Methods Of Montage

Metric

Where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. This montage is used to elicit the most basal and emotional of reactions in the audience. 

Example from Eisenstein's October.

Rhythmic 

Includes cutting based on time, but using the visual composition of the shots, along with a change in the speed of the metric cuts, to induce more complex meanings than what is possible with metric montage. Once sound was introduced, rhythmic montage also included audial elements (music, dialogue, sounds). 

Example from The Battleship Potemkin

Tonal 

A tonal montage uses the emotional meaning of the shots - not just manipulating the temporal length of the cuts or its rhythmical characteristics - to elicit a reaction from the audience even more complex than from the metric or rhythmic montage. For example, a sleeping baby would emote calmness and relaxation. 

Example from Eisenstein's The Battleship Potemkin. 

Overtonal/Associational 

The overtonal montage is the accumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect. 

Example from Eisenstein's Strike

Intellectual 

Uses shots which, combined, elicit an intellectual meaning. Intellectual montage examples from Eisenstein's October and Strike. In Strike, a shot of striking workers being attacked cut with a shot of a bull being slaughtered creates a film metaphor suggesting that the workers are being treated like cattle. This meaning does not exist in the individual shots; it only arises when they are juxtaposed.

Example from Eisenstein's Strike

Parallel editing

Parallel editing is a technique that allows two or more simultaneous sets of action to happen within a single film sequence. Its main uses are to; create tension, show more vantage points and can create dramatic irony. 

Crosscutting

Crosscutting is a technique that pieces together sequence that at occur at the same time, but in different places in order to create narrative tension. Crosscutting’s most famous practitioner was W.D.Griffiths, his collaboration of films contain textbook examples of crosscutting. Some of his pieces of work that include this editing type are; A Corner in Wheat and The Lonedale Operator.

Motivated Editing

In its most basic form, a motivated edit is one that alludes to something not in the frame and then cuts to that item or event. If you accept that any edit breaks the illusion of continuity, then we put forth that the motivated edit is one of the least jarring forms of transition. For this reason, it is used often in Hollywood-style narrative filmmaking. In its most basic form, a motivated edit is one that alludes to something not in the frame and then cuts to that item or event. You see it all the time in horror films: a woman is standing in a spooky place all alone and then hears a startling sound. She spins her head around and sees nothing. The sound then comes from another area, and the soon-to-be victim jerks her head in that direction. Eventually, the viewing audience gets to see the object of terror, usually along with a loud, startling sound. 

Shot- Reverse Shot

Shot reverse shot (or shot/countershot) is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character. Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other.

Example from The Hunger Games

New Wave Edited Piece

This is my Final New Wave edited piece. 

What I was Trying to Accomplish

When reviewing the footage i had collected over the weeks, i noticed two main characters, Sammi and Will, so i decided to focus on them. The new wave films that i had analysed before starting did not have very happy tales to have, to i wanted to follow suit.

i decided to make my narrative a love tragic love story, almost like romeo and juliet. when i decided to do this i needed to decide on a song to run throughout. (the reason  a i decide to use a song instead of the dialogue from the footage was because no particular script or narrative was followed when filming, as we were capturing techniques). i chose to use the song Angels on the Moon by Thriving Ivory, because this song mirrored the mood i wanted to portray throughout my film.

Analysis/reflection 

Editing

Text

I got the idea of adding text and dictionary definitions from the film if.... (1968) that I studied for my Contextual Study (Unit 1). At the beginning of if…. there is a saying shown first, setting up one of the many issues that are raised.  

When I decided to add text into my short film I put one at the beginning and the end. I did this because it helps set up the film, but also helps to show a definitive ending to the film, and the theme of life and death. I feel that it helps to add emphasis on the narrative that everything comes to the end, and by having them fade in and out I wanted to demonstrate that you become more defined as you grow, fading into life and standing out more and as you get older and eventually die you fade out of life.

The first time you are introduced to the characters they are seen in a dream like way, with the background spinning past. This shot was produced in an innovative way, using a round-a-bout to move the camera. This helps to fit my film into new wave as in new wave innovate camera movements are used, not only does it create interesting shots but also is a cheap way to move the camera and capture shots, using apparatus that are readily available. 

This movement helps with the narrative that I was trying to create by showing how in the characters minds the world revolves only around them.  I emphasized the dream like sense by slowing the clips down, this showing also how time revolves around them and when they are together time slow down for them. This will later contrast with how time speed ups nearer the end, -seen through jump cuts. This point that people think they have all the time in the world together, when really their time together can be cut short, as it is in my short film, catalyzes the narrative.

The second time the couple are seen they are in a darker environment and I tried to make the scene more nightmarish compared to the dream like encounter before. I have done this to move the narrative along trying to foreshadow the darkness that is to come. I have also done this with Kuleshov editing, showing the female looking at the male, who then becomes a skeleton, -this foreshadows the males death that is to come. Also I have edited the female and the doll together –using the same female shot used when she was looking at the male and skeleton- and done this to show how after he dies she will become inanimate and emotionless without him.

Also in the nightmare scene the male looks directly at the camera with the doll waving. Two things are done here; one, I have included this clip as it breaks the forth wall and directly addresses the camera, this adding to new wave, and two; the doll waving helps to once again show how the female is waving goodbye to everything she knows now and the happy life she has with the male.

Continuity

When we seen the female walking down the road my lack of continuity can be seen very clearly; once when she passes the same shop twice (the blue run down store) and how she is not passing a man with a dog in one shot then when it cuts to the next shot she is. These continuity errors are left in deliberately, as new wave does not concentrate that much on continuity but rather the issues and social context within the film that fuel the narrative.

The audiences viewing habits are challenged by them not really knowing how the female got from one place to the other, one minute she’s in the park with the male the next she is walking down the road, then they are eating dinner in a surreal environment (created by the low key lighting, the mise en scene, like the doll, and the editing), then the female is stood alone and then at a grave. I have also tried to challenge the audience by not giving then a time period that these events have happened across. I have showed time moving along by clocks being seen, long tracking shots, jump cuts and as said before slow motion shots. I also feel that the low angle shot of the leaves helps to move time along, from the way the camera is panning. The sudden scene changes help to show how life suddenly changes and the next step is unpredictable.

Tracking Shot

Long tracking shots are typical of the new wave genre. A good example of this in the french new wave film Les quatre cents coups. I included a long tracking shot into my short film, this is where trees and bushes are seen towards the end. i did this shot through an open car window. 

Development of Editing

Analogue vs. Digital Editing

Analogue editing was used before editing in a computer. the film negative when completed was cut down and pasted into an order. it then went through a machine - Moviola or K.E.M

Digital Editing is editing with a computer, offering a much faster and more efficient film process. Many different programmes are availiable to use when it comes to digital editing, including Final Cut Pro, Adobe Premier and iMovie. In these programs footage is out onto a time line and is then cut and pasted into an order and then the effects are added. 

Editing is one of the most important steps in making a film, it is essential for creating the desried mood, atmosphere and theme wanted by the director. From the late 1970's to early 80's many video equipments were intorduced, i.ie Time Base Correstors (TBC), digital video effects unit. they operated by using standard analog, then it composed the video and then within digitalized it. this made it easier to correct or enhance the video signal.

Linear vs. Non-Linear
Linear or tape-to-tape editing was the only was to edit video tapes in the early days of electronic video production. This way of editing was changed in the 1990's, when non-linear editing computers became availiable and opened a whole new world of editing power and flexibility.  Non-linear editing was not recieved well at first, however, the advangtage of non-linear video soon out weighed those disadvantages and criticisms.

Tapeless Editing
This is the use of digital recording instead of tape via the use of a camcorder, for example. The footage is then stored into a data storage devices, such as a hard drive or solid slate flash memory card.

Techniques of editing include transitions such as cuts, jump cuts, fades and washout. All these have an important role within editing as the cuts allow the film to move at a quick pace in order for the film to stay interesting to the audience.

The 180 Degree Rule 
The rule states that the camera(s) should remain the same side of an imaginary line. the 180 degree rule enforces continuing of the film. Breaking the rule will confuse the audience, especially in scenes of chase, conversation or sport. The only way to cross the line without disorientating the audience is to show the camera movement, cutting across the line will disorientate the audience.

Violation of the 180 degree rule                                  Good example to the 180 Degree rule
     

Microphones

Boom Microphone?
A boom microphone is a directional microphone mounted or attached to a pole or arm and is used mainly in film and television. A boom microphone gives the amplified audio of a traditional microphone; they also amplify a group conversation, as it can be positioned so that everyone's voice can be heard. Boom microphones are sensitive enough to pick up vibrations  from movement, like unsteady hands. To avoid this boom mics often include isolating mechanism, such as foam padding or elastic suspensions.

Things to consider when operating a boom microphone

• you need to make sure that the boom mic doesn't creep into shot
• some boom microphones run by battery, therefore it is important to make sure the batteries are charged before filming
• finally, sometimes when using the boom microphone more than one person is required to operate it. for example when a person in being filmed walking forward the person holding the microphone is required to walk backward, so to avoid any accidents 

Using the Boom Microphone 
One thing that was on the brief was to retrieve audio footage by using the boom microphone. We had already been given a demonstration and learnt how to assemble and operate the boom before we left for Oxford, as part of or preparation. So this would not be an issue when it came to using the boom when on location. 

We eventually used the boom when interviewing the owner of the Truck Music Store, and asked him a few question about the local area, and gain a lot of interesting information on the decreasing number of record stores, not only in the area but in the city as a whole. when using the boom mic on location everything seem to be working fine. however when we were back at college the next day and were reviewing the footage and audio we had collected from Oxford we soon came to realise that our interview with the boom mic was distorted, muffled and the music coming from a near by speaker could be heard over the gentleman. 

We realised that the boom mic was too close to the speaker above, so it picked up the background noise more so than the interviewee speaking. I found this annoying as the rest of the footage was shot well; the rule of thirds was considered and kept to; the aperture, ISO also considered.

 Despite the small lens opening due to small aperture, the background behind the interviewee is quite over exposed. we could have reduced this by lowering the ISO, as I feel the aperture (around f/16) was a good for this shot, as the majority of it is in focus, and allows the audience to see the surrounding of the shop, capturing the realism of outside. 

Using the Internal Microphone
Fortunately at the same time as filming the interview, using the boom mic, we had another camera set up filming cut away shots of the interview. The internal mic of the second camera managed to pick up the audio, and was in fact clearer than the audio in the footage using the boom mic. this is due to the fact that the internal mic is not as sensitive as the boom mic, therefore less background noise was picked up. 

OH&S of Oxford After

When visiting Oxford we filmed in locations that were not originally planned, therefore before entering the establishments we needed to consider the health and safety risks.

Unplanned Locations
The Truck Music Store 
This was a small record store and café. so before we all entered the shop with all the equipment two of us entered to ask for permission. when we were granted permission to film in the shop we entered carefully with the equipment and placed it to one side. this kept the equipment out of the way from us, the staff, other customers and saved use trying to maneuver it through the small spaces provided.

Mr Simms Sweet Shop
Mr Simms Sweet Shop was located across the road to where we where. As we had predicted the high traffic flow of Cowley Road, we were careful when crossing; distributing the equipment evenly, making sure no straps were hanging down that we could trip over; and crossing where the road was clear.
Like with the Music Store, we asked permission before lugging all the equipment into the small sweet shop. When we were given permission, we moved all the equipment in and put it to the side, out of the way. In this shop we had to be more careful when moving ourselves and the equipment as there was a lot of items close to the edge of shelves, including glass jars.
We also filmed outside of the shop, both in front of the shop and across the road from it. we tried to situate ourselves out of the way of passing people as best as we could. but the paths were narrow, so we did get in the way. so to avoid this the best we could we sped the process of filming up, so that we were obstructing the pavement for only a short period of time.

Back Alley
This back alley was well lit, so filming down there did not seem dangerous - and turned out not to be. When filming down here we noticed that there was construction work, but it was not being worked on; so the dangers were lessen and we felt that we could film in front of the fencing safely. with this said we were still weary of the construction, staying a safe distance away and not leaning against the surrounding fence.
to begin with there were no other people down the alley way, so we were free to film freely and place or equipment were needed. as the minutes passed people started to use the alley, so we had to become more cautions where we placed ourselves and the equipment.

Unexpected OH&S of Planned Locations 
The Turf Tavern 
When we arrived at the Turf Tavern it was a small hidden pub so we had to straight away be weary of the equipment causing and damage to the surroundings and of ourselves getting in the way. We didn't not come across and aggressive people there and we occurred no accidents, from slipping, like thought. however there was an open fire outside the tavern, initially we stayed away but I though that we would be able to get some nice footage from this. so before I started filming the fire, I established a safe distance, where the camera and my hands would hot get too hot and made sure that the camera strap was securely around my neck, as I planned to film above the fire.
By considering theses things I was able to prevent any damage to the camera and and burns to myself.

Jericho

We never made it to Jericho so there was not rick of the canal. however we did film from a bridge of another canal, so the rick of equipment lose was still present. to avoid this before filming over the bridge, once again, we made sure the straps were securely around our necks. 

Overall

We did not attain any injuries or damage to the equipment. this is due to the ahead planning, not only before visiting Oxford  but also before enter shops and new locations where in Oxford  by researching the areas we were planning to visit we were able to predict OH&S issues that may not have been an issue when filming in Nuneaton  the high density of bikes for instance. also by considering each location separately  as a pose to Oxford as a whole, we were able to expand our awareness and be more prepared for any health and safety problems that may have occurred. 

Oxford

Why Oxford?
Oxford offered a different environment to collect footage in and allowed use to venture out of the comfort zone of Nuneaton.  We where challenged to fend for ourselves on a location and we encouraged to pre plan and organised ourselves before and when we were there. 

The weather wasn't the best but was also not a suveriour issue, as light drizzle was predicted but it never rained. The day had a lot of over cast and was very dull; however i found this to be a plus as is stopped the nautral lighting from being intermissant, so all the footage had the same lighting, this would later come in handy for when editing and trying to keep continuity (even though this is not a problem in new wave films).

Filming On Location

Location: Oxford

Date: 22^nd October 2012

Brief: To practise filming in a location outside of nuneaton; capture the essence of the area and film colourful environments. 

·      Equipment Used

·      Canon 500D

·      Canon 600D x2

·      Fluid Head Tripod

·      Small Lumix digital camera 

·      Boom Microphone

·      Spared, Cleared SD Cards
·      Reflector
·      Umbrella 

·      Experience
      I really enjoy filming in Oxford; it was more picturesque and had a larger variety of environments than those found in Nuneaton. I found the experience to be different filming on location in Oxford compare to filming on location in Nuneaton, as people were more accepting of use filming in the street and they tended to stare more and just carried on with what they were doing. I liked this as we didn't have to waste time explaining to curious people what we were doing, we could just get on with filming and move along. Because the people there were more excepting of use filming it was easier to ask for permission to film in shops, in particular at the Truck Music Shop, as the man who ran it said that he had to go throughout the same experiences when he did a film course so he was more than willing to let us use his shop to film in. 

Problems 
For the majority of the day everything ran smoothly, but we did rub into a few problems.
The first problem we can across was a minor one; the permission sheets we forgotten. However Sammie had the permission slip on a memory stick so we found a library nearby, by looking on google maps in our phones, then we printed one off and photocopied several.
The second problem was an issues as the tripod plate was missing where the camera attaches. at first we  thought that we would not be able to use the tripod, which was annoying as we had found a colourful street that we wanted to get a pan of.  but we managed to secure the camera to the tripod with our college lanyards. Surprisingly this worked effectively and the camera was steady and secure on the tripod, but as an extra procaution we kept our hand on the camera at all times when attached to the tripod.

When we were back at college the next day and reviewing the footage we had collected we realised that our interview with the boom mic was muffled and the gentleman could not he heard, only the music coming from the speaker, which the boom was next to. when using the boom mic, the man was being pick up mores than the music, so we thought that the positioning of the boom was okay. (I will discuss this further in a later post).

Cowley Road 

A - Where Bus Was Parked, B - Cowley Road

Cowley Road was the first location we were going to film; we decides this because it was the farthest location away from where the bus had parked. even though we knew it was far it took longer than anticipated, one, because it was far away and two, because we stopped on more than one occasion to shoot places we came across on the way to the location that looked interesting. These frequent stops did effect our timing schedule, so we didn't have enough time to visit the last destination we had planned to go to - Jericho- but, it did provide us with interesting, useful and different footage that we hadn't intended on shooting.

Firstly when we where walking to Cowley Road along High Street we came across some very colourfully painted building and straight away we were able to cover one of the brief points to capture different coloured environments. This is where we first realised that we did not have the tripod plate and had to attach the camera by lanyards. we could have used hand held camera but we felt it would look better on the tripod. 

Along the way we passed a small alley as decided to shoot some footage here as it was different to anything we had seen in Nuneaton. This footage gave a indication to the place where we were, and i also feel that it fits in with the New Wave themes capturing real areas. not only because of this but also, the people passing by look at the camera and this shows a real environment with real people and not actors. 

Also in the alley we were able to contribute to one point in the brief of capturing colour. we did this by filming the brightly painted houses that were down the alley. 

 

Mr. Simms Olde Sweet Shoppe 

A - Mr. Simms, B - Cowley Street

Another stop along the way was an old-fashioned style sweet shop that was brightly coloured, called Mr Simms Olde Sweet Shoppe. We decided go go inside and collect footage here as we felt the shop offered a vast amount of colour and interesting shoots and lighting. we had to experiment with the white balance as the lighting in the shop caused to footage to have an orange tinge to it. we knew it was the lighting in the shop and no the white balance being off on the camera because the white balance that the camera was set on didn't distraught the footage we gathered outside. We upped the k value to add blue to the footage which made the images look much more realistic and the array of colours could be seen more clearly. 

Screen shot of the footage without adjusting the white value. The colours all have an orange/red feel to them and causes the colours to almost blend in together. 

Aperture: f/22.5, Shutter Speed: 1/500, ISO: 3200 and White Balance: 8000k  

Screen shot after adjusting the white balance to about 2500k. The colours are more defined and vibrant.

We left the aperture and shutter speed the same but changed the ISO setting to 64 and the White Balance to 2500.

Before any shooting we had to make sure we had permission from the store owner/manager and get them to sign the release form. We approached one of the staff members, explaining our project and what we would like to shoot inside the shop and from this we gained permission and had the release form signed as long as we did not film any of the customers that came into the stop. We happily agreed and because the shop was fairly quiet for the most of it it as easy not to film any customers. 

After we had permission we set up the equipment, keeping the equipment we were not using out of the way tucked in one corner so that we didn't trip over it and neither did any customers that were in the shop or going to be. because the shop was fairly small we were very careful of how we manoeuvred around the shop and where we placed our equipment, so not to damage the shop of cause harm to any of the people in the shop or ourselves.

Footage Analysis

Off Tilt Camera 

       For most of the shots that we tool in Mr. Simms we ignored the rule of thirds to emphasis the subject's symmetry. This worked for the mostly and the symmetry was seen, however the camera was at a slight downward tilt to the right. This could have been down to the camera being attached to the tripod by lanyards, but if we had noticed at the time (which i didn't until the next day, when reviewing the footage) the tripod could have easily been raised on the right side to even the tilt out. When a symmetry shot was taken without the tripod there was no tilt and the symmetry was clear.

This is a screen shot that shows a downward tilt to the right during a shot. this tilt is made more noticeable because of the symmetry within the shot, which was meant to be even.  This shot was taken on the fluid head tripod.

Here is a screen shot that shows an hand held shot with no tilt and the symmetry is seen and can be appreciated. 

     

The above clip shows the slight tilt that was on the camera

       We did purposely take a shot that was completely off balance. this gave the footage a dream like appearance as well as the pastel colours that were in the shot, and help to fit one of the New Wave techniques of unusual camera angle. 

Colours 

Pastel Colours 

Bright Colours

We gathered a vast scale of colours when filming in and around Mr. Simms. Inside we were able to capture light pastel coloured scenes and one the other end of the scale vibrant bright colours. and when we ventured outside the colour where duller, with browns and greys. 

Also when we went outside and crossed the road to get some footage of the front of the shop the grittier side to oxford was seen; this was only about twenty metres from the picturesque scene. Here social realism can be seen. 

We eventually made it to Cowley Road after multiple stops and shot a small amount of footage in 'grittier' street and got some lovely shots of a large wall of graffiti, providing brilliant contrast to the earlier footage of the day. 

A few seconds past the wall there was a very colourful bench; this would not only help to fulfil one of the briefs criterion of capturing colour but I thought that this would be a perfect opportunity to get footage from a different angle (this off angle shot is hep to meet a New Wave technique of unusual camera angles).  We used a small aperture, f/22, so all of the shot is in focus.  As for the positioning of of the bench, I feel that the bench is nice and central and the set up of the bench  drowns the eyes and focus in.

Truck Music Store

After this we headed straight for the record store that we had intended to go to in the first place, once again we had to ask for permission, which the shop owners were more that happy to give, and after a short explanation of what we intended to do we began setting up. We also took this opportunity to ask the manager if would like to take part in a short interview which gave us chance to set up and make use of the boom microphone ( I will disgust this in more detail later on). 

The Turf Tavern 
From here, we went on to find The Turf Tavern, a small famous pub situation off an alleyway in the heart of Oxford, and again got permission from a member of staff to film there and proceeded to get some beautiful shots of the very picturesque location.

We got some shots of fire, as this was a new kind of footage that we had not obtained before. Also we introduced a character in to our footage so that we did not just have random clips from different places within Oxford  the character will allow us later to edit the footage together and create a narrative. 

Overall  In  the end, I feel that the day was a success; helped by the planning done the day before. We managed to collect footage that was on the brief as well as extra footage that we did not intend to film.  because we capture more footage from other unscheduled areas of Oxford I am not to concerned that we didn't manage to make it to Jericho. 

New Wave Conventions Checklist

·      Hand-held ✓

All of the footage that I filmed I did hand held. this was mainly down to the fact that to attach the camera to the tripod I would have to waste time trying to tie it to the tripod head; and as we had a limited time in Oxford, I didn't want to waste any time with that when I could just hold the camera (and as hand held footage is an aspect of new wave I wasn't too concerned with using the tripod).

·     Long takes/tracking shots ✗ 

·     Youthful iconoclasm ✓

I feel that this was capture in the record shop, and showed the difference between the youth of Oxford and Nuneaton. 

·      Political and/or social troubles captured ✗ 

I feel that there were not that many obvious political or social problems. unlike the area we visited in Nuneaton  the areas of Oxford were in better condition, with no litter visible on the streets, and the little litter I did manage to find was in a open drainage system that was hidden away. also there wasn't any vandalism, like graffiti - even though there was a wall of graffiti it added beauty to the area rather than ruining it. 

·      Homemade accessories/innovative camera movement ✗  

There were not any opportunities to practice this new wave technique. the only one that we would have had would have been a long tracking shot on the bus, however the windows did not open so the reflection and glare off the glass would have been visible in the footage. 

·      Documentary feel ✗ 

Personally I feel that we achieved this, somewhat. All the people in the clips were not actors - even thought they seem used to the camera's, maybe because of the high tourist numbers in the area. Some of the by passes look directly at the camera, this i feel helped with the documentary feel. What also adds to the documentary feel is the interview we conducted in the record store. CLIP

·      Friends used to act or as crew ✓ 

We introduced Jack as a character  this was done to help with future editing and give a narrative  but also helped to fit this new wave criterion of friends as crew and actors to keep a low budget.  CLIP

 ·  Unbiased and personal realism ✓  

(In this case the realism was unbiased, as we did not completely know what to expect when visiting Oxford. We where fortune enough to be able to catch both sides of Oxford; the side that attracts tourists and the realist side, of graffiti and dying businesses.  

·      Real locations/ environments ✓ 

As the main brief was to film the streets of Oxford, this was checked straight away; we also managed to shoot in real locations of shops (something we had not done before)

·      Improvised dialogue ✓ 

During the interview with the record store managers we did a Q&A session to create spontaneous dialogue. 

·     Take the audience out of the film/direct address to the camera ✗ (

·      Establishing shots ✓

We only took a few establishing shot and they were from ground level and captured the essence of the area. An establishing shot that we took of the building across the street, not only check the new wave point of establishing shots but also tick the brief by capturing colour. CLIP

·      Rapid movement ✗

·      Unusual camera angles ✓

This was done in Mr Simms Sweet Shop. (Explained more above)