Shot/Reverse Shot | Screen Direction | Rule of Change | Murch's Rules
Jump Cut
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The jump cut has become a part of the editor's tool box over the years. Originally frowned upon, the jump cut can create a jarring feeling, cause commotion in the scene and help to give the sense of ellipses in time.
It is defined by several dictionaries and glossaries as: A cut that creates a lack of continuity by leaving out parts of the action. (1)
Latest Entry
Submitted by: Unknown
The jump cut has become a part of the editor's tool box over the years. Originally frowned upon, the jump cut can create a jarring feeling, cause commotion in the scene and help to give the sense of ellipses in time.
It is defined by several dictionaries and glossaries as: A cut that creates a lack of continuity by leaving out parts of the action. (1)
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Helpful Jump Cut Tips:
First look to see if you can do one with a graphic match. This will lesson the jarring affect on the audience. If you want that jolt, make the two images as different as possible but close enough in look and from the same shot to make your audience feel uncomfortable.
Next look for patterns. If you feel there will be several jump cuts in a sequence try to find a pattern that will help to pull the audience in. Also establish the pattern early in the sequence. Films such as Godard's Breathless, although at first seem to have arbitrary jump cuts, upon closer examination reveal that there is a pattern to the madness, thus making the film viewable.
First look to see if you can do one with a graphic match. This will lesson the jarring affect on the audience. If you want that jolt, make the two images as different as possible but close enough in look and from the same shot to make your audience feel uncomfortable.
Next look for patterns. If you feel there will be several jump cuts in a sequence try to find a pattern that will help to pull the audience in. Also establish the pattern early in the sequence. Films such as Godard's Breathless, although at first seem to have arbitrary jump cuts, upon closer examination reveal that there is a pattern to the madness, thus making the film viewable.
References
Jackson, Kevin (1998), The Language of Cinema, New York: Routledge, ISBN 0-415-92049-3
