P1, M1, D1 NYA You have discussed an example of seamless editing to describe the technique and the convention of invisible editing developed from Griffiths with some reference to their purpose in special relationship in a contemporary example. (Pass) Your timeline has mainly description of developments in film editing from the Early Pioneer filmmakers to the Modern and Contemporary period and there is description of how the principles of continuity, soviet montage, new wave discontinuity developed and description of the purpose of alternative stylistic editing techniques. (Pass) Video Guide with youtube annotations gives a variety of examples from early modern cinema have been edited together. There is some sense of argument about the nature of alternative techniques used for style and examples are detailed when the text matches up with the relevant examples (though not always). There is no discussion of Non Linear or Linear. Conclusion contains some argument if not lacking in detailed specific examples when referencing contemporary examples (WT M/D) P2 M2 D2 M Most steps have been followed to a standard approaching professional practice within a realistic time constraint. Rushes reviewed Bins done, Shots Logged most good or bad and most types. There is No EDL. Has editor’s log shows understanding of bins and logging/reviewing rushes but not the EDL. P3 M3 D3 M A high Merit piece – highly proficient. The thriller narrative sequence has been edited to produce a preliminary rough cut, then a 5 minute short film. Good control over narrative editing create suspense and mystery suited to the genre. Continuity is maintained very well across the shots with some sophisticated techniques. Pacing could be improved but a competent and effective edit. Diegetic sound only. Lacking creativity or alternative techniques for higher. The edit was completed to a realistic timescale under controlled conditions and the student worked in a manner approaching professional standards.
ReplyDeleteP1, M1, D1
NYA You have discussed an example of seamless editing to describe the technique and the convention of invisible editing developed from Griffiths with some reference to their purpose in special relationship in a contemporary example. (Pass)
Your timeline has mainly description of developments in film editing from the Early Pioneer filmmakers to the Modern and Contemporary period and there is description of how the principles of continuity, soviet montage, new wave discontinuity developed and description of the purpose of alternative stylistic editing techniques. (Pass)
Video Guide with youtube annotations gives a variety of examples from early modern cinema have been edited together. There is some sense of argument about the nature of alternative techniques used for style and examples are detailed when the text matches up with the relevant examples (though not always). There is no discussion of Non Linear or Linear. Conclusion contains some argument if not lacking in detailed specific examples when referencing contemporary examples (WT M/D)
P2 M2 D2 M Most steps have been followed to a standard approaching professional practice within a realistic time constraint. Rushes reviewed Bins done, Shots Logged most good or bad and most types. There is No EDL. Has editor’s log shows understanding of bins and logging/reviewing rushes but not the EDL.
P3 M3 D3 M A high Merit piece – highly proficient. The thriller narrative sequence has been edited to produce a preliminary rough cut, then a 5 minute short film. Good control over narrative editing create suspense and mystery suited to the genre. Continuity is maintained very well across the shots with some sophisticated techniques. Pacing could be improved but a competent and effective edit. Diegetic sound only. Lacking creativity or alternative techniques for higher. The edit was completed to a realistic timescale under controlled conditions and the student worked in a manner approaching professional standards.