Max Payne

Editing – Montage (Part 3)

Alright, we’ve been around montage for condensing time and space, let’s continue our tour with montage for condensing information, from depicting environments, events or characters, to flashbacks, evocations, assumptions and deductions. Continue reading

Editing – Multiple angles of the same subject

Editing together multiple angles of the same subject for the sake of cutting is usually not considered ‘best practice’…unless you do it repeatedly! Properly done, the result yields another powerful storytelling technique. Continue reading

Repetition – Repetitive actions

Repetitive actions are very conducive to comparing progressions and hammering home all sorts of messages. Besides, very short, non-repetitive actions can be made repetitive without the audience noticing, to make them more stunning. Continue reading

Repetition – Time compression and dilation (Part 1)

Repetition can hugely impact our perception of time. A long sequence can be radically shrunk to bring out its repetitive nature, while fast motion can be stretched out to emphasize its importance in the narrative. Continue reading

Repetition – Portrait galleries and evocations

Now that the topic of repetition has been touched on with fixed angles, let’s review its many different uses in movie storytelling, starting off with portrait galleries and evocations. Continue reading

Repetition – Fixed angle

Before moving on to a thorough discussion on repetition in film storytelling, let me dwell for a page on the concept of fixed angle. A fixed angle is a shot configuration that is used more than once in a movie in order to make a specific place or action sink deep into the audience’s mind. Continue reading

Editing pattern – Reverse cut on the look

So far, we have studied the cut on the look for all it’s worth. But equally important is the ‘reverse cut on the lookediting pattern. Cutting from the looking character to what is grabbing his attention is merely done in reverse: The ‘what’ is displayed just before we see the character looking at it Continue reading

Editing pattern – Cut on the look (Part 2)

Cutting on the look to a subjective shot might be the most straightforward answer to the question: “What is that character looking at?”, as we do it through his eyes. Not only do we fully identify with the looking character, but we can also focus on the ‘what‘ without worrying about anything else. Continue reading

Editing – The 30-degree rule (Part 2)

In part 1, we went through two most common infringements to the 30-degree rule and saw how to keep away from them. But is the ‘rule’ always reliable? As we will see, it is certainly not bulletproof. Continue reading

Editing – The parallel-axis cut

If ‘taking a closer look’ is often associated with cut-ins, then ‘closely examining’ is the realm of parallel-axis cuts. Presented in succession, shots of different parts of a subject sharing the same viewing axis Continue reading