External rhythm
Pacing aspect of film editing
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In filmmaking, external rhythm, also called cutting rhythm, is a pacing aspect of film editing defined by the duration of the shots that make up a scene. Adjusting these durations establishes a rhythmic pattern that can complement or contrast with the internal rhythm and content of a scene or sequence.
Characteristics
External rhythm can substantially control a film's overall pace. This is divided into micro pacing (pacing within a scene) and macro pacing (which looks at the film as a whole).[1] The external rhythm of macro pacing refers to the progressive duration of shots and scenes throughout a film. A baseline for this is the modern average shot length of 4–6 seconds, which used to be 8–11 seconds in Classical Hollywood.[2][3][4]
A skillful cutting rhythm skims lower or higher than the baseline for effect, depending on the scene or the sequence encapsulating it.[3] The kinds of transitions (e.g., cut, jump cut, wipe, dissolve) used from shot to shot or from scene to scene also affect the nature of the cutting rhythm.[5][better source needed]
Application
Cutting editors select each editing point (the precise frame where a transition happens) and angle for synchronization purposes, to convey juxtapositional meaning, or to support the emotional tone.[6] In live action, scenes are usually shot with extensive camera coverage;[7] such an editor must studiously watch the footage covered before working.[8]
A contrast with the internal rhythm (whatever appears or moves in a scene) can create an intentional tonal discrepancy, as shown by the shower scene with erratic cuts in Alfred Hitchcock's Psycho, which builds unsettlement.[1] Likewise, a similarity between the two can pinpoint a tone. For example, the baseline shot of Paul Thomas Anderson's There Will Be Blood (~13.3 seconds) is far longer than its era's baseline, and there are equally slow internal movements to grow a dreadful tone.[1]
External rhythm is not solely visual. A prelap (voiceover before a visual transition) can soften a scene cut by introducing a more subtle auditory transition prior.[9] Manipulating the viewers' perceived flow of time is also part of it;[8][10] for example, using slow motion to build suspense or dread.[1]
History
Before Classical Hollywood, cutting editing primarily used cuts from scene to scene, and not much variety or flavor.[3]
Classical
In Classical Hollywood (1900s–1970s), classical continuity, emphasized by directing the viewer's focus to a pre-existing consistency of story, was most popular.[11] Each scene would match narrative time,[citation needed] with natural, simple cuts.[12]
For example, a scene of ordering from a barista would last a minute or two. (First a 7-second shot of the cashier, then a 9-second shot of the table, then an 11-second shot of the customer's friends sitting nearby, etc.) But for stories that would span weeks, months, or even years, a fade or dissolve transition[citation needed] called an ellipsis would commonly indicate a break in time.[13]
Post-classical
Effect on quality
External rhythm's effect on pace extends to the film's quality. A poor rhythm can damage the viewing experience by making it awkward, whereas a strong rhythm does the opposite and especially mobilizes the artistic intent.[7] Close communication between the editor and the producer has been seen to better carry said intent.[8]
The rhythmic pattern of film editing is often subconscious.[14] Sometimes, poor rhythm in a previous scene can create a ripple effect that dampens the impact of later scenes. Therefore, investigative energy is occasionally needed to fix a "gut senses" problem.[1]
See also
- Internal rhythm – Dichotomous opposite of external rhythm
- Camera coverage
- Film transition