Editing - Postive Reasons to Cut

INTRODUCTION Editing is what I believe to be the subaltern control over the audiences reactions. From the very first opening snap bean to the very confound back one, there has been some stark decision making whether or not each succeeding(prenominal) shot works in conjunction with the next. Cutting helps educate raw footage by exquisitely structuring elements while keeping balance and emphasis. Critt hold onen describes 15 positive reasons to put down. These decisions, guardedly selected by the editor should be followed by comparison with front shots. Out of these 15 I have selected techniques that best accept to my examples of my chosen episodes. TECHNIQUES IDENTIFY OR OBSERVE THE CHARACTERS? Within a series of shots, be we, the viewers, there to mentally identify with a particular character(s) or plainly wield the current on goings? To identify with characters, parley is heavy and use of close-ups are used with slight pauses at the end to realise the reacti ons displayed, whereby mere observing entails mid-shots à wide-shots where dialogue is not alike important but to create the atmosphere and we repel hold the scene. In a particular episode of Only Fools and Horses, retinal rod is moaning to Dale nearly the cheap briefcases that have their combination codes locked inside. Their old render pops up in 2 shots to pipe up a commentary or two.

The editor has made use of medium-shots à to wide-shots where we arent in like manner focused on the psychological importance of the characters but alone observe their sarcastic quarrels. In an episode of Friends, Ross is complaining to Joey and since no-one want! s to attend about their squabbles, Chandler tries to agitate the conversation which leads to confusion. The editor has neatly cut from medium-shots to close-up reaction shots where we earn Monica and Phoebe talking. We need to identify with their facial expressions to... If you want to get a full essay, order it on our website: OrderCustomPaper.com

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