editing_point of view

Enter de Void 

Breaking Bad

Jaws

editing_shot and reverse

A conventional pattern of editing and camera placement in sequences showing a conversation between two (or more) people. The camera alternates between shots of person A and shots of person B, taken from opposite ends of the axis of action. The camera must move at least 90 degrees between the two shots (in order to move from person A's end of the axis to person B's), while staying on only one side of the figures (that is, one side of the 180 degree line).


Homicide, 1949

Kill Bill II

Fallen Angels

editing_cuts

match cut_ Psycho, Alfred Hitchcock, 1960

jump cut_ City Of God

cross cut_ Francis Ford Coppola, The Godfather (1972)

editing_continuity editing

Continuity editing is a primary style of editing in narrative cinema and television. The main purpose of continuity editing is to make the inherent discontinuity of the editing process and to establish a logical coherence between shots.
In most films, logical coherence is made by cutting to continuity, which makes clear smooth transition of time and space. However, some films take cutting to continuity into a more complicated classical cutting technique, one which also tries to show psychological continuity of shots. The montage technique takes on symbolic association of ideas between shots rather than association of simple physical action for its continuity.

Continuity editing is known as a state of editing in narrative television and cinema. The idea is to create a smooth flowing film and logical coherence through shots.

There are three degrees of continuity that can occur at editing locations: edits that are continuous in space, time, and action; edits that are discontinuous in space or time but continuous in action; and edits that are discontinuous in action as well as space or time. Discontinuities in action had the biggest impact on behavioral event segmentation, and discontinuities in space and time had minor effects. Edits were associated with large transient increases in early visual areas. Spatial-temporal changes and action changes produced strikingly different patterns of transient change, and they provided evidence that specialized mechanisms in higher order perceptual processing regions are engaged to maintain continuity of action in the face of spatiotemporal discontinuities. These results suggest that commercial film editing is shaped to support the comprehension of meaningful events that bridge breaks in low-level visual continuity, and even breaks in continuity of spatial and temporal location.


Casablanca

Rocky

Dead Men Don´t Wear Plaid 

editing_three point system

To edit content into a sequence using three-point editing, you first set edit points in your source clip and sequence, and then you perform the edit. Three-point editing gets its name from the fact that Final Cut Pro needs no more than three In and Out points (in the Viewer and in the Timeline or Canvas) to determine what part of the source clip to place in a sequence. The result of the edit is dependent on which three points are set in the clip and in the sequence.

editing_non-linear/linear editing

Linear video editing (tape to tape) is a video editing post-production of selecting, arranging, and modifying images and sounds in a predetermined, ordered sequence. The only thing you need to take care is the order of editing; you can't go back and forth and edit. You have follow your storyboard and go chronologically. It was the original video tape editing method, before non-linear editing computers became available in the 1990s. These days, many people consider linear editing to be obsolete. This is not actually true. Although non-linear editing is the preferred method for most projects, linear editing still has a place. 

It is simple and inexpensive. There are very few complications with formats, hardware conflicts, etc. For some jobs linear editing is better. For example, if all you want to do is add two sections of video together, it is a lot quicker and easier to edit tape-to-tape than to capture and edit on a hard drive. Learning linear editing skills increases your knowledge base and versatility. According to many professional editors, those who learn linear editing first tend to become better all-round editors.

Non-linear editing completely changes the rules . Instead of building a program in sequence one shot at a time, non-linear systems let you work on any part of a program at any time. Changes that may take hours or even days on a linear system may take nothing more than a few mouse clicks with non-linear. Where linear editing makes you wait for tapes to cue up, non-linear gives you instant access to whatever clip you want, whenever you want it. By transferring the video from raw footage tapes onto hard disks inside a computer. Once inside the computer, the possibilities for manipulating the video literally become endless. 

Non-linear editing differs from linear editing in several fundamental ways: 
_first, video from the field tapes (or whatever the source is) is recorded to the editing computer's hard drive or RAID array prior to the edit session.
_next, rather than laying video to the recorder in sequential shots, the segments are assembled using a video-editing software program like Adobe Premier or Macromedia Director. The segments can be moved around at will in a drag-and-drop fashion.
_transitions (such as dissolves or wipes) can be placed between the segments. Also, most of these programs have some sort of CG or character generator feature built in for lower-thirds or titles.
_the work-in-progress can be viewed at any time during the edit in real time. Once the edit is complete, it is finally laid to video.
_non-linear video editing removes the need to lay down video in real time. It also allows the individual doing the editing to make changes at any point without affecting the rest of the edit.