Sergei Eisenstein talks about five different methods of montage through out his work. These varieties of montage build one upon the other so the “higher” forms also include the approaches of the “simpler” varieties.


Metric – Where the editing follows a specific number of frames, this is based purely on the physical nature of time, cutting to the next shot no matter what is happening within the image. The reason for this is to get an emotional reaction from the audience.

Rhythmic – The cutting happens for the sake of continuity. This creates visual continuity but it may also be used in order to keep with the pace of the film. A good example of this is the the legendary car/train chase scene in The French Connection.

Tonal – A tonal montage uses the emotional meaning of the shots. Not just manipulating the temporal length of the cuts or its rhythmical characteristics. The point of this is to elicit a reaction that is more complex than Rhythmic and Metric. An example of this is in one of Eisenstein’s fllms called Battleship Potemkin where the character ‘Vakulinchuk’ dies.

Overtonal/Associational – An accumulation of metric, rhythmic, and tonal montage to synthesise its effect on the audience for an even more abstract and complicated effect.

Intellectual – Uses a combination of shots from outside the film in order to create a meaning. A good example of this would be the scene from apocalypse now where Klutz is being executed. They mix in shots of a water buffalo being slaughtered.



Making sure your wedding video is interesting enough to watch over and over again can be a challenge; after all most weddings follow a similar format.


Tell the whole story

Don’t limit yourself to the wedding day itself, but include short sections of film showing the build up to the wedding. You can take footage of the engagement party, the dress fittings, the hens and bucks parties and the wedding preparations, as well as the ceremony and reception. You can also include a short section showing footage taken on the honeymoon. Your coverage of each aspect may be reduced, but you will have a fascinating video showing the entire wedding story.

Add a unique feature

Adding an unusual section to your wedding video is a modern option, and a popular choice is ‘trash the dress.’ This involves the bride wearing her bridal gown after the wedding and jumping around in muddy puddles, having small children cover her in paint, or finding another way to trash the dress. You don’t have to go to this extreme, but having a unique feature at the end of your wedding video is a great idea.

Film guest messages

Having your guests record filmed messages for your wedding video isn’t an entirely new idea, but it adds a very personal touch to the finished product. Try setting up a separate video room with a comfortable sofa and a static video camera so your guests feel less self conscious about recording their message in front of other people.

Create a trailer

Not all your guests will want to watch the entire wedding video, so condensing the footage into a high impact ‘trailer’ that shows the highlights set to an energetic soundtrack is a great way to share your memories. Many couples choose to publish their trailer online and then to print a link to it in their thank you cards.

Use a professional soundtrack

Setting your wedding video footage to a soundtrack might not sound that complicated, but making the images and music work seamlessly together can be quite tricky. A professional editor will make sure the tempo of the music fits well with each section of the video, and that scene changes in the video are exactly on the beat of the music. Don’t just limit yourself to music. Using the audio of the father of the bride’s speech over a photo montage of the bride getting ready can quickly bring a tear to the eye.

Get hold of all the footage

While your guests won’t want to wade through hours of wedding video footage, you and your new husband might want to at some point. Ask your videographer if you can have all the footage they have filmed on a separate DVD from the edited version so that in a couple of years, when the memories of the wedding day are fading, you can sit down and watch it all.


Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. The term has been used in various contexts. It was introduced to cinema primarily by Sergei Eisenstein



1. Metric Montage

The practice of cutting according to exact measurement, irregardless of the content of the shot.

2. Rhythmic Montage

The practice of cutting according to the content of the shots, or continuity editing. This is the most commonly used form of montage. Each shot’s length derives from the specifics of the piece and from its planned length according to the structure of the sequence.

3. Tonal Montage

The practice of cutting according to the emotional tone of the piece. This type of montage is a bit more subjective in the sense that you’re not cutting towards any physical aspect of media. Instead, it’s a combination of both metric and rhythmic montage to highlight any emotional themes that may be present at that particular point of time in your story. These shots can be matched by both video and aural characteristics.

4. Overtonal Montage 

The practice of cutting according to the various “tones” and “overtones” of the shot. This one is even more abstract than tonal montage. In the words of Eisenstein, “from the moment that overtones can be heard parallel with the basic sound, there also can be sensed vibrations, oscillations that cease to impress as tones, but rather as purely physical displacements of the perceived impression.”

From this, we can take away that overtonal montage is the intermixing of larger themes (whether political or religious or philosophical) with the emotional tones of the piece through the use of metric and rhythmic montage.

5. Intellectual Montage

The practice of cutting according to the shot’s relationship to an intellectual concept.