Verisimilitude having the appearance of truth In editing verisimilitude is enhanced by consistent spatial and temporal patterns Continuity Editing also known as invisible editing uses cuts and transitions to tell stories efficiently requiring minimal mental effort ID: 438031
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Slide1
Continuity style
Verisimilitude – having the appearance of truth.
In editing verisimilitude is enhanced by consistent spatial and temporal patterns
Continuity Editing (also known as invisible editing) uses cuts and transitions to tell stories efficiently, requiring minimal mental effort.
To strategies constitute continuity editing
Constructing an imaginary 180 degree space
Approximating real time by following human action.
The
standard practice for coverage of a dialogue scene
Establishing shot
– generally a long shot that introduces the setting and orients the viewer in space to a clear view of the action. The cuts to a:
Two shot
–(objective) a shot of two characters (usually medium shots) in a recognizable spatial orientation and context. The cuts to an:
Over the shoulder single
(subjective) of the person speaking – a single shot of each character. Then cuts to a:
Reverse single
– the shot of the other person in the dialogue.
This proceeds back and fourth and sometimes returns to the objective two shot.
Insert shot - shot usually a CU that points out a detail significant to the plot, reveals character, or underscores verisimilitude (for example showing a telephone ringing off screen) (story of Danny in carjacking
boston
bombers)
Nondiegetic
insert – inserts an object or view outside the film’s world. Slide2
Shot/Reverse Shot
Transition shot
Establishing shotSlide3
coverage
Medium over the shoulder shot
Paltrow
Medium over the shoulder reverse shot FreemanSlide4
CU coverage
CU dirty single
Paltrow
Reverse shot – CU dirty single Freeman
Shot/reverse shot - this is a
a typical pattern the begins a
Master/Establishing shot
then cuts into medium and
close up shots. The shots are
reverses of each other. In this
scene from Seven with Morgan
Freeman and
Gwenyth
Paltow
It begins with a transition shot
then cuts to a tracking est.
shot. Then it intercuts between
Med and CU shots of the two of
them.Slide5
Eyeline Match
The establishing shot orients the audience to the environment and placement of the characters.
Paltrow
is on screen left and Freeman is on screen right. This is maintained as to not confuse
the audience. She is always on the screen left and he is always on screen right. Slide6
180 degree rule and the 45 degree rule