![]() If you don’t have access to this, go back to Step 5.14 where we’ve provided some advice. You might like to relate any of these ideas to films you know well and share your thoughts with your fellow learners.įor this task, you will need video editing software. The editor can even change our perception of physical space through the choices they make. ![]() The editor has the ability to restrict what the viewer is seeing or expand what is shown to give us information withheld from characters onscreen. We can jump about in time or even be presented with two time periods simultaneously. As viewers, we are used to filmmakers filling backstory or showing sequences out of order for dramatic effect. Stories need not always be told in the order in which the events occur. The viewer takes for granted that sequences will compress or expand time (taking out the boring bits or holding a moment for the purpose of suspense). Very few film narratives run in real time. Like the screenwriter and the director, the editor has the ability to play with time and space and to change the way the story is told. In particular, the process of editing in film plays with time and space. Think of the light and movement that best works forĪ commonly held view of the job of an editor is that they are a technician who simply assembles the film from someone else’s plan, but the creative role of the editor in deciding how the footage can be put together to tell the story is crucial. Here you have four separate lights to work with as you plan blocking for the rest of your scene. The detective stands in the front of the room, his chiseled face revealed then hidden in the rhythm of the neon sign. "I may have been followed," she says and goes to the back window where beautiful soft moonlight illuminates her face. She steps in, still shrouded in darkness. The detective opens the door and the light from the hallway continues to back-light the mysterious figure. There's a knock, he rises, his office door is frosted, we see the name of his detective agency in reverse, and the silhouette of a person standing in front of it. There's a bumping sound then a directional desk lamp flips on, creating a sharp, narrow pool of light, revealing the detective, who was asleep on his blotter, an empty whiskey bottle next to him. From the front of the room a neon sign flashes red lights through the window. Imagine a seedy detective's apartment, at night. It’s an opportunity to sit down and roll the movie projector in your head, imagining what your film will look like on the screen. ![]() Using a shotlist is a great way to improve the planning of your film. Shot lists also help with organisation and a great way to avoid missing filming key shots. Though simple lists of shots don't let you pre-test potential setups, they do allow you to systematically verify that you are covering every angle you need. Often shot lists are just quick notes that help you remember everything you need in a particular sequence. Think of a shot list as the writing on a storyboard, without the pictures. A shot list is a list of every shot in your film from beginning to end.
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