Workshop 6 - Continuity Editing

"Run Gloria Run"

Continuity Editing

A constructed scene where everything flows in a consistent, orderly, smooth and sequential manner.

Editing involves selecting and sequencing those parts of an event that contributes most effectively to its clarification and intensification. Continuity concentrates on the structuring of on- and off-screen space and on establishing and maintaining the viewer’s mental map. 

Creating a Mental Map

A mental map helps the viewer make sense of where things are, where they are going, or where they are supposed to be in on- and off- screen space.

Continuity editing relies upon matching screen direction, position, and temporal relations from shot to shot.

Continuity clarifies the event.

Types of Continuity Editing

• Graphic Continuity 
• Rhythmic Continuity
• Spacial Continuity 
• Temporal Continuity

Graphic Continuity 

Graphic Continuity is when two successive shots are joined so as to create a strong similarity of compositional elements (e.g colour, shape,etc). Graphic matches can be used to make metaphorical associations.

Rhythmic Continuity

Rhythm in film and a video is the perceived rate and regularity of sounds, series of shots and movements within the shots. Rhythmic factors include beat (or pulse), accent (or stress) and tempo (or pace). Rhythmic editing occurs when the editor adjusts the length of the shots in relation to each other to control their overall duration on screen to create accent, beat and tempo. 

Spacial Continuity

When the filmmaker connects any two points in space through similarity, difference or development or even divide the whole space into component parts to make up the scene. Spatial relations are reinforced by the use of techniques such as: 

• 180o Rule 
• The eyeliner match
• Shot Reverse Shot 
• Match on action 
• Motion vector continuity 
• The cheat cut

180 degrees rule/ axis of action/line of action 

When two characters (or other elements) are in the same scene, they should always have the same left/right relationship to each other.

Shifting to the other side of the characters on a cut, so that person B is now on the left side and person A is on the right, will disorient the viewer, and break the flow of the scene.

Eyeline Match

If the person looks left, the following shot should imply that the looker is offscreen right.

A cut obeying the axis of action principle or 180o rule, in which the first shot shows a person looking in one direction and the second shows a nearby space containing what he or she sees.

Eyeline matches can be a very persuasive tool to construct space in a film, real or imagined.

Shot reverse shot

Shot reverse shot is a film technique wherein one character is shown looking (often off-screen) at another character, and then the other character is shown looking "back" at the first character. 

Since the characters are shown facing in opposite directions, the viewer subconsciously assumes that they're looking at each other (i.e. the 180 degree rule). 

Shot reverse shot

Shot reverse shot is also often combined with creative geography to create the sense that two characters are facing each other, when in fact they're being filmed in completely different locations or at completely different times.

Match to action/cutting to movement 

A cut which splices two different views of the same moment in the movement, making it seems to continue uninterrupted.

A match on action adds variety and dynamism to a scene, since it conveys two movements: the one that actually takes place on screen, and an implied one by the viewer, since her/ his position is shifted.

Match vector or Cutting on movement 

A motion vector is created by an object actually moving in a specific direction or an object that is perceived as moving on the screen.

When breaking down a sequence of shots depicting a continuous action there are usually five questions faced by the editor: What is visually interesting? What part of a shot is necessary to advance the ‘story’? How long can the sequence last? Has the activity been adequately covered on camera? Is there a sufficient variety of shots to serve the above requirements?

The Cheat Cut

When the camera is set up for a second shot at a different angle it is possible to move things around a little to improve the new composition, the difference in perspective and angle of the two shots hides the fact that things are not exactly in the same place.

Temporal Continuity 

Means of constructing the story in terms of time: order, duration, and frequency: 

• The order of the presentation of events - these can be manipulated in order to reveal different story elements and play with the viewer (e.g. Memento).
• The manipulation of duration of events in the story can create ellipsis. Elliptical editing presents action in such a way that it consumes less time on screen than in the actual story.
• By presenting the same events a number of times (frequency) in the story to build up tension but adding elements to move the story closer to the climax.

Elliptical Continuity

• The shortening of plot duration achieved by omitting intervals of story duration.
• Elliptical editing is creating shot transitions that omit parts of an event, causing an ellipsis in plot and story duration.
• Elliptical editing can be achieved with a great deal of dissolves and jump cuts in order to both shorten the time and suggest a character's emotional states. Elliptical editing need not be confined to a same place and time.

Jump Cut

• An elliptical cut that appears to be an interruption of a single shot. 
• Basically, two similar shots cut together with a jump in continuity, camera position or time.
• Either the figures seem to change instantly against a constant background, or the background changes instantly while the figures remain constant.
• Jump Cuts were featured historically widely in avant-garde and radical filmmaking, or more commonly in music videos, video art or alternative filmmaking, like Lars Von Trier's Dogma films. 

Workshop 5 - Sound

Frequency

The human hearing range is commonly given as 20 to 20,000 Hz, though there is considerable variation between individuals, especially at high frequencies, and a gradual decline with age is considered normal.

Microphones

Omnidirectional Mic

• Omni pattern provides maximum ambient pickup. Frequency response: 20 - 18,000 Hz.
• Operates on battery or phantom power
• Ideal for group vocals, strings, acoustic guitar and piano.

Stereo Mic

• Provides the spacial impact and realism of a live sound field. 
• Frequency response: 30 - 20,000 Hz.
• Battery operation only. 
• Ideal for TV, DAT (digital audio tape) and Radio recording.

Cardioid Mic

• Sound is similar to expensive studio microphones.
• Low-mass diaphragm ensures minimum sound distortion.
• Frequency response: 30 - 20,000 Hz.
• Operates on battery and phantom power.
• Ideal for close-up vocal, overheads, piano and strings.

Mini Cardioid Mic (Lavalier Mic)

                           

• Frequency response: 40 - 20,000 Hz
• Operates on battery and phantom power
• Mic is attached to an power and transmitter module
• Provides crisp, full sounding voice and instrument pickup.

Unidirectional Mic (Shotgun)

• Two range settings: “Normal” for close up and medium distance recording; “Tele” for long distance pickup
• Frequency response: 70 - 18,000 Hz
• Designed specially for voice recording with video cameras

Zoom H4 Stereo Recorder

Panning

Panning is the spread of a manual signal in a stereo or multi-channel sound field - it is critical to the makeup of the stereo image. Panning adds space in a mix through panning the instruments centre, left and right.

Mixer pan controls

Usually the most problematic area of the sound field is the center, as this is normally the busiest place within a mix. It is advisable to keep the kick, snare, bass and vocal in the center as they provide the music with a solid grounding and help aid the rhythm. For every other instrument however, it is advisable to position them either side of the center.

(http://www.teachmeaudio.com/mixing/techniques/panning/)

Echo vs Reverb

The distinction between an echo and a reverberation is depicted in the animation below:

http://www.physicsclassroom.com/mmedia/waves/er.cfm

Waves reflected from nearby objects take less time to be reflected back, while waves reflected by objects across the pool take longer.

Reverb

If this distance is short, such as in a room or theatre, the sound will be reflected back to the source in less than one-tenth of a second. This effect is reverberation. Because there is such a small delay in the sound repetition, sometimes only a few milliseconds, reverberation is often perceived by a listener as adding fullness to the original sound. Reverberation will often be added to recorded music to better simulate the sound of a live performance, or to enhance the tone by making a thin sound fuller.

Echo

Everyone has had the experience of calling out in a valley or between large buildings and hearing our voices repeated back to us. When reflected sound travels a greater distance, such as a river valley, and takes more than one-tenth second to return, it is referred to as an echo. Echo does not add to the original sound as reverberation does, but is perceived as a distinct repetition of the sound, usually slightly fainter than the original. The sound is weaker because of the energy lost as the sound waves travel the greater distance. This is referred to as decay. Echo can be measured by the time lapse between repetitions, strength of the repetitions (i.e., how loud the repetition is) and the decay of the sound.

(http://www.ehow.co.uk/about_6819827_difference-between-echo-reverberation.html)

Equalisers

Equalisers are software or hardware filters that adjust the loudness of specific frequencies. As with all sound engineering, the basis is on the human ear. Certain frequencies are louder than others to our ears, despite having the same or even more energy behind it.

Equalisers were originally developed for physical venues such as movie theatres and outdoor areas, places that aren’t designed with acoustics in mind, to “equalise” all of the sound frequencies. For example, some venues will respond better to bass frequencies, so the EQ can be turned down on that end to prevent feedback and turned slightly up on the higher end to even things out. In general, you equalise for the physical space, to account for the particular combination of the room and equipment.

(http://www.howtogeek.com/59467/htg-explains-what-is-an-equalizer-and-how-does-it-work/)

Lab Work

Original audio file recorded using a mobile phone: 

https://drive.google.com/file/d/0B3wYPo4sqpQ_dU1vczNUaFZWS2s/view?usp=sharing


The same file with added the reverb effect to imitate water dripping in an empty bathroom:

https://drive.google.com/file/d/0B3wYPo4sqpQ_VWhOMGZucE44R1E/view?usp=sharing

Workshop 4 - Story Board

Workshop 3 - Lighting

Before lighting a scene we need to know:

• the script
• types of lights
• colour temperature
• use of gels reflectors

The photography below, was taken with a correct camera settings:

The same photo with a colour temperature set to 2500 K. Colour is shifted to the blue end of the spectrum:

 If we set the colour temperature to 10 000K, the colour is shifted into the orange end of the spectrum:

Colour shifts happens when you set the colour temperature of your camera with the Wrong end of the kelvin spectrum. WRONG: not the same as your scene's colour temperature. 

3 Rules 

1. Set the camera up for the appropriate colour temperature if you want your picture to look normal. 
2. You can setup your camera at a higher or lower colour temperature if you want a particular cinematographic effect or you are shooting day for night.
3. You can mix colour temperatures for creative effects. 

Automatic White Balance 

The Auto setting helps in adjusting the white balance automatically according to the different lighting conditions, but you can try other modes to get better results.

Types of lights

• HMI Lights (5600-6000K) - outdoor lights

• Dedo and Redhead (Tungsten) Lights (3,200 K) - indoor lights

Gels

Gels can be used to achieve:

• colour balance (blue gel, orange, green),
• diffusion gels soften the light in order to reduce or diffuse shadows or glare,
• filter - brings the intensity of light down without affecting the colour temperature.

Reflectors

Reflectors are used to reflect light on an object or subject in a situation where:

• there is not enough artificial lights
• artificial light is too powerful

Reflectors have different colour temperature properties. The reflected light can be strong or soft.

Class Work - A short video production

The aim of this workshop was to shoot a short video with a specific mood created by lights.

Our group decided to showcase a young man sitting in a cinema and watching a scary movie.

In order to imitate a specific type of light that can be seen in a movie theatres, we used two dedo lights. One of them was covered with a blue gel, the other with a purple gel. In addition, light intensity was manipulated during a shooting session.

The Nikon camera we used, had a white balance set to fluorescent. That helped us to achieve a desired colour temperature.

Workshop 2 - Production & Planning

When do you start planning?

• Once you have your final script for your film, promo video, etc., you as a producer/director will need to organise your shoot.
• The benefits of scheduling are: save time, save energy and more importantly save money. Your shoot will be much faster and smoother and your cast crew and client will love you for it.

How does it work?

There is no exact formula for creating an effective shooting schedule. Every project has different parameters and considerations. For instance, you might need less time to shoot an hour-long corporate video, which consists of interviews and demonstrations in a studio, than you'll need a shoot a four-minute music video that requires lip-synching and shooting in varied locations.

What should we consider before scheduling? 

• The shooting script location or dialogue scenes (action scene - usually a few locations, dialogue scene - usually one location, how many shots for every scene).
• the footage you need in order to complete the project.
• the types of shots - e.g. long angle, drone shots, tripod shots, etc.
• the location (indoors, outdoors).
• shooting permission.
• the equipment (cameras, lights, sound, jib, dolly, etc...)
• casting (talents) - right person
• props (make sure they stay in the same position)
• catering
• contingency plan (plan B)
• bills (electricity, insurance, traveling, equipment, catering, location, talents, crew, etc...)

jib - In cinematography, a jib is a boom device with a camera on one end, and a counterweight and camera controls on the other (image below)

camera dolly - a specialized piece of filmmaking and television production equipment designed to create smooth camera movements (image below). The camera is mounted to the dolly and the camera operator and focus puller or camera assistant usually ride on the dolly to operate the camera. The dolly grip is the dedicated technician trained to operate the dolly.

Location scouting

• indoors or outdoors
• take photos of your shooting location for reference
• plan to shoot outdoors shots so you can work around weather and light
• indoors shoot can always be done at anytime

Casting

• depending on the character in the script
• casting agent
• friends and family
• www.castingcallpro.com

Lighting plots

Shot list

List of shots for a story