Editing - Postive Reasons to Cut

INTRODUCTION Editing is what I believe to be the unoriginal control over the audiences reactions. From the very first opening spear to the very work back one, at that place has been some nonindulgent decision making whether or not each conse clipive shot works in conjunction with the next. Cutting helps excogitate raw footage by exquisitely structuring elements while keeping ease and emphasis. Critt end upen describes 15 positive reasons to cut. 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 only if wield the current on goings? To identify with characters, parley is primal and use of close-ups are used with slight pauses at the end to realise the reactions dis played, whereby mere observing entails mid-shots à wide-shots where dialogue is not also important but to create the atmosphere and we repel hold the scene. In a particular episode of Only Fools and Horses, magnetic pole is moaning to Dale nearly the cheap briefcases that have their combination codes locked inside. Their old military chaplain 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 too focused on the psychological importance of the characters but alone observe their sarcastic quarrels. In an episode of Friends, Ross is com plaining to Joey and since no-one wants to ! go out 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 nerve expressions to... If you want to get a full essay, order it on our website: OrderCustomPaper.com

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