Editing: Single Camera Mode (Discussion)
- Establishing shot
- Re-establishing shot
- The shot-counter shot editing pattern (also known as "shot-reverse shot")
- Match cut
- Eyeline match
- Jump cut
- 180° rule (see Peter John Ross example)
- Screen direction
- How/when might this rule be broken in a TV program?
- Do a sample decoupage--as explained with a Grey's Anatomy scene--of shots 33-44 from this Chevrolet commercial.
- Each student should start by drawing an overhead view similar to Figure 10.24.
- Each student should be prepared to answer the following decoupage questions from the textbook (p. 272), although you may talk about them in your group:
- How is the scene’s space, the area in which the action takes place (i.e., the car), introduced to the viewer? Does an establishing shot occur at the start of the scene (or later in it)?
- Do these angles adhere to the 180° rule? Can you draw an axis of action? Is screen direction maintained? If not, why is the viewer not disoriented? Or if the space is ambiguous, what narrative purpose does that serve?
- Is an alternating editing pattern used? Is shot-reverse shot used?
- How does the camera relate to the character’s perspective? Are there point-of-view or subjective shots? If so, how are those shots cued or marked? That is, what tells us that they are subjective or point-of-view shots?
- Is match-on-action used? Are there jump cuts?
- How does the last shot of the scene bring it to a conclusion?
- Butler, Jeremy G. Television: Visual Storytelling and Screen Culture. New York: Routledge, 2018.