slow motiton is used from the beggining to to middle of the clip this slow motion gives it a good effect because when the troops stop it turns to real time and gives it a good and a suspenstion for the audience.
most of the fast motion is for the killings the troops do e.g. when the sward goes into the man on the horse the sward is in fast motition that the audience dont see it untill it has reached the man and he is in fast motition when he hits the floor which lets the audience that it was a quick death.
most of this clip is filmed in a long shot which lets the audience see every thing in which is going on.
Thursday, October 14, 2010
Transition Type
this information is from chris site
Transitions, eg cut (jump-cutting), dissolve, fade, wipe. Purposes of storytelling (engaging the viewer, providing and withholding information, development of drama, relationship to genre); combination of shots; 180o rule; creating pace.
.Fades the shot to a single colour, usually black or white. The "fade to black" and "fade from black" are ubiquitous in film and television. They usually signal the beginning and end of scenes.Fades can be used between shots to create a sort of crossfade which, for example, fades briefly to white before fading to the next shot.Crossfades have a more relaxed feel than a cut and are useful if you want a meandering pace, contemplative mood, etc. Scenery sequences work well with crossfades, as do photo montages.One shot is progressively replaced by another shot in a geometric pattern. There are many types of wipe, from straight lines to complex shapes.Wipes often have a coloured border to help distinguish the shots during the transition.Wipes are a good way to show changing location.
Transitions, eg cut (jump-cutting), dissolve, fade, wipe. Purposes of storytelling (engaging the viewer, providing and withholding information, development of drama, relationship to genre); combination of shots; 180o rule; creating pace.
.Fades the shot to a single colour, usually black or white. The "fade to black" and "fade from black" are ubiquitous in film and television. They usually signal the beginning and end of scenes.Fades can be used between shots to create a sort of crossfade which, for example, fades briefly to white before fading to the next shot.Crossfades have a more relaxed feel than a cut and are useful if you want a meandering pace, contemplative mood, etc. Scenery sequences work well with crossfades, as do photo montages.One shot is progressively replaced by another shot in a geometric pattern. There are many types of wipe, from straight lines to complex shapes.Wipes often have a coloured border to help distinguish the shots during the transition.Wipes are a good way to show changing location.
Tuesday, October 12, 2010
Editing styles and conventions!!
most of the montage comes from the French, soviet and from Hollywood
Film Noir (literally 'black film or cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres following the war, such as The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Fear, mistrust, bleakness, loss of innocence, despair and paranoia are readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs.Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960 (marked by the 'last' film of the classic film noir era, Orson Welles' Touch of Evil (1958)).
What is classical Hollywood style? Everyone has observed classical Hollywood style, but upon trying to explain what it is, we usually come up short. When trying to find examples of this style, the movies that stay within this style do not stand out in our minds. It is the movies that break these conventions that are the most obvious examples to us. It seems strange that an idea, which was brought about nearly a century ago, to tell a story with moving pictures, could still hold such power and prominence today in modern film. This style was brought about to tell as believable a story as possible. Creating a realistic world and telling the story through an invisible lens to entertain an audience. Classical Hollywood style is sometimes refereed to as the invisible style. This can be misleading because it is not so much that the style is invisible, with good observation anyone can notice it, it is a style that lends to smooth story telling. This style draws the audience into the story making them feel like they are taking part in the story. A movie that has poor editing distracts the audience and pulls them outside the story.
There are many ways of effecting that transition, some more evident than others. In the analytical tradition, editing serves to establish space and lead the viewer to the most salient aspects of a scene. In the classical continuity style, editing techniques avoid drawing attention to themselves. In a constructivist tradition such as Soviet Montage cinema, there is no such false modesty. Vertov's Man with the Movie Camera (Chelovek s kinoapparatom, USSR, 1929) celebrates the power of the cinema to create a new reality out of disparate fragments.
Film Noir (literally 'black film or cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres following the war, such as The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Fear, mistrust, bleakness, loss of innocence, despair and paranoia are readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs.Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960 (marked by the 'last' film of the classic film noir era, Orson Welles' Touch of Evil (1958)).
What is classical Hollywood style? Everyone has observed classical Hollywood style, but upon trying to explain what it is, we usually come up short. When trying to find examples of this style, the movies that stay within this style do not stand out in our minds. It is the movies that break these conventions that are the most obvious examples to us. It seems strange that an idea, which was brought about nearly a century ago, to tell a story with moving pictures, could still hold such power and prominence today in modern film. This style was brought about to tell as believable a story as possible. Creating a realistic world and telling the story through an invisible lens to entertain an audience. Classical Hollywood style is sometimes refereed to as the invisible style. This can be misleading because it is not so much that the style is invisible, with good observation anyone can notice it, it is a style that lends to smooth story telling. This style draws the audience into the story making them feel like they are taking part in the story. A movie that has poor editing distracts the audience and pulls them outside the story.
There are many ways of effecting that transition, some more evident than others. In the analytical tradition, editing serves to establish space and lead the viewer to the most salient aspects of a scene. In the classical continuity style, editing techniques avoid drawing attention to themselves. In a constructivist tradition such as Soviet Montage cinema, there is no such false modesty. Vertov's Man with the Movie Camera (Chelovek s kinoapparatom, USSR, 1929) celebrates the power of the cinema to create a new reality out of disparate fragments.
Tuesday, October 5, 2010
Editing styles and conventions.
There arer different styles of montage ecspecially with the french, soivet and Hollywood
Monday, September 27, 2010
Cutting Edge
When films were first introduced the french never used to edit so their film would be based on peoples life and surroundings which people liked to watch. The french would only stop filming when the film ended or they got bored.
The editing started with a French man who edited a filmed with a house on fire this film was edited which people thought was strange how one scene would be of a woman trapped in a house and the next was of the firemen.
Eisenstein created Battleship Potemkin which in the film the untouchables took with the pram falling down the stairs.
some film makers use film's to make people join the Revelations as in Russia and other times when their was war.
When editing first really started they used a machine called a 
Moviola which people used to call it a sowing machine. The first ever people to edit were woman the reason was for this was because editing was like knitting which was the reason for woman to edited. Men came into the picture when they started to use audio.A two hour movie would have over 200 hours of film, thousand shots in a whole film and 1-24 in 30 seconds.
A director know as Lev Kuleshov used juxtaposition of an Italian man showing the same expression and three different shots of a bowl of soup, a woman crying over her dead husbands coffin and a child cuddling a teddy bear editing this together it gave three different expressions on what the man was feeling even though the expression was the same.
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