Speed of Editing
For example the speed of editing gives the audience an effect of involvment with the film. For example in a action film the speed of editing will be fast to make the shot look more action packed. But for a romantic film the shopts will be editied slowly and the shots will have a longer duration than of an action shot.
No Editing
Some Film's have no editing at all. This can be very successful if done properly but it can go terribly wrong and can be a big time consumer. A film which has not edits and is one shot the film "Russian Ark". Throughout this film the camera is on the move following actors and the actors must kjnow there positions well enough to see the project through. If something goes wrong duriong the film, they would have to start again from the begenning. But is was successful due to a 96 minute steadycam sequence shot.
Trailers
Trailers are a very big part of the Movie business. This is because trailers allow people to see what the film looks like, what type of film it is etc without the whole film being shown. To make a trailer successful most directors and editors use montage's by collecting different parts of the film and put together at once to create a trailer. A good example of this is the film "The Man in Iron Mask".
Opening of films
The Opening of films is a very important aspect in which the director would want to get perfect. Usually opening shots make the film seem good or bad in the eyes of the audience watching. Many different types of methods are used to make the opening scene of a film good and up to the directors standards. again we have a example of saving private ryan, where the opening scene has made cinema history.
Slow to fast editing
Slow to fast editing is a very good way to build tension in and out of shots, and leading up to shots. To start of slow it builds the tension and then to switch to fast editing ends the tension and the action begins. An example of this is from a scene of the classic film "The Good, the Bad & the Ugly". This works very well because during the scene they are about to have a dual and the build up to it is a slow edit until it gets faster and faster making it more exciting to watch.
Editing techniques
There are many editing techniques in which editors use to create a smooth bridge inbetween different scenes, examples of this are, Dissolves. Dissolves is when the end of a scene dissolves qand another scene appears.
A film in where this method is use can be seen from "Citizen Kane". Also there is an effect called wipes when the shot wipes of the screen. A textbook example of this is from a scene from "Star Wars".
Graphic Match
A Graphic Match as i mentioned before is rarely used and when it is it can be astonishing. A Graphic match is when an object/person switches to something else. For example in the beggining of the film "2001: A Space Odyssey".
Action sequences
This is when sequences are put together to thrill the audience the scene in murder scene in 'psycho' is a action sequence. Here it is below.
Jump Cuts
A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit gives the effect of jumping forwards in time. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. Here is an example of jump cuts in 'A bout de Souffle'.
Eye-Line Match
Eye Line Match is based on the fact that the audience will want to see what the character on-screen is seeing. For example if the character is looking up in the sky but we as the audience wont see what they are looking at until the next shot goes onto it, This is what a eyeline Match is and used a lot in making and editing films.
Montage
A montage is when a editor puts clips together to make a fast packed bunch of scenes in a short amount of time.
Here is an example of a soviet montage, called Sergei Eisenstein strike and battleship Potemkin.
Match on Action
A match cut, also called a graphic match (or, in the French term, raccord), is a cut in film editing between either two different objects, two different spaces, or two different compositions in which an object in the two shots graphically match, often helping to establish a strong continuity of action and linking the two shots.
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