clip.

The background and storytelling of a movie depending on the pace and rhythm edits, which help establish other styles in the film. The pacing gives the producer plenty of time to anticipate the various possible outcome and can be altered to fit the needs of the film. Rhythm, on the other hand, is determined by the series of beats and numerous cuts before settling for the most suitable one. Hence, the rhythm of a movie works similarly to music composition; the beats, speed, and tune are all crucial to make it worthwhile. The rhythm of a film is determined by various aspects, which are the sound of the moving objects and people, the effect of the lenses on the moving items, camera lighting and distance, and lastly, the music.

The film shows both normal and slow rate pacing but still manages to drive the message home. An average pace does not call for a course of alarm or any possible drama for the next scene. With usual pacing, the viewers can anticipate anything, since the actors are maintaining a quiet and peaceful look. The slow pace puts the audience on the age of what follows and can create tension; however, the mood is changed when the producer shifts to an average pace. The scene of the clip is slow and quiet, followed by a balanced and flowing rhythm, which is satisfied by the average speed.

The thirty-degree rule is used to create continuity of the film between the numerous successive shots. Thus, the camera must be moved twenty-five to thirty degrees between the chances to develop a seamless background. In the short film, the rule helps us identify who the characters are and creates the anticipation of their next move.

Eye line

Gross (2009), Eye line matches in a filmed act as directors to help guide the audience and help them understand what character’s gaze. For example, the eye line of the character will be directed to the camera if they are talking to another actor. It also ensures the continuity of the actor’s gaze, especially when the recording involves multiple shots at the same time. Here, there will be various characters interacting, and thus, the eye line must show who the characters are looking or addressing. The eye line is vital to the flow of the film; using the shot clip above, we have four prisoners who are involved in the scene. At first, “Snoopy,” interacts with the first white subject and before the second character interrupts. Hence, the shift between the three characters is accomplished by the eye line because we get to understand the involved parties.

Cutaways.

Cutaways allow the filmmakers to add some information to the film before returning to the original movie. It is like deletion and substitution, to help shift the focus from the characters and include them on the scene. Cutaways create setting and allow the introduction of foreshadowing to make the film exciting and appealing to the audience. Besides, the cutaways, help build tension, control the time and space, and direct the audience to the character’s line of thinking. They can be used to create a memory, especially when the producer wants his audience to fix the missing pieces. Cutaways are perfect when creating a daydream; in movies, it is common to see characters drift off while working on something else, well that is managed by the cutaways(Gross). In the out of sight clip, the cutaways are accomplished when the prisoners are involved in a fight, and a cop comes in out of nowhere to separate them.

Cut on Action.

The technique involves cutting a shot from one view and fitting in with the character’s current action; it should happen unnoticed. The cuts can be sound matches, direct and indirect dialogue, visual matches, and matching the work within the frame, among others. For example, in action moving, the cut on action can occur when a vehicle is shown to hit a bridge or pothole, and the next step involves the car rolling over as the aftermath. Thus, if the action was vivid, like the car hitting the pothole, but no rolling over is required, the cut would be evident to the audience(Gross).

Jumpcut

A jump cut is an editing style in which two different sequential shots that are in the same subject are taken from a camera position that varies only slightly if at all. In means that it is done within the same frame or composition. This type of editing has an outcome of giving the imprint of skipping forward in time. It is an operation of chronological space. For example, in the short film presented, there seems to be a jump cut as the two men walk from the alley to the other room where they meet the man reading the book. It gives an impression of jumping ahead in the time since it does not show the part where the two men move from the alley with cages to the room, it only shows the two men walking in the pavement, then we see them already past the door walking into the room.

Dissolve

A dissolve overlaps two scenes for the duration of the effect. It is usually during the end of one shot going into another. Generally, though not always, it is used to signify the passage of time between two scenes. It may also indicate a change in location. For example, in the action film, a dissolve is seen as the video transitions from the scene with the woman to the scene of two men walking between prison cells. It is used to show the transition between two stages and has indicated a change of location.

L cut.

It is a technique in which the audio from a proceeding shot overlaps the scene that is currently taking place. It is used to create a seamless flow and transition in the film. It is also good to reveal a new element in a scene. An example from the short film is when the three men were talking, then the voice of the fourth character is heard before the scene which he is in starts. In this case, the J cut has been used to reveal the new element, who is the fourth guy in the movie.

Work Cited

Gross, Daniel. “Making A Story Move: The Art Of Film Editing.” Opencommons.Uconn.Edu, 2009, http://opencommons.uconn.edu/cgi/viewcontent.cgi?article=1079&context=srhonors_theses.