180° Rule 35

2001: A Space Odyssey (1969) 160

AAF 220

action sequences 154, 155, 156, 173

additional dialogue recording 134, 135, 136

Adobe Premiere Pro 14, 223, 229, 231

Adventures of Robin Hood, The (1938) 138

aerial shots 24

Alastair Sim 51

Alec Guinness 78, 160

Alfred Hitchcock 24, 94, 104, 137, 140, 141, 153, 155, 156

Ampex 171, 172

analogue 121, 126, 135, 172

anamorphic 230

Anderson, Gerry 137, 140

Anderson, Sylvia 137, 140

Anthony Minghella 150

Apocalypse Now (1979) 95, 141

aspect ratios 178, 210, 214, 215

As Time Goes By (1992–2005) 108, 239

atmos 125

attenuation 121

attitude 225

audience reaction 206

Austin Powers (1997-present) 155

autosave 204

Avid Isis 217

Avid Media Composer 13, 14, 129, 144, 209, 217, 223, 229

Babel (2006) 159

background action 42

background effects 126

background wild tracks 125, 136

bad language 193

BAFTA 70, 76

Balcon, Michael 152

bargraph 122

Barron, Bebe and Louis 140

Barry Gray 138, 140

bars (music) 143, 145, 147

bars and tone 199, 210

Batman (1966) 103

BBC 2, 4, 5, 6, 8, 10, 38, 92, 102, 127, 134, 140, 142, 170, 171, 172, 175, 180, 187, 188, 191, 192, 198, 199, 211, 239, 240

BBC Proms 161

BBC Television Centre 5, 215

Bebe and Louis Barron 140

Bernard Hermann 137, 141, 149, 153

Bernstein, Leonard 137

Beverly Hill Cop (1984) 155

bin/folder structure 203, 217

bin management 202

bird’s eye shot 24

Birds, The (1963) 24, 141

bits and pieces 210, 221

Blackadder 101, 171, 173, 188, 239

Blackadder Goes Forth (1989) 171, 172

black and silence 210

Boden, Richard 8, 171

breaths 55, 60

bridge passages 143

broadcasters 122, 178, 212, 216

browser 230, 231

Bullitt (1968) 139, 155

bumper 103

Butt, Ray 109

camera angle 40

camera memory cards 216

Captain Scarlet and the Mysterons 140

caption safe 178

caption work 60, 174, 177

captions 60, 163, 177, 180, 190, 204, 205, 216, 221, 226

capture format 231

Carlos, Walter 141

Cary Grant 155

Casablanca (1942) 138

centre-cut version 214, 217

changes of expression 49, 50, 52

Chariots of Fire (1981) 141

Charles Crichton 160

Charles Frend 157, 173

Chocolates and Champagne 6, 7, 166

chorus 134, 136

choruses 143, 147

Christmas Tape 191

Christopher Nolan 153

Chris Wadsworth 192, 227

chroma keying 174, 175, 189

Citizen Kane (1941) 75, 149, 150

Clarke, Roy 198

clean audience 111

clean backgrounds 180, 190

clean elements 180, 199, 200, 211, 217

clean stage 111

click removal 130

clock information 210, 217

clock-wipes 101, 106

Clockwork Orange, A (1971) 141

close-ups 18, 26, 27, 73, 76, 80, 86, 95, 99

colour blindness 183, 186

colour correction 159, 183, 185, 187, 188, 204, 219, 221

colour separation overlay 175

comedy shows 107, 116

commercial tracks 140, 142, 147

compliance 193, 194

continuity 42, 52, 66, 67, 73, 79, 89, 158

continuity editing 35

Coppola, Francis Ford 95, 104, 141

copyright issues 195, 196, 198

crane shots 24

Crichton, Charles 160

criminal reconstructions 162

cross-cutting 104, 105, 106, 115, 118, 163

crossing the line 35, 36, 37, 38, 41

Cruel Sea, The (1953) 156, 173

Curtis, Richard 160

custard pies 81, 90, 107, 109

cutaways 28, 29, 69, 70, 71, 72, 79, 111, 112, 113

cutting in 87

cutting on movement 42, 52

cutting rate 88, 89, 91

CVs 226

Dali, Salvador 153

damage limitation 70, 71, 222

data wranglers 216, 218

Dave Rixon 2, 11

Dead of Night (1951) 152

Death in Venice (1971) 64

decibels 121

delivery 199, 211

Dennis Main Wilson 38, 170

Dennis Potter 102, 138, 187

Dewi Humphreys 8, 198, 199

dialogue track 28, 29, 44, 55, 60

digital imaging technician 217, 218

digital signal processing 130, 132, 133, 134, 136

dip to colour 98

dip to white 79, 105

directors 3, 4, 6, 8, 9, 10, 11, 12, 36, 37, 38, 56, 59, 64, 73, 75, 78, 93, 96, 109, 111, 112, 125, 139, 151, 157, 158, 192, 225, 226

dissolves 95, 96, 98, 101

documentaries 113, 117, 181

dolly shot 23

Donald Sinden 157

DOP 158

double action 40, 42

doubling up action 109

dream sequences 150

dreams and nightmares 151

Drinkel, Keith 7

drive management 205

Dr Who (1963-present) 140

dub 65, 125, 126, 131, 133, 136, 195, 197, 199, 215, 219, 220

dubbing mixer 133, 199, 220

Duel (1971) 155

dynamic range 132, 133

Ealing studios 152, 160

editing software 16, 33, 130, 134, 202, 209, 220

editing without dialogue 78

editorial responsibility 59, 191

editorial role 59, 61, 111, 117

EDL (Edit Decision List) 14, 129, 144, 220, 230, 231, 232, 241

Electra 172

Emeric Pressburger 76, 153

empty frame to empty frame 99

English Patient, The (1996) 150

Ennio Morricone 139

equalisation 126, 128, 131, 132, 136, 151, 152

Erich Korngold 138, 142

establishers 25, 73, 80, 81, 90

Exercise 1 Inserting a Shot 15

Exercise 2 Shot Names 23

Exercise 3 Reaction Shots 27

Exercise 4 Cutaways 1 28

Exercise 5 Cutaways 2 29

Exercise 6 Locked-off Shots 31

Exercise 7 Crossing the Line Examples 1–4 36

Exercise 8 Crossing the Line 36

Exercise 9 Screen Direction Example 39

Exercise 10 Repeated Action 41

Exercise 11 Movement 1 43

Exercise 12 Movement 2 44

Exercise 13 Eye Contact 1 45

Exercise 14 Eye Contact 2 46

Exercise 15 Split Edits 1 47

Exercise 16 Split Edits 2 48

Exercise 17 Split Edits 3 49

Exercise 18 Expressions 1 50

Exercise 19 Expressions 2 51

Exercise 20 Editing Dialogue Sounds 54

Exercise 21 Breaths 55

Exercise 22 Dialogue Rhythm 57

Exercise 23 Dialogue Repair 58

Exercise 24 Keep it Moving 63

Exercise 25 Pauses 65

Exercise 26 Continuity 67

Exercise 27 Healing Sound 68

Exercise 28 Dialogue Removal 69

Exercise 29 Damage Limitation 1 70

Exercise 30 Damage Limitation 2 71

Exercise 31 Noddies 72

Exercise 32 Shorten Time 74

Exercise 33 Tighten Action 77

Exercise 34 Out Wide 1 83

Exercise 35 Out Wide 2 83

Exercise 36 Out Wide 3 84

Exercise 37 Underlaying Dialogue 85

Exercise 38 Cutting-In 1 86

Exercise 39 Cutting-In 2 87

Exercise 40 Vary Shot Sizes 88

Exercise 41 Scene Join 1 94

Exercise 42 Scene Join 2 96

Exercise 43 Scene Join 3 97

Exercise 44 Action Seq 100

Exercise 45 Stretching Time 110

Exercise 46 Mixing Sound Fx 129

Exercise 47 Editing Music 1 144

Exercise 48 Editing Music 2 145

Exercise 49 Dream Seqs 164

Exercise 50 Montage 1 166

Exercise 51 Montage 2 167

Exercise 52 Chroma Key 175

exercise media 12–14

exercises timelines 229, 230

external key 174, 176, 189

extreme close-ups 20

eye contact 44, 45, 52, 112, 117, 225

eyeline 19, 35, 37

facial expressions 18, 163

fade down and up 95

fades and dissolves 95

Federico Fellini’s 8½ (1963) 153

Feldman, Marty 38, 170, 171

file servers 109

Final Cut Pro 14, 223, 229, 230, 241

Final Cut Pro X 14, 206

fine cutting 65, 199, 200

first cut 199

Fistful of Dollars, A (1964) 139

flanging 133, 136

flashbacks 98, 105, 148, 149, 150, 155

flash photography 194, 195

flickering images 194, 196

flow 72, 73, 79, 90, 99, 113, 114, 137, 147, 191

fluffs 57

Foley 135, 136

fonts 165, 177, 178, 221

Forbidden Planet (1956) 140

foreground 31, 174, 175, 176, 189

frame wipes 105

Francis Ford Coppola 95, 104, 141

free-flowing speech 58, 59, 60, 61, 112, 117

Frend, Charles 157, 173

Frost Report, The (BBC) (1966) 29

full length shot 19

full mix 111

function keys 223

gamma 187

Gareth Gwenlan 10, 199

General, The (1926) 155

generic material 205

Gerry Anderson 137, 140

glass shot 32

Godfather, The (1972) 104

Gone with the Wind (1939) 138

Goodall Howard 171

Gorden Kaye 7, 48

grade 195, 197, 215, 216, 219, 220

grading 148, 151, 158, 181, 183, 184, 187, 188, 199, 220

Grainer, Ron 140, 161

Grant, Cary 155

graphic readability 178

graphics 103, 111, 176, 177, 178, 179, 189, 190, 199, 200, 203

Gray, Barry 138, 140

Great Gatsby, The (2013), 77

Green, Green Grass, The 175, 204, 240

Green Man, The (1956) 51

green screen 199

grey-scale tracking 185

Guinness, Alec 78, 160

GVs 25

Gwenlan, Gareth 10, 199

hand-held coverage 23, 24, 35, 159

Hard Day’s Night, A (1964) 139

Harding Test 194, 195, 196

Hawkins, Jack 157

HD (High Definition) 18, 135, 178, 182

headphones 120, 129

headroom 121, 122

Help! (1965) 139

Hermann, Bernard 137, 141, 149, 153

high-angle shots 21

high-Q filter 131

high scan-rate cameras 171

Hitchcock, Alfred 24, 94, 104, 137, 140, 141, 153, 155, 156

Hobbs, John B. 6

Hours, The (2002) 137

House of Cards (2013) 170

Howard Goodall 171

hue 175, 187

Humphreys, Dewi 8, 198, 199

ident clocks 199

I Just Wanna Dance (2004) 162

I’m All Right Jack (1959) 127

impartiality 64, 79

import 230, 231

imported clips 229, 230

Inception (2010) 153

ingest 207, 216

ingesting studio material 208

intercutting 104

international sales 60, 135

interviews 70, 71, 72, 112, 113, 115, 191

interviews and chat shows 112, 117

intonation 56, 60

Ipcress File, The (1965), 137

isolated camera recordings 109, 111, 117, 197, 207

is that all right? 225

It’s Marty (1968–9) 38, 170

ITV (Independent Television) 12, 127, 192, 239, 240

Jack Hawkins 157

Jacques Tati 151

JFK (1991) 149, 150

John Barry 137

John B. Hobbs 6, 9

John Lloyd 171

John Sullivan 199, 240

joining scenes together 92, 105

jump cuts 34, 39, 40, 41, 113, 142

jumping frame 39, 41

jumping time 42, 75

Kaye, Gorden 7, 48

keep a copy 188, 209, 219

keep things moving 78

Keith Drinkel 7

key 174, 175, 176, 189, 195

keyboard shortcuts 223

key changes 145, 146, 147

King Kong (1933) 138

Korngold, Erich 138, 142

Kubrick, Stanley 141, 160, 169

labelling clips 209

laughs 112, 127, 128, 198, 239

Lavender Hill Mob, The (1951) 160

Lawrence of Arabia (1962) 93, 155

L-Cut 47

Leonard Bernstein 137

level compression 132, 136

Life and Death of Colonel Blimp, The (1943) 76

lift/brightness/set-up 187

line-up level 121, 122, 123, 136

link media 231

lip-sync 134

Lloyd, John 171

location material 123, 136, 199

locked-off shot 31

logarithmic scale 121

long shot 19

Lotterby, Sydney 9, 82, 108

loudspeakers 120, 123

low-angle shots 21

Lumet, Sidney 38

luminance keying 174, 189

lyrics 143

macro time jumps 76

main recording 207

Main Wilson, Dennis 38, 170

markers 128

Martin Scorsese 10, 139

Marty Feldman 38, 170, 171

master shot 26

Match of the Day 171

Matrix, The (1999) 156

matte keying 176

Matter of Life and Death, A (1946) 153

Max Steiner 138

McGoohan, Patrick 161

Mean Streets (1973) 139

media 12, 203, 204, 205, 207, 209, 216, 217, 218, 220, 221, 229, 230, 231, 232

media management 204

medium close-up 19

metadata 217

Michael Balcon 152

Michael Nyman 137

Michael Powell 76, 153

middle 8s 143

mid-shots 18

Minghella, Anthony 150

money shot 26

monitors 185

mono 123, 124, 125

Mon Oncle (1958) 151

Monsieur Hulot’s Holiday (1953) 151

montage 25, 103, 116, 145, 158, 159, 160, 163, 166, 170, 196

Monte Carlo or Bust (1969) 155

Monty Python’s Flying Circus 101, 171

Morricone, Ennio 139

Moulin Rouge (2001) 89

mouse 222, 223

movement 42, 43, 52, 67, 77, 79, 82, 89, 90, 93, 135

MOV Files 12, 13, 14, 229, 230, 231, 232

multicam material 207

multiple eyelines 38

Murch, Walter 95, 141, 150

musical cue 142

music cues 150

music theory 143

music videos 105, 106

My Family 66, 203, 210, 240

Naked Gun (1988) 155

name supers 176, 177, 178, 179

negative editing 109, 110

noddies 28, 71

Nolan, Christopher 153

non-linear editing software 90, 114, 142, 180

North by Northwest (1959) 155, 157

Notting Hill (1999) 160

Nyman, Michael 137

offline 195, 204, 215, 216, 220, 231

Oliver Stone 149, 150, 171

OMF 220

online 199, 204, 215, 216, 217, 219, 226

Only Fools and Horses 108, 109, 197, 199, 211, 239

On the Waterfront (1954) 137

Orson Welles 75, 76, 149, 171

out of phase audio 123

out wide 81, 82, 83, 84, 99

overlapping dialogue 59, 60, 61

over-shoulder shots 19, 54, 81

pace 111, 117

pace and timing 62, 90

pack shot 26

pan and scan 214, 215, 217

panel and game shows 110, 117

panning shots 23

parallel action 104, 105

parametric equalisation 131, 136

Parkinson 112, 113, 221, 239, 240

Patrick McGoohan 161

pauses 63, 64, 65, 78, 79, 93, 142

peak distortion 121, 130

peak level 123

peak programme meters 122, 123, 136

Pennies from Heaven (1978) 102, 138, 187

Peter Tanner 157, 173

phasing 133, 134, 136

Photograph, The 6, 7, 165

photosensitive epilepsy 194, 196

picture in picture 180, 183, 184

pitch shifting 134, 136

plate shots 32

play-loop 223

post-production 32, 188, 204, 205, 209, 211, 217, 218, 223

Potter, Dennis 102, 138, 187

POV shots 26, 129, 151, 160, 163

Powell, Michael 76, 153

pre-recordings 198, 199

Pressburger, Emeric 76, 153

Prisoner, The (1967) 161

project window 231

Pro Tools 220

Psycho (1960) 137

quality assessment reviews 186, 190, 211

Quartermaine’s Terms (1987) 92

quicktimes 189, 210

Ray Butt 109

reaction shots 27, 28, 47, 49, 52, 54, 69, 79, 82, 88, 90, 109, 159

rebalancing sound 120

reconnect media 231

reconstructions 162, 163, 164, 193

recording report form 211

reel numbers 207

relink 230, 231

repairing dialogue 57

repeated action 40, 41, 42

resize 182

reveals 99, 105

reverberation 128, 131, 132, 134, 136, 149, 151, 152

reverse angles 22, 36

reverse shots 41

RGB 183, 185, 186

rhythm of the spoken word 56, 60

Richard Boden 8, 171

Richard Curtis 160

Rixon, Dave 2, 11

Rock n’ Chips 199, 200

rollers 177, 199, 205, 221

Ron Grainer 140, 161

rough cuts 199

Roy Clarke 198

rubber-banding 128

rushes 10, 12, 13, 82, 157, 198

Salvador Dali 153

saturation 187

Saturday Night Fever (1977) 140

Saving Private Ryan (1998) 155

scan rates 194

scene construction 80, 90

scene transitions 92, 93, 97, 101

School for Scoundrels (1960) 107

Scorsese, Martin 10, 139

screen direction 38, 41

screen wipes 93

scripted dialogue 54, 58, 59, 112, 125

scrolls 177, 199, 221

SD (Standard Definition) 178, 182, 189, 190

Sea Hawk, The (1940) 138

segues 25

shot sizes 17, 41, 88

showreels 226

Sidney Lumet 38

Sim, Alastair 51

Sinden, Donald 157

Singing Detective, The (1986) 187

Skyfall (2012) 139

slowing pictures down 171, 189

smash cuts 99, 101, 105

soft-edged wipe 101, 183

songs 105, 106, 143, 145, 146, 147

sound cut 93, 94, 105

sound design 141

sound designer 141

sound effects 5, 13, 65, 73, 126, 127, 129, 135, 136, 140, 151, 203

sound glue 72, 73, 79, 137

sound levels 120

sound meters 122

sound mixing 128

sound pressure level 133

sound processing 130, 136

sound recordists 124, 125

soundtrack 54, 56, 69, 90, 126, 131, 135, 145, 151, 214

source clip bin 208

South Pacific (1958) 187

Space 1999 (1975) 140

spatial continuity 25

specific wild tracks 125, 136

speeding pictures up 170

Spellbound (1945) 140, 153

Spielberg, Stephen 152, 155

split edits 46, 47, 48, 49, 52, 60, 90, 94, 112, 149

split tracks 124

sporting transitions 103

spot effects 126

squared-off 130

Stairway to Heaven (1946) (A Matter of Life and Death) 153

Stanley Kubrick 141, 160, 169, 171

Steadicam 24

Steiner, Max 138

Stephen Spielberg 152, 155

stereo image 124

stereo sound 123

sticking plaster 68, 127, 183

Still Open All Hours 198, 199, 240

Stone, Oliver 149, 150

straight AVs 47

Strangers on a Train (1951) 104

Street Car Named Desire, A (1951), 138

stretching time 90, 109, 156

sub-clips 208

sub-frame editing 130, 136

Sullivan, John 199, 240

sum and difference signals 123

superimposing 31, 177

Sydney Lotterby 9, 82, 108

Sylvia Anderson 137, 140

sync-locked 206

tablets 223

technical directors 109

Tanner, Peter 157, 173

tapeless 216

tape numbers 230

taste and decency 192

Tati, Jacques 151

telecine 5

television recording 2

tempo 59, 88, 91, 111

tension and release 64

Theory of Everything, The (2014), 76

theremin 140, 153

Things to Come (1935) 138

Thirty-Nine Steps, The (1935) 94

Thomas Crown Affair, The (1968), 139

three-point editing 33, 34

Thunderbirds (1964–1966) 140

tightens 76, 79, 90, 92, 109, 110

tilting shots 23

timecode 124, 172, 193, 209, 210, 211, 212, 229

time jumps 40, 42, 73, 75, 77, 79, 92, 105, 150, 156

timeline management 205

timelines 34, 121, 125, 126, 128, 129, 134, 144, 174, 180, 182, 183, 205, 206, 208, 209, 217, 220, 221, 223, 229, 230, 231, 232

timescales 92, 105, 197

time stretching 134, 136

Tinker, Tailor, Soldier, Spy (BBC) (1979) 78

tone 121, 123

top and tail 199, 200

track assignment 205

tracking shots 23

trailers 115, 116, 118, 181, 191, 194

trails and promotions 115, 118

tram-lined script 212, 217

transitions 94, 95, 97, 98, 99, 101, 102, 103, 104, 105, 149, 150, 195

transmission 135, 185, 193, 195

trautonium 141

trim 144, 147, 223

Twelve Angry Men (1957) 38

two shot favouring 22

two-shots 22

two-shot to two-shot 40, 41, 42

UFO (1970) 140

UFOs 181, 182

undubbed cut 65

unnecessary pauses 76

unscripted dialogue 112

usb sticks 133, 136, 188, 189, 210, 220, 221, 226

verses 143, 147

Vertigo (1958) 137

video effects 169, 189, 226

video format 230

Video Mickey 2

video mix-downs 220

videotape machines 102, 172

vignettes 159, 187, 188

vision mixers 11, 109, 111, 112

vision streams 205

visual effects 169, 189

vowels and consonants 53

Wadsworth, Chris 192, 227

Walter Carlos 141

Walter Murch 95, 141, 150

WAV Files 124, 126, 130, 136

weak cuts 90

weak incoming words 85

weak transitions 99, 105

Welles, Orson 75, 76, 149

wide shots 20

wild tracks 125, 126, 127, 128, 131, 134, 136, 206

wipe out 182

wipes 101, 102, 103, 105

XML Interchange Format 230

zero level 123