Editing - Postive Reasons to Cut

INTRODUCTION Editing is what I believe to be the standby control over the audiences reactions. From the very first opening quip to the very hit back one, in that location has been some exigent decision making whether or not each full-strength shot works in conjunction with the next. Cutting helps draw raw footage by exquisitely structuring elements while keeping equilibrize and emphasis. Critt hold onen describes 15 positive reasons to switch off. 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 except wield the current on goings? To identify with characters, parley is chief(prenominal) and use of close-ups are used with slight pauses at the end to realise the reactions displayed, whereby mere observing entails mid-shots à wide-shots where dialogue is not in any case important but to create the atmosphere and we repel hold the scene. In a particular episode of Only Fools and Horses, celestial pole is moaning to Dale nearly the cheap briefcases that have their combination codes locked inside. Their old breed 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 excessively focused on the psychological importance of the characters but only observe their sarcastic quarrels. In an episode of Friends, Ross is complaining to Joey and since no-one wants to pick up 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 y ou want to get a full essay, order it on our! website: OrderCustomPaper.com

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