LO3: Editing

 Unit 1 LO3: Editing

Editing - The effects (visual and audio), cuts (between shots) and transitions (between scenes) which happen in post-production where every shot and scene is spliced together.

Examples of Editing are:

• Cross cutting
• Transitions
• cuts 
• VFX
• SFX
• Special Effects/CGI 

Editing Is what allows the audience to understand the narrative which:

• Takes out footage that isn't needed
• Arranging footage to create a narrative
• Applying SFX and transitions

Post Production Techniques

Continuity Editing is editing that is continuous to create a narrative for the audience to understand. It appears to be invisible due to use of cuts (audience doesn't realise that cuts progress scenes and story). 

This is shown in Todorov's Theory: equilibrium - enigma - enigma is acknowledged - attempt at repair - new equilibrium. 

Side note - high angle on a character who is (by way of sound) acting dominant connotes that they aren't actually dominant in a juxtaposition. A tracking shot which moves backwards (backwards tracking shot) to follow the character as if the audience/camera is stepping back connotes subordination and immerses audience and is often used in shot reverse shot structure to put the audience in another character's perspective.

Women who challenge gender stereotypes, like Sofia in John Wick 3, is an example of post feminism which challenges a patriarchal society which would be represented by a character like John. Common stereotypes associated with POC are challenged to display post colonialism. 

All editing must contain at least two shots.

SACIE

Shot Reverse Shot Structure

Action Match

Cross Cutting

Insert Shot

Eye-line Match

Shot Reverse Shot Structure - Juxtaposes two images in order to create a link between them such as conversation. This could be juxtaposed with an antagonist speaking to a heroic protagonist (good vs evil). In contrast there is connotations of teamwork between two heroic characters talking together. Likewise antagonist talking to antagonist signifies evil teamwork. These are also used in car chases (such as during the last third of John Wick 3 where John is riding a motorcycle whilst fighting the high table. Over the shoulder shots are common in shot reverse shot structure to put the audience in that character's perspective. The quicker the cuts and closer (close ups) the camera is to the characters, the higher the tension. Angles (between high and low) may shift as the power shifts.

Action Match - 1 action over more than 1 shot (the action/movement goes over 2 or more shots). This is to create spectacle. An action match is used when an action begins in 1 shot and finishes in another to disguise the use of a cut. This is seen in The Matrix where a character runs onto a wall in one shot, flips, continues the flip in the next shot and completes the flip in the next. This is to signify the capability of the character as agile (dodging bullets in the scene). Furthermore, this character is female to challenge female stereotypes in an action setting (an ideal self/partner).  

Cross Cutting - Requires 2 shots where we cut from one location to another location at the same time to give the impression of 'meanwhile'. Cross cutting from a protagonist to an antagonist, conflict/good vs evil is connoted. If there's a cross cut from protagonist to another main (ally) character then the connotation is teamwork. 

Insert Shot - A wide shot which cuts to a close up of something in the shot like a prop. This signifies a prop's importance in the scene or overall narrative. In the case of a prop which is centric to the narrative may be an example of iconography such as the marker in John Wick 3.

Eye-line Match - Where a character looks at something and the camera cuts to what they're looking at. This is to create empathy with a character through seeing through their eyes. This assists in ideal self and can be used for tension or to put emphasis on something.  

SACIE in John Wick Chapter 3

Shot reverse shot - During the horse stable fight scene, a shot reverse shot structure is used between John and another assassin as when he recovers from the floor a low angle is used to return the power shift back to the assassin however, his gaze is bewildered as the camera cuts to John looking back at him with the same low angle but a fierce and determined expression (reflective of a patriarchal society where men are all in control and hide emotion) and the power shifts straight to John where he hits the horse he stands by so it kicks the assassin, eliminating him. A shot reverse shot structure is used once again when John and Winston finally meet again after Winston marked John for death. Following later scenes and John Wick 4: Winston and John are companions however, this scene creates an impending enigma with John entering Winston's domain whilst they're still enemies (Winston taking the antagonist in the scene). The use of a wide-over the shoulder shot is present only when the shot switches to Winston speaking. This places the audience more in John's perspective and the less clear view of Winston builds tension. In juxtaposition the shots of John are medium close-ups which denote John's fierce and blunt expressions (stereotypical of a male in action) and connote that he's got no tricks up his sleeve due to the clear view in comparison to Winston. The significance of this shot reverse shot is representative of Todorov's narrative structure: John now at the point of climax where he is at the attempt at repair, meeting the enigma which denounced him excommunicado (marked for death) to finally deal with him. 

Action Match - Action match is also used in the stable scene where John can be seen (by way of low angle) attaching a lead attached to a horse onto an assassin's neck in one shot and then climbing onto the horse, riding off and dragging him across the floor which occurs over 4 shots to create spectacle, especially as the man is launched into a stable door. Another action match is used in the scene where Sofia and John are escaping Casablanca where an enemy grabs Sofia in one shot and throws her to the floor, and the rest of her fall and landing happening in the next shot in culmination with a low angle of the enemy to signify the shift in power. Fortunately this is almost immediately followed with the enemy and their friend being attacked by Sofia's dog with a low angle of her now recovered and shooting them while they're down. However, the action match represents a patriarchal society and enforces stereotypes as a male physically overcomes a female and a low angle makes that action seem more dominant. However, this is retracted when Sofia recovers in another action shot, the first showing her getting halfway up and the next showing her full recovery with another low angle and her shooting the enemies therefore, representing a post feminist society. This challenges the damsel in distress trope as initially the audience is led to believe that John will have to save her as she is taken down by another man however, Sofia saves herself (with assistance from her dogs) and defeats the man and even his companion which attempts to also take down Sofia; this heavily challenging female stereotypes in an action setting.

Cross Cutting - Once again in the stable scene, John has just rode off on a horse but a two shot is used to show two biker assassins (by the stable) nodding at each other (to connote teamwork) and riding off to pursue Mr. Wick. The camera cross cuts again back to John riding; this creates enigma as John will now be pursued by two more people both working together as tension builds. Another cross cut is used in a setting which challenges female stereotypes heavily due to the shallow depth of field, hiding John and Winston whilst the Adjudicator is in focus with a blunt expression. She pulls out her phone in a medium close up which transitions to the office area where the woman on the other side of the line picks up for the Adjudicator to command them due to her position in the high table. Similarly to Sofia, the context that the Adjudicator is in harkens to Damsel in distress. The wide shot showing her in front of two very powerful, men (one being the heroic protagonist) who are against her in the narrative. A shot reverse shot used before this phone call to demonstrate the juxtaposition between good vs evil in the narrative between her and Winston and John. However, this trope is challenged as she is the one in control despite the situation due to her position in the high table. 

Eye-line match - An eye-line match is used when there is a high angle of Zero as Charon tells him to stop proceeding a low angle of him pointing a gun in an over the shoulder shot at John Wick. The camera cuts to a low angle of Charon alongside another over the shoulder shot with Zero to put the audiences perspective in him. Charon's language and the use of a low angle connotes a shift in power from Zero being in control but now Charon taking control of the situation, further signified by the low angle, only with his voice therefore, challenging racial stereotypes. Another eye-line match is used when Sofia looks up to Barrada (in a low angle to show her lack of power, being literally on the ground) this followed by an over the shoulder-shot with the audience watching from Sofia's perspective, forcing a low angle to connote Barrada in power as he talks down to Sofia. Furthermore, this connotes a patriarchal society, especially with the emotion that Sofia displays being stereotypical of women whilst John remains stoic. 

 

Insert Shot - An insert shot is used in a wide shot of Barrada talking to John and Sofia about Sofia's dog. Within this shot Barrada opens a box and reaches his hand into it; what follows is a close up (with a zoom in like cut) of Barrada grabbing a gun from that box. The enigma of this is present in the wide shot where a low angle signifies his position of power in this scene; the location furthering this with it being his home filled with armed guards which heightens the stakes and tension for the audience, this low angle connoting that something bad is coming. Finally the gun is grabbed with a high angle to even show Barrada's power over the handgun, furthering male stereotypes in a patriarchal society with him being an ABC1 male in a position of power as an antagonist. Later in the scene there is a wide-two-shot where Sofia says 'he shot my dog' whilst Barrada is at her mercy on the ground and John is blurred in the background (connoting a strong position of power for Sofia, being in focus over John). The camera then cuts to a medium close-up of John saying 'I get it'. The effect of the insert shot giving even greater emphasis to the quote which has major story significance (John's dog being killed in the first film).