Prelim Post Production Blog

   To acces the footage on Final Cut Pro how have to check the raw film footage from the Final Cut Server. When you have done this the raw video will be accesible for Final Cut Pro.
      After shooting the prelim task we had to edit the footage and make it as continous as possible. To do this we had to cut the different shots accuratly and put them together to make it seem as seemless and continous as possible. Match on Action is a technique where you would have two shoots both showing the same thing, you would then cut these together as accurate as possible. This helps creates an effective shoot. When editing we choosed our favourite shots and put them in a new list.
   We then loosly followed the storyboard but added in a few extra shots (i.e. extreme close-ups and establishing shot).
    Cross-cutting is a technique which conveys an undeniable spatial discontinuity. It can be achieved by cutting back and forth between shots of spatially unrelated places. In these cases, the viewer will understand clearly that the places are supposed to be separate and parallel. So in that sense, the viewer may not become particularly disoriented, but under the principle of spatial continuity editing, crosscutting is considered a technique of spatial discontinuity.


   






Temporal discontinuity can be expressed by the deliberate use of ellipses. Cutting techniques useful in showing the nature of the specific ellipses are the dissolve and the fade. Other editing styles can show a reversal of time or even an abandonment of it altogether. These are the flashback and the montage techniques, respectively.


  
Match on action technique can preserve temporal continuity where there is a uniform, unrepeated physical motion or change within a passage. A match on action is when some action occurring before the temporally questionable cut is picked up where the cut left it by the shot immediately following. For example, a shot of someone tossing a ball can be edited to show two different views, while maintaining temporal continuity by being sure that the second shot shows the arm of the subject in the same stage of its motion as it was left when cutting from the first shot.