Types of Film Editing_Cutting_Cut-aways

Cut- aways need not match previous scenes, because they are not a part of the main event. Cut-aways are shots of secondary action- directly or indirectly related to the main action- used as a reaction, a comment or a dirtraction. However, cut-aways should be established when they appar as part of the original long shot and later moved off-screen, when the camera is moved in to film the principal players. A long shot may depict several players. Later, the action may be covered with a two- shot. The off- screen players' reactions are directly tied in with cut- away close-ups. In this instance, it is important that each player be shown with the proper right or left look, to match his established off- screen position in relation to the principal players. The wrong look will give the impression the player is now on the side oposite that shown in the establishing long shot.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

Types of Film Editing_Cutting_continuity cutting

Continuity cutting consists of matched cuts, in which continuous action flows from one shot to another; and cut-aways, in which the action shown is not a portion of the previous shot. A continuous sequence, or series of matched cuts, may consist of various typs of shots filmed from different angles. The event depicted, however, should appear as a continuous series of moving images. Whenever action continues, the players' movements, positions and looks should match through spliced together. A mis-match, caused by change in bodyposition or a switch in directional look, will result in a jump-cut. This occurs because the player will appear to jerk or jump across the splice between shots.

Whenever the camera is moved straight in from a long or medium shot to a closer set-up, a mis-match becomes most discernible. A minor mis-match, such as a slight difference in had position, may go unnoticed if the camera is shifted to a slightly different angle, as it is moved in for closer shots. It is always wiser, therefore, to move the cameracloser and to one side of the subject, rather than straight in. Whenever a shot includes a portion of the previous scene- such as when cutting from a long shot to a medium shot- players' positions, body movements and looks should be duplicated as closely as possible. An arm should not be shown raised in the long shot, and then apear lowered in the following medium shot. A head should not be depicted turned in a different direction, so that the player's look does not match the previous shot. Such discernible differences in screen images will jar the audience. When the camera is moved back, or cut back, from a closer shot to a longer view, it is necessary only to match the action shown in the previous close-up, because everything else was outside the frame. Cutting from a long shot to a close-up and then cutting back to the long shot again permits considerable cheating. The audience, beingmomentarily distracted, will accept any change in the last long shot as having occurred while the close-up was on screen.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

Cutting_ Introduction

Film editing may be compared with cutting, polishing and mounting a diamond. A diamond in the rough state is barely recognizable. The raw diamond must be cut, polished and mounted so that its inherent beauty can be fully appreciated. In the same way, a film story is a jumble of odd shots until, like the diamond, it is cut, polished and mounted. Both diamond and film are enhanced by what is removed! What remains tells the story.

Only good editing can bring life to a motion picture! The various shots are just so many odd pieces of film until they are skillfully assembled to tell a coherent story. Cutting takes up the slack in the film, by removing all superfluous footage: false starts, overlaps, unnecessary entrances and exits, extra scenes,duplicated action, bad takes. What is left must be woven into a continuous narrative; to present the screen story in a manner that captures audience interest and holds attention from opening scene to final fade-out.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.