Workshop 04: Project Progress

[ay Chow and Lev Manovich, Every shot from Dziga Vertov’s film Man with a Movie Camera (1929), 2012.]

This week we continue to focus on the processes of editing and compiling your footage for your Cameraless Film Project. Discussing and applying what we looked at about editing as a cinematic language as well as experimental device to organise screen time and space.

Experimentation with editing

Continue to explore the techniques and processes of editing. The conventional editing methods aim to create continuity that bring disparate shots together into a coherent whole:  Look at:

  • Jump cuts/ straight cuts
  • dissolves and other transitions such as wipes
  • Cut-aways
  • Parallel editing or inter-cutting between two or more scenes to signify parallel actions.
  • Repetition/ progression

[Sergei Eisenstien’s diagram of vertical montage, 1938]
Conventional editing techniques used in narrative cinema aims to build continuity between cuts in editing in order to build a logical telling of a story. In the 1920s, a group of Russian filmmakers including Lev Kuleshov, Dziga Vertov, Esfir Shub and Vsevolod Pudovkin, reacted and responded to the cinematic language developing in Hollywood at the time. Through practice and theorisation, these filmmakers developed different types of editing for story-telling, documentation, and experimentation. Eisensteinian system of montage is one type of Soviet Montage theory that works distinctly with discontinuity rather than continuity. Below is a summary:

1. Metric:

  • varying lengths of shots/ edits
  • largely independent of image content

2. Rhythmic

  • creating rhythm through editing
  • varying lengths, movements, directions of shots
  • largely independent of image content

3. Tonal

  • relate to image content and meanings
  • colour’ of characters, actions, and events
  • to create resonance with the audience through the image

4. Overtonal

  • editing to bring out the emotional response to the image sequence or the whole film

5. Intellectual

  • “Collision Montage”
  • expression of ideas e.g. through visual metaphor
  • dramatic graphic contrast between shots and editing rhythms to enhance conflict

Soviet Montage theory has been instrumental in the development of film editing. It is still foundational  in the studies and usage of contemporary editing practice. Many of Eisenstien’s techniques and those of the other Soviet filmmakers have been adopted and further developed in different ways. See whether you can find examples of these techniques.

[Sergie Eisenstein’s sequence diagrams that map the composition of a shot as well as the directional movement of the objects depicted]

Project Progress

  • Work on project progress. By now you should be working on your digital edits of your work.
  • Present edits to tutor: Discuss how what themes/ concepts are explored
  • Discuss what techniques are used and explored



Cameraless films submission guidelines:

Your completed work must be in the form of a digital file (.mp4) ready to be presented in class on the due date. You are asked to upload your completed project to your vimeo account and embed the file in a blog post on your blog. Accompany this with a project statement (100 – 150 words) either as your description on Vimeo or in the blog entry.

A working link to your blog entry or your vimeo file must be provided on the relevant submission post on subject website.

The following export specifications are from Vimeo’s compression guidelines (find out more here:

  1. Format: H.264
  2. Frame rate: 25fps (current)
  3. Resolution: current
  4. De-interlacing: No/ Field Order: None
  5. Data rate: 2000 – 5000 kbps (SD) or 5,000 – 10,000 (720p HD)
  6. Audio: No
  7. File extension: .mp4
  8. File name: yourFirstName yourSurname

Please check how your exported file play before submission.

If you don’t think the above compression recommendation works well for your piece, you are free to choose one that gives you the best result.

Write a brief summary (150 words max.) addressing the assessment criteria to accompany your submission in the description section of Vimeo or in your blog entry.



Deadline: Week 5, 28 March 2017 5.00pm

Digital files (.mp4) of the completed works and project statement (100 – 150 words) uploaded online to your Vimeo account. You can embed your work in an entry with project statement on your personal blog. A working link to your blog entry or your vimeo file must be provided on the relevant submission post on subject website.

Files uploaded to free accounts on Vimeo will go into a queue, therefore make sure you have plenty of time to upload and test before the deadline.

Tasks (outside of class):

  • Complete and submit Cameraless film
  • Prepare presentation that addresses the assessment criteria

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