Shot Film Editor

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Dialogue-heavy moments of character interaction can quickly bog down a film's pacing. Energize those situations with a cinematic shot reverse shot.

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Early in history of cinema, filmmakers learned that standard two shots of character interaction could get boring pretty quickly. Many realized that they could push a film's pacing along by changing shots intermittently during these moments, leading to the creation of the classic shot reverse shot technique.

What Is a Shot Reverse Shot?

A shot reverse shot is a framing technique used for continuity editing in film or video production. This type of framing, when edited together, gives the audience a sense of continuous action, making it seem as though the scene they're watching is happening linearly in real time. As stated above, this technique became a staple of classic Hollywood. But how do you set it up?

When setting up for a shot reverse shot, you'll want to use a minimum of two cameras. The cameras will rest on one side of the 180-degree line, with each camera focusing on one specific actor. There are several ways to frame this action, with the basic method being an over-the-shoulder shot (like the one above from Casablanca) to establish the presence of the characters.

Moving forward, you can cut to another over-the-shoulder shot for the reaction, or you can frame your second actor tighter. The choice is up to you, obviously. Either way, by capturing the same performance with at least two cameras, the editor has options when cutting the scene together and it's more visually pleasing to the audience.

Now that we know the basics of the technique, let's look at some examples of well-crafted cinematic shot reverse shots.

1. Using Motivated Lighting in Framing

This opening scene from The Godfather showcases an incredible shot reverse shot. What makes this particular scene so amazing is the choice of introductory framing, as well as the lighting. Director Francis Ford Coppola and cinematographer Gordon Willis begin the scene in complete darkness. We hear a voice and then the undertaker is revealed, shrouded by darkness. As he continues to speak, the frame slowly zooms back to an over-the-shoulder shot that reveals Don Corleone.

The undertaker approaches Corleone and whispers in his ear. The two characters nearly cover the frame in complete darkness, which alludes to the nature of the discussion. We move to a more traditional setup as the scene progresses, but this introduction is a great example of how to use a shot reverse shot to establish the mood and tone of both a scene and an entire film.

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2. Creativly Capturing a Single Actor Conversation

In 2002's Spider-Man, we watch Norman Osbourne have a conversation with his alter ego, the Green Goblin. Can you send files via bluetooth from android to iphone. Director Sam Raimi and cinematographer Don Burgess used a mirror to capture a two-way conversation that featured only one actor. The scene begins with Osbourne hearing voices. He sees his reflection in the mirror. The Green Goblin alter ego walks toward the frame. This is broken with the reveal of Norman walking toward the mirror to complete the opening over-the-shoulder shot.

We move to a shot reverse shot where the rest of the conversation takes place in opposite angles of the mirror's reflection, the camera slowly tracking into a tighter shot. By utilizing this framing, the audience gets a sense that Osbourne isn't just having a conversation with himself — but with the manifestation of his alter ego. It's an effective and creative way of capturing a shot reverse shot with a single actor.

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3. Composing the Frame With Motivated Movement

In this scene from The Dark Knight, we get a fairly straightforward shot reverse shot. However, the key to this scene is the movement of the camera. Gordon and the Joker are situated in the shadows. The camera slowly tracks in as the conversation moves along and the tension between Gordon and the Joker intensifies. But the key takeaway here is that the camera movement is smooth, implying that things are under control.

That all changes with the appearance of Batman. At first, the scene sticks with a standard shot reverse shot — but the camera becomes more active, implying to the audience that the very idea of control is beginning to fade. During the final section of the scene, the shot reverse shot moves tohandheld, and the camera's movements become even more active. This (along with the swelling music) highlights that the Joker, an agent of chaos, has gotten to Batman, affecting him emotionally and mentally. This is the mark of using motivated movement to perfection.

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4. Changing the Frame Without Moving the Camera

While the whole of The Wolf of Wall Streetis an incredibly insane ride, one scene arguably stands out above the others: the meeting between Jordan Belfort and Mark Hanna. Martin Scorsese creates a sublime example of the classic shot reverse shot technique. He places the characters on opposite sides of the frame to allow for a smooth conversation.

However, Scorsese changes things up in the framing. In the beginning of the scene, the shot of Hanna is fairly wide, giving the viewer a sense of the surroundings. Then Hanna leans in, and without even moving the camera, Scorsese crafts a close-up shot. Using this technique instead of dollying in helps retain the wide scope of the background action while keeping the audience at the same distance to Hanna as Belfort, placing them at the table, privy to the conversation.

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5. Effectively Using the Dutch Angle

The shot reverse shot is traditionally the go-to technique for making conversations flow and seem genuine — but sometimes the script calls for a break with convention, especially when filming a scene for a thriller like Mission: Impossible.

While director Brian De Palma does utilize standard coverage for the scene, the conversation starts with a harsh dutch angle. By using the dutch angle to frame the shot reverse shot, De Palma mirrors the feelings of Ethan Hunt as he discovers that his whole world is being turned upside down. What makes this shot reverse shot even more effective is the fact that Kittridge's angle begins leveling out into a standard frame while Hunt remains in the dutch angle. This is a great example of using off-axis framing to capture a character's escalating emotions and internal drama.

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What are your favorite shot reverse shots? Show us in the comments below! https://cocastnata1976.mystrikingly.com/blog/free-picture-apps-for-mac.

Fade In: A Brief History of Editing

Before Editing

But the very earliest filmmakers were afraid to edit film shots together because they assumed that splicing together different shots of different things from different positions would simply confuse audiences.

Even the middle ages had its version of editing, as this church altarpiece by Hugo van der Goes, The Portinari Altarpiece (ca. 1476), shows. The piece gets you from one scene to the next via simple cuts. Android phone simulator.

Shot: The basic temporal unit of film photography and editing. A shot consists of the celluloid used from the moment a camera begins rolling on a scene to the moment it stops.

Sequence: A number of shots edited together and unified, either through the plot, the character(s), the time and/or space, or the theme. Imovie guide for ipad.

Rescued by Rover (Great Britain, 1904) and The Great Train Robbery (1903).

Griffith and Beyond

Did you know that the first real film school in the world—the Moscow Film School—was founded as a propaganda device? Lenin knew early on that the cinema was going to be an important ideological tool for communicating ways of seeing the world. Lenin's way—Marxism—was so controversial in the early part of the century that the United States and Western Europe blockaded Russia after that country's communist revolution.

Intolerance Goodsync 5 3 7 – backup and file synchronization software. (1916) over and over again in order to use Griffith's techniques for the films of its students. One of the most notable of the Soviet directors of this era was Sergei Eisenstein, who transformed the principles of classical editing into something more consciously intellectualized he called montage.

The first rigorous use of the term is by Soviet filmmakers like V.I. Pudovkin and Sergei Eisenstein, who saw montage principally as a useful propaganda film tool. Montage was a way to put together a number of shots, more or less quickly, in a manner that pointed out a moral or an idea. In Charlie Chaplin's Modern Times (1936), a shot of a faceless, crowded group of men emerging from a subway on their way to work is followed by a shot of a herd of sheep being led to slaughter. There is one black ram in the middle of the herd. We immediately cut back to Charlie emerging in the midst of the crowd: the one black sheep in the fold.

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Some filmmakers chose to minimize editing, seeing it as the 'death of 1,000 cuts' for realism. For example, though some documentarists saw editing as a way to make their anthropological visions appear more interesting, others saw minimal intrusion as the more authentic way to go. Other documentary styles emerged in which editorial intervention was minimal, if never entirely absent.

Montage is a confusing term because, like love, it means different things to different people. In Hollywood it most often simply means a number of shots edited quickly together in order to form a brief impression of a character, place, or time. The Madonna musical number 'Back in Business' in Dick Tracy (1990) underscores a visual montage of several quick shots of gangsters engaged in various illegal rackets: gambling, robbery, and so on. This montage simply conveys the idea that a lot of illegal activities are going on in a compressed time.

Short Film Editor

In the 1930s, Jean Renoir's films were filled with shots of long duration. The best examples are probably Grand Illusion (La Grande Illusion, France, 1937) and Boudu Saved from Drowning (Boudu Sauv Des Eaux, France, 1932). The subsequent movements most associated with less emphasis of montage are Italian neorealism and the French Nouvelle Vague (New Wave) and cinma verit.

The laws of gravity and insurance prevent most contemporary he-man stars from performing a tenth of the feats the very small Keaton performed, which is one reason that action sequences tend to be so heavily edited. Harrison Ford and Arnold Schwarzenegger could not—even if they had the skill—have a house fall on them, leap around on top of a moving train, or actually tumble head-over-heels down a hill. The feats that the he-men seem to do in their films are, most of the time, special effects. While also a master of editing effects, Keaton was very careful to make sure the camera continued cranking and focusing on him when he took real chances.

Even in an era of incredibly advanced special effects, some filmmakers are still enamored of the photographic realism in sustained shots. Perhaps the most conspicuous is Jim Jarmusch, who will hold his camera on his subjects for an agonizingly hilarious amount of time.

The unkindest cut of all: editing and censorship. Films can and have traditionally been censored even after release simply by cutting out anything deemed unsavory. In the first three decades of film, even individual American cities routinely cut out parts of films with overt sexual content or controversial subject matter.

Excerpted from The Complete Idiot's Guide to Movies and Film © 2001 by Mark Winokur and Bruce Holsinger. All rights reserved including the right of reproduction in whole or in part in any form. Used by arrangement with Alpha Books, a member of Penguin Group (USA) Inc.