Point of view shot

A point of view shot, also known as POV shot, is a short film scene that shows what a character is looking at, its represented through the camera. It is normally shown by showing that the character is looking at something and then in the next shot showing what the character is actually looking at. 

A POV shot doesn't always need to be a direct shot which is just a shot of what the character is looking at it could be filmed as an over the shoulder shot.

Cutaways

A cutaway is a short that's usually something different to what the current action is. It could be a different subject, a close up of the subject (e.g. the subjects hands) or just about anything else.  This editing technique could also be used as a "buffer" between shots (to help the editing process), or to add interest/information.

Here is an example of a cutaway shot. 

Transitions

In film editing, transition basically is how one shot replaces the other.  Here are the few ways you can do that: 



Cut: Cuts are the most common and also basic type of transition. A cut is when one shot immediately replaces the other. Cuts are used so frequently that feature movies normally count thousands of them. 








Fade in/out: The second most common type of transition is the fade ins and fades outs. Fade outs happen when the picture is slowly replaced by a black screen or any other solid colour. Traditionally, fade outs have been used to conclude movies. Fade ins do the opposite job; they use a solid colour which slowly gives way to a picture. This is commonly used in the beginning of movies.







Dissolve: This transition is also known as overlapping, dissolves happen when one show gradually replaces by the next. One disappears as the following appears. for a few seconds they overlap, so both would be visible. This is normally used to signify the passage of time.








 Wipes: This transition happens when one shot pushes the other off frame.

Splicing.

Usually in Europe a film splicer is called a film joiner. Its a technique which can be used to physically join together lengths of photographic film. Most of the time its used in film motion pictures, what it can do is add a scene in between two scenes to make one scene appear longer. There are three types of splicers all used for different purposes.

Tape splicers: Tape splicers join film using clear tape, they can work with all types of film like Mylar, acetate and polyester. The tape can be perforated or non-perforated. When using non-perforated tape the machine punches out the perf holes as it makes the splice. Non-perforated tapes are less expensive.

Cement splicers: With cement splicers, they join pieces of film together using glue. The film is melted with chemicals (welded) which forms an invisible permanent bond. Because of this, cement splicers are used with negative film in preparation for striking release prints. They can also be used to repair and restore release prints as well. Professional cement splicers have heating elements that allow the glue to set faster.

Ultrasonic Splicers: Ultrasonic splicers are used with Mylar and polyester based film stocks. They work by fusing two pieces of film together and they are electronic.

180 Degree Axis Rule

The purpose of the 180 Degree Axis Rule is to establish and maintain the screen direction of your actors or action in a particular scene. If you don't successfully achieve the 180 degree rule then it can be very difficult for your audience to follow what's going on in the scene. The most important factor about the 180 degree rule is the line of action. The line of action is a imaginary straight line between a subject and the item or person they are interacting with and its also a straight line drawn along a path that a subject is moving on.

Before introducing the 180 degree scene the establishing shot is normally placed to help orientate the audience. The establishing shot gives the viewer the basic geography of the scene and determines screen direction of the actors of action. As long as the camera doesn't cross the action line our actors sight line stays consistent. This prevents the viewer from being confused. If we cross the action line the actors won't look like they are looking at each other like they are meant to be, this will create confusion for the audience.

Breaking the 180 degree rule can be used for dramatic purposes such as creating a disoriented feeling, like showing that the character is lost and this effect can give the audience the same feeling.



Here is an example of the 180 degree rule:



During this scene both characters are having a conversation with each other, the 2 cameras constantly flick back and forth onto each character as soon as its their turn to speak. Both cameras are placed behind the line of action but on each end of the room. Both characters are not looking directly at each other but instead they are staring at the camera that is opposite them to make it appear to the audience that they are staring directly at each other. This makes it easier for the audience to follow the action.

Parallel editing

When we cut back and forth between two scenes and the action in one scene remains discrete from the action in the other scene that is to say one unit of action is not directly continuous from the other, parallel is maybe an operation. Parallel editing it a editorial technique which is used to make an abstract connection between a person or event or place in one scene and a person or event or place in another scene. A good example happens at the begging of lat resort directed by Pawel Pawlikowski. We follow a Russian woman arriving with her sun at UK customs and being detained there, we cut to another scene of a man who is English shadow boxing in his room and then going outside in the corridor to sort out an argument. Finally we cut back to the woman and her sun back at customs. The action in the two scenes in the 2 different locations in neither continuous nor directly connected. Parallel editing has being used to indicate a possible relationship dynamic between the two characters at some point forward in the narrative.

Jump cutting

Normally when we want to record to prepare for a cutting point between two consecutive shots such as cutting from a wide shot in a scene to closer coverage we would vary both the size and angle of the shot. Some film makers deliberately choose not to vary the size and angle of the second shot which results in the cut having a jarring effect, literally jumping awkwardly from one shot to the next in the industry this is known as a jump cut.

Filmmakers use jump cuts for several reasons. Some do it just for rebellion, to break the traditional continuity editing. They can be used to add a sense of speed to the sequence of events or it could suggest how the mind works or jump cuts can be used for skipping time.


Here is an example of jump cutting