Tag Archives: Editing technique

Friday Fundas

Eyeline Match

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Eyeline Match

In last week’s Friday fundas I had discussed about the 180 degree rule that is associated with the spatial relationship of the characters on screen. I had discussed about a scene in which two characters are talking to each other. Now consider the same scene is shot by alternating between the close up shots of each character as they talk. In reality this shot could be taken with covering all the dialogues of one person first and then covering the responses. During editing these are arranged in proper sequence. One of the items to take care when doing such a scene is Eyeline Match. In this week’s Friday fundas I would talk about Eyeline Match.

Eyeline Match is a movie editing technique. Whenever a character on screen is looking into the off screen space then audience would want to follow the gaze of the character. They would want to see the object, person or scene the character is looking at. Hence this is normally followed by a cut to the scene involving the object, scene or person the character is looking at. In our conversation scene character A is talking to character B. Now the shot involving character A talking is taken first. It is important to match the eyeline of character A such that it gives a feeling that the character is looking at B. Usually the actor playing character B is placed off camera for the character A to look at. Sometimes there is a mark placed off camera on which the character A focuses on while delivering the dialogue. The same technique is employed when taking the shot of character B responding to the conversation. In this case the camera is placed on the opposite direction. Now we know there is a 180 degree rule governing this. As we are going to focus on a different character there is no rule broken here. However in order to get the eyeline match right the same camera lens is maintained and also the camera is placed equidistant from the 180 degree axis as the previous shot. For instance if the camera has been placed 3 feet from character A then the same distance is maintained for character B during the next shot. Look at the following two shots from The Dark Knight movie where Batman interrogates Joker. The eyeline match makes it look they are looking at each other and talking.

Dark Knight - Batman interrogates Joker
Dark Knight – Batman interrogates Joker

At the editing table when the editor assembles these shots in order it appears to be a continuous flow of sequence for the audience. They feel that both characters are conversing with each other. However if these positions are not maintained correctly the characters would seem disconnected from each other and so would be the audience from the scene. Although this is a simple technique, when followed right it would create a pleasant visual.

You may also like: 180 degree rule | Creative Geography | Kuleshov Effect | Friday Fundas Archive

Friday Fundas

Creative Geography – How Aamir Khan went from Chicago to Switzerland within minutes

This week’s Friday Fundas covers yet another interesting editing technique in movies popularly known as Creative Geography.

Creative Geography is an artificial landscape that is created in movies. This technique was invented by Russian film maker Lev Kuleshov. You might also remember few weeks back I had covered another popular experiment called as Kuleshov’s effect in movies which was done by Lev Kuleshov. Creative Geography involves a subset of the montage in which various segments are shot at different locations. But in the way it gets assembled during editing, all these appear to be one continuous location.

Consider a shot involving a person walking into a big bungalow and then the next shot shows him walking into a large hall. These two locations could be entirely different and in fact miles apart. But in the way the editing is done it appears to be a continuous space for the viewers. The shot of the person entering the bungalow is shot first and then the next shot is shot entirely in a different location in a hall where the person is walking in. The costume of the artist is maintained the same for the sake of continuity.

Let us now look at some examples of this in Indian movies

Dhoom 3
Dhoom 3

In the recent Bollywood movie Dhoom 3 starring Aamir Khan, the entire story is based out of Chicago, Illinois in the United States. However the climax portion of the movie where Aamir Khan rides on the top of a bridge is shot in Contra Dam, Ticino, Switzerland. Actually he starts his bike in Chicago and within few minutes he is in Switzerland. In the movie the dam is shown as a location in the outskirts of Chicago. This is achieved through editing and thus it forms the creative geography for the movie.

Nayagan
Nayagan

Similarly in the Tamil Blockbuster Nayagan the entire movie is based out of Mumbai and follows the life of a Mumbai don. The climax portion of the movie is shot in College of Engineering, Guindy. The college in Guindy becomes part of the creative geography of Mumbai for the movie.

This is again an elementary technique used in movies and it is used by the film makers to achieve the desired outcome of the image they had while writing the script. Next time when you watch movies look out for its creative geography. You will start appreciating the amount of efforts the film makers undergo to give a visually compelling product.

Friday Fundas

Kuleshov Effect or How Hitchcock turned a kind gentleman to a dirty old man

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Kuleshov Effect 

In the last Friday Fundas section I had covered one of the basic units of film grammar Reaction Shot. In this week’s Friday Fundas I am going to cover a related topic called as Kuleshov Effect.

Russian filmmaker Lev Kuleshov demonstrated a very powerful editing technique in cinema during the 1920s. His experiment involved shooting 4 different shots.

1. Face of an actor with a neutral expression

2. A bowl of soup

3. A dead girl in a coffin

4. A hot woman on a divan

Now he created three films out of these shots. In the first film he alternated between the face of the actor and the bowl of soup. In the second film he alternated between the face of the actor and the dead girl in the coffin. In the third film he alternated between the face of the actor and the hot woman on the divan. He now showed this to three different set of audience. The audience who watched the first film said he had an expression of hunger. The audience who watched the second film said he had an expression of grief. The audience who watched the third film said he had an expression of lust.  Many of them also complimented the acting performance of the actor. But in reality the expression of the character was the same shot. Kuleshov proved that audience when watching a film bring in their emotional reactions to the shot. This would mean that two unrelated shots in reality can be assembled together to create a new meaning. This is the power of editing in films.

An editor should be able to define the meaning the film wants to convey by arranging the shots in a specific order.

In one of his famous interviews Alfred Hitchcock explains the importance of Kuleshov’s effect. He calls it the pure technique of assembling the shots in cinema.

He shows the shot of him squinting, followed by a shot of a woman with a baby playing in the park. Then there is a shot of him smiling. He represents a kind gentleman who loves babies. Now he replaces the shot of the woman and the baby with a shot of a woman in a bikini. You see him squinting at something, then the woman in a bikini is shown and then the shot of him smiling is shown. The whole meaning of the scene changes now. He suddenly becomes a dirty old man.

Watch the video here.

Thus is the power of Kuleshov effect. The power of editing involves assembling of shots to evoke the desired emotions from the audience.

Isn’t it amazing that most of us emote the same way to a particular scene? The magic of cinema continues…

Related Articles: Reaction Shot  | Over the shoulder Shot | Types of Shots | Breaking the 4th Wall