Also recognized as creating shot or cover swarm. A shot that ordinarily serves as a foundation for (and also normally begins) a sequence by showing the location of occurring action. Although generally a long shot or excessive long swarm, a grasp swarm may also be a medium shot or close-up that has a sign or various other cue to recognize the location. Master shots are likewise called cover shots because the editor deserve to repeat them later in the film to remind the audience of the place, for this reason "covering" the director by preventing the should reshoot.

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A reduced that preserves con tinuity in between 2 shots. Several kinds of enhance cuts exist, including the eyeline enhance reduced, the graphic match reduced, and also the match-on-activity reduced.
A match reduced in which the activity proceeds seamlessly from one shot to the next or from one cam angle to the next. Compare eyeline match cut and graphic enhance reduced.
A match cut that joins swarm A (frequently a point-of-watch shot of a character looking offdisplay screen in one direction) and shot B (the perboy or object that the character is seeing). Compare graphic enhance reduced and also match-on-activity reduced.
Also called crosscutting and intercutting, although the 3 terms have actually slightly various meanings. The intercutting of two or more lines of action that occur all at once, a really familiar convention in chase or rescue sequences. See also crosscutting and also intercutting. Compare separation screen.
One of the most widespread and familiar of all modifying trends, consisting of parallel modifying (crosscutting) between shots of various personalities, commonly in a conversation or confrontation. When used in continuity editing, the shots are commonly framed over each character"s shoulder to keep screen direction.
The removal of a portion of a film, causing an instantaneous advance in the activity - a sudden, possibly illogical, frequently disorienting ellipsis between two shots.
Transitional tools in which a shot fades in from a black area on black-and-white film or from a shade field on color film, or fades out to a babsence area (or a color field). Compare disresolve.
Also well-known as lap dissettle. A transitional gadget in which shot B, superimposed, progressively shows up over swarm A and begins to relocation it at midsuggest in the change. Dissolves commonly suggest the passing of time. Compare fade-in/fade-out.
A transitional device between shots in which swarm B wipes throughout shot A, either vertically or horizontally, to relocation it. Although (or because) the tool reminds us of early on eras in filmmaking, directors proceed to use it.
Optical wipe impact in which the wipe line is a circle; called after the iris of a video camera. The iris-in begins through a little circle, which expands to a partial or complete image; the iris-out begins with a large circle, which contracts to a smaller circle or total blackness.
A gadget for presenting or reawakening the memory of the video camera, a character, the audience - or all 3 - in which the action cuts from the narrative current to a previous occasion, which might or may not have already showed up in the movie either straight or with inference. Compare flashforward.
A tool for presenting the anticipation of the video camera, a character, the audience - or all three - in which the action cuts from the narrative current to a future time, one in which, for example, the omni scient cam reveals directly or a character imagines, from his or her suggest of see, what is going to occur. Compare flashago.

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1. In France, the word for editing, from the verb monter, "to assemble or put together." 2. In the former Soviet Union in the 1920s, the assorted creates of modifying that expressed principles developed by thinkers and also filmmachines such as Sergei Eisenstein. 3. In Hollylumber, beginning in the 1930s, a sequence of shots, frequently via superimpositions and also optical effects, showing a condensed series of occasions.
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