Assignment #3:

Make a 2-5 minute short film using two shots edited together to imply a relationship between two simultaneous occurrences. You can use any of the techniques discussed in class such as the Cutaway/B-Roll, the Eyeline match, or split screen, but it must be edited from ONLY TWO shots.

Directions:

• Storyboard 1: sketch your two shots

• Storyboard 2: outline the sequence of edits

• film your two shots

• bring your tape and storyboards to class on 2/26

• the critique will be the following week on 3/5

On February 26^th there will be a demo on creating titles and editing transitions.

Definitions:

B-roll: This technique of using the cutaway is common to hide zooms in documentary films: the visuals may cut away to B roll footage of what the person is talking about while the A camera zooms in, then cut back after the zoom is complete. The cutaway to B roll footage can also be used to hide verbal or physical tics that the editor and/or director finds distracting: with the audio separate from the video, the filmmakers are free to excise "uh"s, sniffs, coughs, and so forth. Similarly, a contextually irrelevant part of a sentence or anecdote can be removed to construct a more effective, to-the-point delivery. This can also be used to change the meaning of the speaker to fit the view of the producer. In fiction film, the technique can be used to indicate simultaneous action or flashbacks, usually increasing tension or revealing information. (Wikipedia)

Cutaway: the interruption of a continuously filmed action by inserting a view of something else. It is usually, although not always, followed by a cutback to the first shot.

Parallel Action: Aspects of a story happening simultaneously with the primary performer’s situation, edited so that the projected image goes back and forth between the primary and secondary scenes (often leading up to a convergence of the two actions).

Eyeline match: The eyeline match begins with a character looking at something off-screen, there will then be a cut to the object or person at which he is looking. For example, a man is looking off-screen to his left, and then the film cuts to a television that he is watching. (Jeremy G Butler, Television: Critical Methods and Applications)