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roach is often called invisible editing. The impression that the action on the screen flows smoothly without interruption requires continuity with respect to both time AND space. To keep our attention on the [[story]], a filmmaker will use [[cuts|cutting]] and transitions between images that do not stand out. Other types of continuity might link shots based on psychological or symbolic connections. part flash hiddenPrinciple behind editing that creates the impression that the action on the screen follows logically and without interruption; editing must be invisible” to create and maintain this illusiontiddler flashSlider with: [[continuity]]/part An image captured by a camera mounted on a mechanical device or structure that can reach heights that no human alone could reach; allows for impossible” [[points of view|point of view]] and long fluid [[takes|take]]. When looking down on the action from a great distance, a crane shot can mark a dramatic shift in point of view. part flash hiddenImage captured by camera mounted on a mechanical device or structure that allows for impossible” points of view and long fluid takestiddler flashSlider with: [[crane shot]]/part An [[editing]] technique that alternates between two different actions or [[scenes|scene]]. Often used to establish [[parallel action]], especially in different locations. part flash hiddenEditing technique that alternates between two different scenes; used to show simultaneous action in different locationstiddler flashSlider with: [[cross-cutting]]/part A brief [[shot]] that interrupts a continuously-filmed action. This cutaway shot, which usually shows a related action, object, or person but does not have to be part of the main action around it, is followed by a cutback to the original shot; often filmed from the [[point of view]] of a [[character|characters]] (an eye-line match), the cutaway can be used to break up a [[scene]] and provide some visual relief, to ease the transition from one shot to the next, and to provide additional information or hint at an impending change. A common type of cutaway shot is the [[reaction shot]]; [[cross-cutting]] is a series of cutaways and cutbacks that help the audience see [[parallel action]]. Not to be confused with an [[insert shot]]. part flash hiddenBrief image that interrupts a continuous action followed by a cutback to that action; this kind of shot need not be part of the main action it interruptstiddler flashSlider with: [[cutaway shot]]/part Changing from one image to another; a version of this linkage is sometimes referred to as montage. Part of the [[editing process|editing]], the cut is a basic way to create the sensation of [[motion]] in film. It can establish rhythm, build suspense, or release tension. Cutting can help maintain [[continuity]] across different shots (cutting to continuity) or it can deliberately disrupt time-space continuity to make a point (thematic [[montage]]). Ask yourself, how close together or far apart are the cuts, and how do the images on either side of the cut relate to each other? part flash hiddenChanging from one image to another; a basic way to create the sensation of motion in film; essential to the editing processtiddler flashSlider with: [[cutting]]/part A [[perspective]] that allows the audience to see objects and people in the background, far back, as sharply at it sees them in foreground, close up. part flash hiddenPerspective that, at once, shows objects and people in the background as sharply as it shows others in the foregroundtiddler flashSlider with: [[deep focus]]/part Refers to the visual depth of an image in the [[frame]]. An image can have several planes of view: (1) a foreground, (2) a middle-ground, and (3) a background. Depth of field is the range of distance or area between the closest and farthest planes in which the image is in sharp or acceptable [[focus]]. If the foreground is the only plane in focus, as in [[shallow focus]], the depth of field is small. When the entire image is in focus, from foreground all the way to background, as in [[deep focus]], the the depth of field is large. Not to be confused with [[focus]], depth of field is not a measure of clarity but a measure of the range of distance in which the image is clear. part flash hiddenThe range of distance (between the closest and farthest planes of sight) in which an image is in focus.tiddler flashSlider with: [[depth of field]]/part On the simplest level, diegetic means "realistic" or "logically existing"; for instance, music that plays on a [[character’s|characters]] radio in a [[scene]] is diegetic sound. More generally, it refers to elements of the film (dialogue, sounds, action) that naturally originate within the content of the [[frame]]; the opposite is non-diegetic elements, such as sounds (e.g., background music, the musical score, a [[voice-over]], or other sounds) that originate outside the frame itself. Diegetic elements are captured by the camera at the time of filming; non-diegetic elements are added during the [[editing process|editing]]. part flash hiddenDescribes elements of the film that naturally exist in the content of the frame; these elements are captured at the time of filmingtiddler flashSlider with: [[diegetic]]/part Elements of [[sound]] recorded at the same time as the image is filmed. Can include dialogue, music played on the set, incidental noises related to the action being filmed, artificial sounds, silence, etc. [[Diegetic|diegetic]] sound is usually direct sound. part flash hiddenElements of sound recorded at the same time as the image is filmed. Can include dialogue, music on the set, incidental noises, etc.tiddler flashSlider with: [[direct sound]]/part An [[editing]] transition whereby one image fades out while another fades in. The two images are briefly superimposed, gradually shifting from one to the other, leading the viewer to make a connection. part flash hiddenEditing transition whereby two images are briefly superimposed, gradually shifting from one to the othertiddler flashSlider with: [[dissolve]]/part An effect created when the viewer, and perhaps another [[character|characters]] in the film, knows something that another character does not know. The difference in knowledge creates tension that helps the [[story]] gain momentum toward the [[climactic moment|climax]]. The tension is released when the oblivious character learns what we already know. If the character discovers something that we did NOT already know, we will be just as surprised at that moment as the character. Dramatic irony creates anticipation because we are looking forward to the character’s discovery, but we are not shocked when the discovery happens. The classic Hollywood example is a staple of the slasher film: we know the killer is upstairs, and we start to yell at the character who goes up there completely oblivious. part flash hiddenEffect created when the viewer, and perhaps another character in the film, knows something that another character does not know; builds tension through anticipationtiddler flashSlider with: [[dramatic irony]]/part Dialogue or other [[sound effects]] recorded during the [[editing]] of a film, after the image has been photographed. Very commonly includes background music and [[voice-over]] narration. part flash hiddenGeneral term for sound elements recorded during the editing of a film, after the image has been photographedtiddler flashSlider with: [[dubbed sound]]/part Basically, linking two different pieces of film, the joining of one [[shot]] to another. More extensively, the process after filming through which shots are combined into larger units of meaning: [[sequences|sequence]] and [[scenes|scene]]. Using a variety of [[cutting]] techniques, editing can create a variety of effects: time-space [[continuity]], time-space disruption, thematic [[montage]], etc. In [[narrative]] films, editing shapes the [[plot]] and tells the [[story]]. part flash hiddenProcess of separating...