The technique of film editing (1958)

Page scan 000223 from The technique of film editing

Record Details:

Title:
The technique of film editing
Date:
1958
Publisher:
London : Focal Press
Volume:
The technique of film editing
Leaf #:
000223
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
September 05, 2024
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Figure 2. There is insufficient contrast between a and b to make a smooth cut ; a cut from o to c makes a distinct contrast. medium shot. The cut will, in fact, merely be altering the size of the image in such a way that the entire action of picking up the glass (which the close-up cannot show) becomes visible. If the reverse is required, that is to say if a cut from mid-shot to close-up is needed, then there is again a good case for cutting during a movement. Most of the action could be shown in the medium shot and the cut to the close-up delayed until the point in the man's upward movement at which the hand is just entering frame. In such a case, the editor must, of course, match the action of the two shots. The cut will be effective because it will, so to speak, be cueing the hand into the close-up. There is a pictorial reason for the cut because it comes at the precise moment at which the close-up begins to contain all the significant action. Thus it appears that a cut which is made on the end or beginning of a movement, or a cut which is necessary to accommodate a piece of action not visible in the previous set-up, is usually preferable to a cut which fortuitously interrupts a continuous movement. But it must be emphatically stressed that this is not always so. We are here only concerned with describing the various mechanical 219