Research: Carol Vernalis

After reading articles on her ideas of editing and camera work in music videos the main points she uses are:
    •    Edits in music videos come much more frequently than in film.
    •    Many of these edits stand out as disjunctures.
    •    Editing seems to have a rhythmic basis closely connected to the song.
    •    The usual rules of ‘continuity’ editing (editing usually found in classic broadcast fiction) are broken in order to draw attention to what is on screen.
    •    The usual rules of ‘continuity’ editing (editing usually found in classic broadcast fiction) are broken in order to draw attention to what is on screen.
    •    Jump cuts are often used.
    •    A master shot (base track) is frequently used to give the video a structure.
    •    The Camera may move in time with the music itself.

D Double E - Street Fighter Riddim
The editing for this video is very obvious when you first see 'D Double E' he appears as if he has been created by pixels. There are a series of wipes and dissolves used in order to string each shot together, this relates back to Carol Vernalis fith point.

Wretch 32 ft. Example- Unorthodox- The editing in this is very fast pace and frequently uses different shots. Carol Vernalis first point relates to this video, from 0.50-1.13 there are around 30 different shots seen over this time period.

Example- Kickstarts- The video starts with the editing on a rhythmic base created by the actors moving in time with the music e.g. from 0.00 - 0.15, the actors in the video are taping their feet in time with the beat this reflects Vernalis's third point.