The main points of Carol Vernallis’s ideas on editing and camerawork in music video.

·         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.

·         Edits may be really obvious to draw attention to themselves, such as wipes and special effects added.

·         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.

Here are some examples of music videos that illustrate at least three of her main ideas.

Wretch 32 ft. Example – ‘Unorthodox’ – In this particular music video, different shots are seen frequently and the editing is very fast paced, e.g. from 0.50 – 1.13,  there are around 30 different shots seen over this time period, this relates to Carol Vernallis’s first point.

Example – ‘Kickstarts’ – In this video to the song ‘Kickstarts’ by Example, the editing has a rhythmic basis created by the actors moving in time with the music/song, e.g. from  0.00-0.15, the actors in the video are taping their feet in time with the beat – this reflects Vernallis’s third point.

D Double E  - ‘Street fighter Riddim – In the music video to the song ‘Street fighter Riddim’, editing is very obvious. For example, when we first see the artist ‘D Double E’, he appears as if he has been created by pixels, in addition, there are a series of wipes and dissolves used in order for each shot to string together, this relates back to Carol Vernallis’s fifth point.