Editing Techniques

Creative Media Production (Film & TV)

Editing Techniques

 Editing began when cinematography was introduced in the late 1800’s. It involves piecing together bits of film in order to create a sequence which flows and details a story thoroughly. It can be used in many creative ways in order to draw in different types of audiences and create a different atmosphere during the watching of the film. An action scene, for example, can be shot seriously and provoke feelings of anger and tension, such as this scene from The Raid: Redemption does; or, things like contrast and film grain can be edited in order to give it a more Western-esque, cool theme. In that case, there would be a strong incline towards the inevitability of the protagonist winning – as though they’re undefeatable, whereas in The Raid the editing does not greatly imply that Rama and his brother will defeat Mad Dog, and there’s a large amount of tension building up, particularly towards the climax of the fight where there’s no real inclination as to who will win and there’s a constant struggle for the upper hand.

 The basic methods of editing begins back when film cameras were introduced in the 1850’s, and the film reels were cut and stuck onto different shots in order to create a flowing sequence. Since then, it has developed into a wide subject with lots of areas in which people can study and excel in. From having to spend hours splicing the footage and layering film reels in order to create the effect they wish for, editing has evolved into something which everybody can pick up and study and successfully do with the help of some programmes available to buy anywhere. It’s generally quicker, and digital film allows for effects on-screen to look realistic for audiences. In-camera editing takes a great deal more time and calls for a large amount of attention to detail on set, but produces a particular image which tends to look more cinematic and visually appealing. Another aspect of film is that is can be re-scanned in order to become higher definition. Many films shot on a film-camera have been rescanned and remarketed and sold as a higher definition, Blu-ray edition – movies captured on digital cameras cannot go through this same process, meaning that whichever quality they were filmed as, they stay as.

 The Raid was filmed digitally, meaning that the footage could be uploaded to editing software on computers and altered in many different ways on professional programmes.  This acts as great advantage for a high-intensity martial arts-based action film - being a genre that heavily relies on editing in order to create a realistic look to the scenes, something which would have been practically unachievable on film camera.

 The majority of the film is long, epic fight scenes performed by stuntmen – in this sense; the movie plays out like a visual martial-arts show with some backstory, and therefore must be executed perfectly in order to portray a practiced – yet true – style and tone throughout the film.

 The editing therefore must portray a fast-paced, tension-filled atmosphere through the use of quick transitions, many cuts and various different shots of the same action as well as an intense performance from Iko Uwais (Rama), Yayan Ruhian (Mad Dog) and Donny Alamsyah (Andi).

Visual Analysis

This is the climactic fight scene during The Raid, with Mad Dog at this point being the major loyal guard of Tama, and therefore a barricade before Rama, as well as an enemy due to him beating his brother, Andi, for helping Rama previously.

 In order to portray a sense of continuity in the scene, Evans moves forward the narrative by creating a bad guy vs. good guy scenario which is created through the various camera movements and edits in order to create high tension between the characters.

0.01 onwards gives us a slow track to the small window into the room where Andi’s being beaten by Mad Dog, perhaps reflecting a point of view perspective of Rama but more smoothly, an anticipating transition for the audience. A track is where the camera follows/moves with an action on screen, rather than staying put and using the zoom function. It creates an extremely slow build up for the audience, giving a sense of anticipation when paired with the violent grunts and low rumble background music playing in the scene. The sound is ominous and daunting, and slowly builds alongside the track which is broken by an abrupt punch, cut shortly off to a shaky, panning camera of Mad Dog punching a collapsed Andi in the stomach.

1.00: Here, there’s an establishing shot. This long drawn out shot details the relationships between the characters and gives the obvious impression of an oncoming fight, filling the audience with anticipation for the brothers to attack Mad Dog – somebody who has murdered a friend of our protagonist in the past events of the film. Evans makes this specific to the scene through making the camera shake slightly, and drawing out the interactions between the characters – the unnerving moment when Rama steps into the room and makes eye contact with his enemy – creates a lead-up to the final major fight of The Raid, and leaves the following actions unpredictable and therefore exciting.

 The slow pan/track which happens in the same shot resembles the uncomfortable time taken between the characters analysing their surroundings and Mad Dog making the decision to let Andi down, rather than fighting Rama alone. Though this scene portrays a shared arrogance held by both Rama and Mad Dog with them lingering in an atmosphere where the person to take the initiative can either be the fool or the commander, Mad Dog takes it as an opportunity to convey his confidence by letting Andi join Rama in the fight, the shackling sound of the chains being prominent amongst the vacant hiss edited over the footage.

Films use the match on action technique in order to create a sequence which seamlessly flows from one shot to the next, rather than appearing jumpy and unplanned.

 In a fight-scene such as the one in the clip, the match on action technique is extremely important in making the stunts look realistic, and to keep the pace fast and exciting for the viewers.

 The example above is from 2.03 - the peak of the slow build up before the fight begins. A match on action here seems almost unnecessary, but works in creating a gradual increase in the pace of the scene, before the abrupt bang of the first punch, and draws the audience into the intensity shared between the characters. The match on action technique is when an action begins happening in one shot and is continued into the other in order to

 Mad Dog walking between the two suggests his confidence in the situation, placing himself in the centre of the screen in order to emphasize his importance and challenge for our protagonist.

 His costume identifies him with the building, with his dark brown and grey wear blending in with the background and giving him a personal identification with his surroundings. Andi looks more polished of the two, whilst Rama’s SWAT costume separates him and gives him a sense of power over the scene, despite his slight apprehension in the scene.

 The match on action here works to create a sense of continuity, and therefore the sudden outburst of fighting catches us off guard.

 After that point, all hell breaks loose in this room – immediately, the cuts are quicker and the non-diegetic sound increases the pace in coherence with the pace of the editing.

 In order to create a frantic and heightened mood, the 180 degree rule is broken multiple times during the fight. Because of the constantly changing positions of the characters, it’s difficult to judge where the line limiting the camera is placed in this instance, and it almost becomes non-existent to the viewers as well as the people filming. This make the situation seem a lot more real – with the hysterical camera actions highlighting the adrenaline-filled characters’ emotions.

 At 1:43, there is a shot-reverse-shot between Mad Dog pulling up the chains which hung Andi from the ceiling, and Rama looking up on Mad Dog while helping his brother get up from the floor. This creates tension between the characters, as well as a stronger sense of family and team-work between Andi and Rama. With Rama on the floor, addressing the standing Mad Dog directly in the eye, the scene uses the levels in order to represent a traditional way of showing the audience the power held by characters, only here Rama challenges that by starting off low to help his brother but still addressing the standing Mad Dog.

This heightens the tension between the characters and makes for the eventual breakout of fighting to fit better in the scene.

 In this scene there is parallel editing between the fight scene and Wahyu trying to reach Tama on the top floor of the building, before betraying Rama by shooting his fellow S.W.A.T team member in the head and threatening Tama with his handgun to get him out of the building.

 The cutaway shots, though still keeping up with the pace, breaks up the high action fighting to prevent it becoming tiring and boring for the audiences to watch.

 To break up the two different sequences, the soundtrack is cut off completely in the clips with Wahyu, and, though very quiet in the main fight scene with Rama, Andi and Mad Dog, picks up in the clips with them.
 As the fight continues, there is a large impression placed upon the viewers that this could go either way - though we're sure Rama will make it, him being our protagonist all the way through and very prominently holding the scene through close-ups, his costume and his fighting style - Andi could very easily fall in this fight. There is a threat, therefore, that one of the characters the audience should see in a nice light could fall, and Mad Dog might even get away. This creates tension, particularly paired with the high-paced shots of the fight. When Mad Dog downs Andi and Rama is left on a one-on-one fist fight, it suggests that the fears of the viewers might come true. Here, we get some longer clips, lingering on certain shots of the protagonist failing and becoming weaker.