Creativity within Motivation: - Shot motivation is included when one shot is motivating another shot. Action in a shot can imply different kinds of action within a subsequent shot or call for it. - When a certain unit of action is demanding some sort of responsive action from a subsequent shot, we feel a provocative force driving the narrative forward. - Filmmakers tend to agree on the point of all shots, whether they are static or moving, this can cause motivation. Many filmmakers and editors would allow themselves full commitment by committing further and most directs such as David Mamet make sure every shot drives the action within a scene forward, along with the overall narrative. - A lot of filmmakers tend to view shot variation as a crucial mechanism for keeping viewers, watchers engaged in what is going on within a scene or even the overall movie.
How do they correspond with each other? Shots in sequences through a scene can be assembled by the editor which will often determine by the genre. For example, in a drama genre film an editor may start with a wide shot to show focus on proxemics. This is the distance between two people who have become emotionally estranged from one another. With the dramatic beat of a certain scene being determined as maybe one of the most dramatic moments in an ensuing argument, the editor would tend to work towards this by using a medium coverage angle, shot. This will then allow the audience to experience the tension arising that the characters themselves are feeling. However, with the action adventure genre in the film the editor may feel the need to keep altering between shots of the action and get closer coverage allowing more detail towards the actions and responses in which the characters are feeling. For example within a chase scene a vast range of shots will be used to inter cut with closer coverage of the main characters and their actions responding to the changing strategic and dynamics within the chase. Whereas, within a horror genre film, the director can decide to elect to stay wide on the action to then be able to isolate a vulnerable character. The editor may use a long lasting take, this therefore resisting the option of cutting to a complete new angle, lingering on the action within the same shot size to create some sense of stillness within the shoot. The relationship to the genre is clear through the conventions which are used within each genre.
Continuity: What is Continuity? - Continuity editing is the dominant style of film editing in the western world and most cinematic cultures around the rest of the globe. - Its purpose is to 'smooth' over the essential discontinuity of the process of editing and to establish a logical coherence between sequences and the constitutive shots from which they are composed. - The act of cutting represents a detraction from the continuous progression of a piece of action in real time. -Removing or adding frames condenses or expands the time of the original action. - If we cut from one angle to another there is a noticeable break from the continuous action of the first take to the new shot. - The task of the continuity editor is to reduce that notice ability, so that the viewer's immersion in the story is under disturbed. - Continuity editing is a process which attempts to make deviations from the continuous real time action of a single stretch of footage as inconspicuous as possible. - Editors achieve logical coherence by cutting to continuity where the emphasis is on smooth transitions of time and space.
Seamless: What is Seamless? - When an editing style is referred to as classic Hollywood continuity editing. This is because one of you its principal aims is to make the mechanics of the editing process invisible to the viewer. - Good continuity editing shouldn't draw attention to itself in any way. The viewer's focus and attention should not be taken away from the action, from the story. This aim of invisibility leads us to the term of reference [seamless]. - To be seamless, cuts should take on an invisible quality about them, the viewer should not notice them. - To be seamless continuity in terms of all elements of mise-en-scene and all elements of action in the frame should be preserved perfectly from one clip or take to the next across the cut. - Any mise-en-scene element such as the position of figure or object changing wrongly across cut breaks continuity and leads to editing which is not seamless. - Any unit of action hat doesn't match properly across a cut also breaks continuity and this again leads to editing which is not seamless. - Breaking the 180 degree axis rule - or any of the associated rules will also result in continuity issues and undermine the goal of invisible editing. Here is an example of Seamless Editing:
What does Camera coverage refer to in film making? - the amount of footage shot - different camera angles used to capture a scene Master shot: - This is a recording of an entire dramatised scene, from start to finish. - It is usually a long shot, filmed from an angle that keeps all the players in view. - Sometimes performs double functions as an establishing shot, a shot which establishes the context for a scene by showing the relationship between its important figures and objects. - This is usually the first shot which is checked of a scene and is also known as the foundation of the camera coverage. Master and Coverage: - Even though the Master is part of the overall coverage, directors often refer to [Master] and [Coverage], making a distinction between the Master shot and all the other closer shots which are used to capture parts of the scene. Master & Coverage - In film, a MASTER SHOT is a recording of an entire dramatised scene, from start to finish. - This tends to usually be a long shot, which is filmed from an angle that keeps all the players in view. - This sometimes performs as a double function as an establishing shot, a shot which establishes the context for a scene by showing the relationship between its important figures and objects. - Usually, the master shot is the first shot checked off during the shooting of a scene and is the foundation of the camera coverage. Coverage: - Once the Master has been secured, the director usually goes in for close coverage. He or she directs either shots that reveal different aspects of the action. Medium range shots which frame groupings of actors at crucial moments. Closer shots of individuals which capture reactions with intensity. Insert shots of key objects
Shot Reverse shot:
The 180 degree rule uses this as the shots change from person to person using 180 degree rule/ line.
Also is there to be able to take shots of reactions, by shot reversing from Person A and Person B.
With cutting to a soundtrack, often editors arrange cuts such that there is a recognisable synchronicity or synchronicity with the beats and rhythm of a of an accompanying music track. This is referred as cutting to a soundtrack. When an editor arranges cuts so that they are in synchronise with beats and rhythm of anything accompanying it like music, they are said to be cutting to the beat. - This is where the editor will decide which beats deter where the visual cuts happen. In order to grant a fast editorial paced sequence you will have to cut the video clips to the beats of an uptempo piece of music. - An editor might use this technique to build tension or bring added intensity to action. An example of this would be: Jaws -
Soundtrack - An editor may choose to go against what is expected of the beat of a musical accompaniment for effect.
Sometimes the effect may make the two appear asynchronous. The technique enable a director to achieve dramatic irony in the scene, inflecting the unfolding action with new layers of meaning. Director Gus Van Sant elects to represent a fight between two rival groups of male youths in Good Will Hunting by slowing down the motion of the video and cutting at variance to Gerry Raggerty's Baker Street, the music accompaniment. The gentle, melodic, melancholic tones of the track together with the despair of the vagabond existence of its together with the despair of the vagabond existence of its subject contrast with the visuals to suggest the cyclical violence and social degradation of the fighting youths.
Medium range shots which frame groupings of actors at crucial moments. 
