180 rules and continuity editing

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    08-Aug-2015

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  1. 1. 180 rules and Continuity editingBy: Destinee and Reginald
  2. 2. 180 degree rule The rule states the camera(s) should remain the Same side of an imaginary line. The line Is drawn perpendicular to the cameras viewpoint in the establishing shot of the film. The rule enforces continuity of the film
  3. 3. Never break the rule. The rule should never be broken, the only defence for breaking the rule is for special effects. Breaking the rule will confuse the audience, especially in scenes of chase, conversation or sport.Results of breaking the rule Confusion of audience Audience lose focus Become disorientated Miss vital parts of the film
  4. 4. CONTIUITY EDITING Continuity editing is the predominant style of film editing and video editing in the postproduction process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots. In most films, logical coherence is achieved by cutting to continuity, which emphasizes smooth transition of time and space.
  5. 5. Common techniques of continuity editing Continuity editing can be divided into two categories: temporal continuity and spatialcontinuity. An ellipsis: is an apparent break in natural time continuity as it is implied in the film's story Diegetic sound: is that which is to have actually 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 shotsMatch on action: technique can preserve temporal continuity where there is a uniform, unrepeated physical motion or change within a passage. A match on 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 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.
  6. 6. The establishing shot 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 re-establishing shot. This might be necessary when a complex sequence of cuts may have served to disorient the viewer. One way of preventing viewer disorientation in editing is to adhere to the 180 degree rule.