EDITING

1. Contrast

One feel at one place

Completely different setting in

different place
2. Parallelism

Jumping forward in time

Screaming to yawning, train

coming

feet of strangers to feet of

some friends

Different things on same

action
3. Symbolism

Match box - sun light

septic hole - eye

4. Simultaneously

Cross cutting
1

Back and forth - silence of

lambs
5. Leit motif

music way

COMPOSITION
Depth
adding perspective
very flat only for dull moments.
alone things
foreground - mid ground background
Size ( within the frame )
how important is that one
Size of the character changing
place and space -

as per

importance
Contrast
Different color
Size of color, shape, height, every type
of contrast that differs from rest
Choice could be made whether
3

Shot Type
key shot
Balance
1/3 rule
Horizon
Looking room
Distance
relationships
over the shoulder
emotional shots
Height

SPIELBERG
1. Horizontal graphic traveling shots
2. pans - covering fast actins
3. change in staging of actors
4. Actors moving to the forward
5. character emerging in the frame
6. Detail shots revealing whole scenes
7. same room but different shots different groups
8. Directional lines
9. Invisible zoom
10.Pan - stop- new action problem
11.POV shots
12.Economy of rhythm and
functioning internal structure
13.Key frames - staging and blocking
14.Axis breaking

EDITING TECHNIQUES
1. Jump cut
2. punch in
3. lap dissolve
4. short reverse shot
5. swish pan/ cut
6. Triple take
7. cutting on movement
8. L & T cut
- Extreme long shot - extreme close up
grave scene - Tilt up
Blocking change

AKIRA MOVEMENT
Movement of nature
Movement of groups
Movement of individuals
Movement of camera

Camera moves different for each

actor

Every camera movement has a

beginning, middle and end.

SPEILBERG
1. Horizontal - Graphic traveling
shots
2. PAN - carrying fast actions
3. Change in staging of actors
4. Actors moving to the foreground
8

5. Characters emerging in the frame

6. Detail shots - revealing whole
scenes
7. Same room but different shots different groups
8. Directional lines
9. Invisible zoom
10.PAN - stop - new action problem
11.POV shots
12.Economy of rhythm
13.functioning internal structure
14.Key frames - staging and blocking
15.Axis break

EDITING TECHNIQUES
1. Jump cut
2. punch in
3. Lap dissolve
4. reverse shot
5. Swish pan /cut
6. Triple take
7. Cutting on movement
8. L & T cut - god father
EDITING IN GOOD BAD UGLY
1. wide shot extreme - suddenly a
character entering into closeup
2. No story telling makes a good film
3. Changing blocks in a wide shot
4. All permutations of G, B, U are
made in 3 wide shot.

10

5. G and U - 7 B -11 means he is more

in danger
6. Eye direction indicating ugly given
promise from hero , but bad is in
danger
7. Faster extreme close-up shots
8. wide - as the beginning in the end

11

ELEMENTS IN A FRAME
1. DEPTH OF FIELD
2. PERSPECTIVE
3. MOVEMENT
16mm
25mm
short lens - side angle - perspective
Depth stretches - 9mm
----Telephoto lens 120mm - perspective
adds
and objects appear near

12

SHOTS IN CINEMA

Full
Medium
Close- up shot
Depth shot
low angle
high angle
eye- level
over head
dutch angle
POV
pan shot
Tilt
dolly shot

Trucking
Tracking
Hand held
Depp focus
shallow focus
Rack focus
wide angle lens
Telephoto lens
Normal lens
Zoom shot
Boom shot
Shoulder

13

AKIRA KUROSAWA - MOVEMENT

Movement of nature
Movement of groups
Movement of individuals
Blocking

stand straight up

Movement of camera
Ending a scene - static
Camera movement has different beginning, middle and end

14

LYND RAMSAY POETRY

Details

Narration

Poetry

similar toys by actor

Sharing character point of view

15

MARTIN SCORSCE
Loudest moment is followed by silence
Central dramatic in a scene
Hide - creepy - love at first sight happiness to a halt
Choice of the characters - take the
money, to fight or not, hide the emotion,
Don't over use the silence
Mother - Telephoto lens
Profile - strange feeling
TF profile - to hide, to tease

16

SATOSHI KON
1. Match cut
2. Exact graphic cut match
3. mirror cut- Interversing two
different atmospheres

17

TRANSITIONS
Rewind the film
Cross the line into a new scene
Zoom out from a Close
Use back frames to jump cut
Objects to wipe the frame
Your are show a key, you expect , but the
cut doesn't happen, in some scenes later
the key is used for the purpose
Editing faster will increase the
sharpness of the audience

18

QUADRANT SYSTEM
You can show different stories in a frame
from the beginning
vertical quadrants have a different story
from the beginning
cross quadrants can show relationship
both a same quadrant indicate , both
were fighting for the same person

19

CINEMATOGRAPHY - American
Beauty
How different two men are presented
What kind of company they work for is
indicated by a simple ugly look of office
Size of the character in the frame says
your everything about its grown
importance
SHAME
Directors say you about the film in the
first ever frame
Characters behind objects , they can
represent them

20

LENSES
F/2.8 - Focus
F/9 - everything visible
28mm - 35mm
85mm

Martin scorsce24mm -

Cinematic

kubrick - 8.5mm
Faces in the wide
Chase scene - 15mm or TF lenses

21

HITCHCOCK
Possible ways a scene can happen
Emotions on faces
Size of the image in frame is important
Wide shots- Emotional distance between
characters
Selective use of Close ups and wide shots
We should use dialogue, only when it is
impossible to do it otherwise
Eyes reveal more things about story
POV shot - walking pov
Photographic reality is not reality
If you have pro-occupied things in mind ,
you will loose control over the freeness
in creation in set
Characters - running,

22

Nobody should suspect a particular

villain in a movie
In a moment of silence , a person does
something trivial this adds to drama.
Information shows the character doesn't
free surpseise X
Bomb ticking - feel in beginning , do
rubbish
Macguffin - show something unwanted
to cheat audience

23

KUBRICK
1. 1- point perspective
2. Profile running
3. back shot movement
4. Into perspective
5. various closeup cuts on Jesus
bleeding
6. Wide - dolly - large group
7. Zoom out
8. Long shot an
9. Jump cuts - closeup
10.Walking on side of a group
11.circles in scenes

24

SHOT COMPOSITION
Leading lines - Lines in frame, that point
to the subject
Horizontal lines - Show serenity,
inactivity
Vertical Lines - strength and dignity
Diagonal lines - action, imbalance,
insecurity
Rack Focus - Focus shifting from one
object to another, shows relationship
between two objects
Lead room - space needed for objects in
action
Natural Frames - trees, Door ways
Balance - difference in number of
objects in frame

25

MOVEMENT
Crane shot down - into the story
Crane shot up

- obstance

high to low

- strong, fear

hand held - danger, shaky

quick pan

- external

push in

- surprise, shock

Dolly in

- tension

Dolly out

- emotion lost

Dolly across
zolly in

- emotion

26

HITCHCOCK
1. Pleasant setting
2. Casting for characters
3. Don't cut when it is not needed or
emotion is going seriously
4. Roaming cam - exploring feeling
5. Follow the eyes
6. Hands, feet and objects
7. Profile shot - hiding, suspicious
8. Sound of objects to intensify scene
9. Still shots

10.Stream of consciousness

Using the cutting

10.Leading the audience to the mind
of the hero
11.Montages
12.Kelshov effect
13.Tears on camera lens
27

14.Changing against the style of

actor's image
15.Character allegiance - Joining
audience
16.Mental state in set designs
17.Huerbert suspense model
a. Secret plan
b. Wait nervously
c. Delaying with comic
d. Almost caught
20. Carefully control what audience
feel every moment

21. Wavering beat sheet

22. Understatement

23. Sam suspense model

a. withhold info - rage curiosity

by briefly hiding the story from viewer

b. Hero does wrong

28

c. Long cover up

d. Almost caught

24. Palette of worry

a. sounds and silence

b. Stream of consciousness

c. misunderstanding facts

d. Comic energy

e. Facts of paranoia

f. Detail

g. Shot proximity and frequency

h. Malfunctions

25. The more time we spend with it,

the more we get tensed

26. Music pulls from reality and adds

fantasy

27. Close to rescue , but missed

29