2-shot/2S (two-shot) 29, 29f; cutting from two-shot to 165–166, 165f, 191, 192f

30-degree rule 63–64, 63f, 166

180-degree rule/axis of action 61–63, 62f; observing 236–239, 237f, 238f, 239f

acquisition stage, editing process 8–9

action edits 113–115, 114f; allowing subject to exit frame 193–194, 193f; creating a continuous motion 177–178, 178f; cutting from two-shot to two-shot 191, 192f; cutting rise as an 178–180, 180f; from a long shot to a close-up of same subject 195–196, 196f; maintaining screen direction 194–195, 195f

action line, observing 190–191, 190f, 236–239

alpha channel 136, 143–144

ambience 42–43, 44, 91, 115; pollution 69

anti-smoking campaign 118–119, 118f

assembly edits 102, 140

assembly stage, editing process 10

assistant directors 252

assistant editors 9, 243, 259

audience manipulation 6–7, 242–243; sound and 50, 232

audio quality 68–70, 69f; over-the-shoulder shot concerns 30; tricks to improve 70

audio terminology 46–50; diegetic sound 49; non-diegetic sound 49; sound design 50; sound motifs 50; sync sound 46–48

audio tracks: cross-fade 104, 118; editing video to beat of 213–214, 214f; end of program 218; holes in 212–213, 213f; J-cuts 81, 81f, 101, 139–140, 175–177, 176f; L-cuts 101, 139–140, 175–176, 176f; leading visual track at start 217–218; making cuts to a loud sound on 215; organizing 152; regulating dialogue and music levels 216–217, 216f; using cleanly recorded dialogue 210, 232; wiping shot 109–110

automated dialogue replacement (ADR) 44, 70

axial edits 101, 167f, 168

axis of action/180-degree rule 61–63, 62f; observing 236–239, 237f, 238f, 239f

B-roll 71, 171, 203, 209

back-ups 150

BCU (big close-up)/choker 21, 21f

big close-up (BCU)/choker 21, 21f

blurry images 56, 57f

books, recommended 247–249

boom operators 252

breaking frame 24

budget, project 5

bust shot/medium close-up (MCU) 23, 23f

butt-cut 140, 140f

camera angle 58f, 59, 84–86, 85f; and dissolve 103; and making cut 100–101; matching angle shots 64–65, 65f; single subject and cutting to same 166–168, 167f; and wipe 109

camera assistants (AC) 251–252

camera movement: cutting from moving to stationary subjects 187–188; selecting shots with smooth 185, 185f; shot categories and 31, 33, 34, 35, 36

camera operators 251

choker/big close-up (BCU) 21, 21f

chromakey 135–136, 136f

chrominance 142

close-up (CU) shots 22, 22f; cutting to action 180–181, 181f; edit in a wide shot after a series of 169–170, 170f; for greatest emotional effect 173–174, 173f; of new subjects in a scene 170–171, 171f; sound matching size of object in 80, 80f

color balance and exposure 59–60, 59f

color correction/color grading 12, 59f, 141–142, 147; order of work 224–225, 224f; prior to showing rough cut to client 223

combined edits 122–123, 122f

complex shots 34–35, 35f

composite editing 134, 134f

composition: and dissolve 103; editing shot 82–84, 84f; and fade 111; and framing 57–59, 58f; and making cut 100; medium close-up concerns 23; very long shot concerns 27; and wipe 109

compressed files 137

concept edits 80, 118f, 119–122, 120f, 121f

continuity 86–91; of action 66, 66f; of content 87, 88f; of dialogue 67, 68f; insert shots to cover gaps in 205–206, 206f; and making cut 101; of movement 88, 89f; of position 89, 90f; of sound 90–91; two-shot concerns 29

continuity edits see action edits

copyright 70

crab dolly shots: cutting from moving to stationary subjects 187–188, 188f; selecting 185, 185f

creativity vs. technology 144–145

crew members 251–253

cross-cutting 131, 132f

cross-fade 104, 118

crossing the line 61, 62f, 236–239, 237f, 238f, 239f; editing issues 240; of objects moving in a direction 190–191, 190f

CU (close-up) shots see close-up (CU) shots

cut 13, 98–102, 99f; action edits 113–115, 114f; action edit from two-shot to two-shot of same people 191, 192f; allowing subject to exit frame 193–194, 193f; to a close shot of a new subject in scene 170–171, 171f; to a close-up of action 180–181, 181f; to create a continuous motion action edit 177–178, 178f; cut-to-black followed by a cut-to-full-picture 197–198, 197f; matched shots in dialogue scenes 161–163, 162f; matching headroom shots in dialogue scenes 157–159, 158f; from moving to stationary subjects 187–188, 188f; pan and tilt cuts that reverse direction at 189; pauses in fictional dialogue 207–208; pauses in interviewee speech 208–209, 209f; rise as an action edit 178–180, 180f; to same camera angle with single subject 166–168, 167f; in three-person dialogue 165–166, 165f; video-editing software and 95–98, 96f, 97f

cutaways 87, 88f, 205–206, 206f; after subject rests look on object of interest 174–175, 175f; for continuity 87, 88f; matching eye-lines and 65, 65f; motivation for 78–79, 79f; pauses and 208, 209; reaction shots 207, 211; to separate medium shot and medium close-up 167

cut-ins 101, 167f, 168

data wranglers 252

defining editing 2–4

depth of field (DOF) 30, 162f

developing shots 35–37, 36f

dialogue 42; adding music to 215–216; continuity of 67, 68f; cutting three-person 165–166, 165f; editing shot composition 83–84, 84f; ensuring music levels do not overpower 216–217, 216f; J-cuts 140; keeping it clear and clean 210, 232; looking for a cut point 101, 211–212, 211f; matched shots, cutting 161–163, 162f; matching angle shots 64–65, 65f; matching headroom shots 157–159, 158f; pauses, editing of 207–208; reaction shots 206–207, 211, 211f; screen position edits 116, 116f; straight cut 201, 202f; telephone conversations, editing 163–164, 164f; use of dissolves 201–203, 202f, 240–241, 241f

diegetic sound 49

digital format, converting material into 9

digital imaging technicians 252

digital workflow 144

dip to black 111

directional edits 115–116, 116f

directors 251

directors of photography (DPs/DOPs) 251

dirty single 30

dissolve 13, 102–107, 104f, 106f; form edits and 117–119, 117f, 118f; inappropriate use of 201–203, 202f, 240–241, 241f; to mask cuts in interview footage 203; match 103, 117; between simile shots 203–205, 204f; video-editing software 96–98, 97f

distracting objects 159–160, 159f

documentaries: editing interviewee speech 208–209, 209f; establishing shots 171; familiarity with all footage 71; lower thirds 220–221, 221f; talking-head interviews 33, 34f, 56, 67, 174, 208, 211

dolly grips 252

dolly-ins 182, 183f

dolly-outs, without motivation 183–184, 184f

dolly shots: beginning and ending on static frame 186–187, 186f; visual differences between zoom and 181–183, 183f

dual-system recording 46–48

duplicating sequences 155

ECU/XCU (extreme close-up) 20, 20f

edit, factors that lead to making an 75–94; camera angle 84–86, 85f; continuity 86–90, 88f, 89f, 90f; information 77, 78f; motivation 78–82, 79f, 80f, 81f; right or wrong choices 91; shot composition 82–84, 84f, sound 90–91

edit types 112–123; action edits 113–115, 114f; combined edits 122–123, 122f; concept edits 118f, 119–122, 120f, 121f; form edits 117–119, 117f, 118f; screen position edits 115–116, 116f; selecting appropriate 239–241, 241f

editing: creativity of 243–244; creativity vs. technology 144–145; deciding shot length 235, 236f; defining 2–4; duplicating sequences 155; feedback on 156; good and bad 241–242; as manipulation 6–7, 242–243; project type and genre affecting choices 5–7; reason for every edit 234; reviewing 154–155; “self-aware” practices 242; stages of process 7–12, 11f; taking a break from 156–157 see also edit, factors that lead to making an; edit types

editors 253

electrics 252

establishing shots 26, 171–172, 172f

EWS/XWS (extreme wide shot)/ELS/XLS (extreme long shot) 28, 28f

exercises 15, 38, 52–53, 73–74, 92–93, 124–125, 147–148, 228, 246

exposure and color balance 59–60, 59f

extreme close-up (XCU/ECU) 20, 20f

extreme long shot (XLS/ELS)/extreme wide shot (XWS/EWS) 28, 28f

eye-line: close-up concerns 22; matching 65–66, 65f, 83–84, 84f

fade 13, 110–112, 112f

feedback, obtaining 156

fine cut stage, editing process 10

finishing stage, editing process 12

flash pans 200–201, 200f

flashbacks 105

focus 20, 56, 57f

Foley effects 45

font choices for titles 219–220, 219f

form edits 100, 117–119, 117f, 118f

frame rates 128–129

frames: allowing subject to exit, prior to cutting 193–194, 193f; big close-up concerns 21; blow-up or enlargement 82–83; breaking 24; and composition 57–59, 58f; cutting rise 178–180, 180f; edges cutting off heads and bodies 160–161, 160f; extreme close-up concerns 20; medium long shot concerns 25; reformatting 57, 58f

freeze frames 107

gaffers 251

graphic edits 100, 117–119, 117f, 118f

grips 251, 252, 269

group shots 29, 29f; editing in a wide shot after a series of close-up shots 169–170, 170f; three-person dialogue edits 165–166, 165f

handles 96–98, 97f; and dissolves 102, 106–107, 106f

HDTV resolution 137, 137t

headroom 58f, 59; using shots with matching 157–159, 158f

head shots see close-up (CU) shots

history of film editing 2

Hitchcock, Alfred 36

horizon line 28, 59

imaginary line 61, 62f; observing 190–191, 190f, 236–239

importing still images 142–144, 222–223, 222f

information: and dissolve 103; insert shots to reveal 205–206; and making cut 99; new shots should contain new 233; presenting new 77, 78f; and wipe 107–108

insert shots 88, 89f, 120, 205–206, 206f, 237

inter-titles 220–221, 221f

interviews: continuity of dialogue 67, 68f; editing out verbal pauses 208–209, 209f; soft cuts to mask cuts in 203; talking-head 33, 34f, 56, 67, 174, 208, 211

J-cuts 81, 81f, 101, 139–140; to smooth over transitions 175–177, 176f

jump cuts 63–64, 63f, 85–86, 85f, 100, 166, 167, 167f, 186, 192f, 195, 240

key grips 251

keyboard shortcuts 150–151, 151f

kissing black 111

Kuleshov effect 120–121, 121f

L-cuts 101, 139–140; to smooth over transitions 175–176, 176f

lapping 101, 139–140, 140f, 207

length of a shot, deciding 235, 236f

lens movement, shot categories and 31, 31f, 33, 34–35, 36

lighting technicians 252

long shot/wide shot (LS/WS) 26, 26f; edit in after a series of close-up shots 169–170, 170f; as an establishing shot in new scene 171–172, 172f

look room/looking room 58f, 59

looping 44, 70

lower thirds 220–221, 221f

LS/WS (long shot/wide shot) see long shot/wide shot (LS/WS)

luma-keys 136

luminance 141–142

make-up 21

manipulation, audience 6–7, 242–243; sound and 50, 232

master footage sequences 9

master scene technique 17, 64, 116, 210, 236

mastering and delivery stage, editing process 12

match dissolve 103, 117

matching angles 64–65, 65f

medium close-up (MCU)/bust shot 23, 23f

medium long shot (MLS)/medium wide shot (MWS) 25, 25f

medium shot (MS)/waist shot/mid-shot 24, 24f

mixers 43

monologues 42, 234; and reaction shots 234, 234f

montage sequences 130

montages 105, 130, 131f; quick edit 235–236

MOS 47, 47f, 274

motivation for edits 78–82; dissolve 103; dollying out without any 183–184, 184f; fade 111; making cut 99–100; picture 78–79, 79f; and a reason for every edit 234; sound 79–81, 80f, 81f; time 81–82; wipe 108

mount/support movement, shot categories and 31–32, 33, 34, 35, 36

movement edits see action edits

MS (medium shot)/mid-shot/waist shot 24, 24f

multi-camera editing 131–133, 133f

music: adding to dialogue scenes 215–216; edit video tracks to beat of 213–214, 214f; leading visual track at start 217–218; manipulative power of 50, 232; mixing dialogue and track levels 216–217, 216f; rights 70; scores 46; soundtracks 43, 45, 50, 213–214, 214f, 217–218; stings/stingers 46, 50; using end of, for end of program 218

MWS (medium wide shot)/MLS (medium long shot) 25, 25f

naming conventions 144

narration 44, 49, 77

natural sound (NATS) 42–43, 91

natural wipes 108, 198–199, 199f

noddies 208, 211–212

non-diegetic sound 49

objects: action lines of moving 190–191, 190f; distracting 159–160, 159f; of interest 168, 169f, 174–175, 175f; sound matching size of close-up of 80, 80f; unwanted 28

offline editing 8–12

online editing 8, 12

organization: of projects and media 9, 149–150; of timeline tracks 152, 153f

over-the-shoulder shot (OTS/OSS) 30, 30f; using cleanly recorded dialogue 210

pacing: and choice of edit 81–82; purpose of 235–236

pan and scan 57

pan shots 35, 35f; avoiding cuts that reverse direction 189; beginning and ending on static frame 186–187, 186f; cutting from moving to stationary subjects 187–188, 188f; selecting 185, 185f

parallel editing 131, 132f

pauses, editing 207–208, 208–209, 209f

performance, editing 66–67

picture-in-picture (PIP) 134, 134f

picture leading sound 139

picture lock stage, editing process 10–12

picture, motivation to cut away from 78–79, 79f

pixels 136–137, 137t

placement edits 115–116, 116f

placement issues with objects of interest 168, 169f

post-production stages 7–12, 11f

production designers 251

project type and genre 5–6

punch-in 101, 167f, 168

push-in 182

quizzes 16, 38–39, 53–54, 74, 93–94, 125, 148, 228–229, 246

reaction shots 206–207, 211, 211f, 234, 234f

reformatting of video frames 57, 58f

rendering 134, 135

resources 247–249

reveals 79, 79f, 99–100, 174, 175f

review and selection stage, editing process 9 see also shots, selecting best

reviewing edits as they are made 154–155

rights 70

rise, cutting 178–180, 180f

room tone 42–43, 69, 91

rough cut stage, editing process 10; keeping it long 153–154

running time 154

scores, musical 46

screen direction 60–61, 60f, 88, 89f; and crossing line 236–237, 237f, 238–239, 239f; maintaining across action edits 194–195, 195f; moving objects 190–191, 190f; pan and tilts and reverse direction at cut point 189

screen position edits 115–116, 116f

screenwriters 251

script, practice 255–256

script supervisors 252

sequences, duplicating 155

shot categories 31–37; and basic components of shot creation 31–33; complex shots 34–35, 35f; developing shots 35–37, 36f; simple shots 33, 34f

shot duration 235, 236f

shot types 18–30; basic 18, 19f; big close-up (BCU)/choker 21, 21f; close-up (CU) 22, 22f; descriptions 18; extreme close-up (XCU/ECU) 20, 20f; extreme long shot (XLS/ELS)/extreme wide shot (XWS/EWS) 28, 28f; long shot/wide shot (LS/WS) 26, 26f; medium close-up (MCU)/bust shot 23, 23f; medium long shot (MLS)/medium wide shot (MWS) 25, 25f; medium shot (MS)/waist shot/mid-shot 24, 24f; over-the-shoulder shot (OTS/OSS) 30, 30f; two-shot (2-shot/2S) 29, 29f; very long shot (VLS)/very wide shot (VWS) 27, 27f

shots, selecting best 9, 55–74; 30-degree rule 63–64, 63f; 180-degree rule 61–63, 62f; audio quality 68–70, 69f; blurry images 56, 57f; continuity of action 66, 66f; continuity of dialogue 67, 68f; exposure and color balance 59–60, 59f; familiarity with all footage 71; focus issues 56, 57f; framing and composition 57–59, 58f; matching angles 64–65, 65f; matching eye-line 65–66, 65f; performance 66–67; screen direction 60–61, 60f

sight line see eye-line

“silence,” recorded 212

simile shots, using a dissolve between 203–205, 204f

simple shots 33, 34f

slates 47, 47f, 48, 106, 106f

slop edits 102, 140

slow-motion imagery 105

smash cuts 101

soft cuts 105, 203

soft-focus shots 20, 56, 57f

sound 41–54; as a component of storytelling 138–140, 138f, 139f, 140f; continuity 90–91; creating more “reality” than vision 232; design 50; designers 43, 50, 91; effects (SFX) 45; manipulative power of music and 50, 232; mixers 252; motifs 50; post-production gathered during 43–46; production, gathered during 42–43; quality 68–70, 69f; recordists 43; terminology 46–50; as transition motivator 79–81, 80f, 81f; and vision as partners 231–233

sound bridges 80–81, 81f, 111, 139, 139f, 140f; to smooth over transitions 175–176

sound editing 41–42, 138–140, 138f, 139f, 140f; adding music to dialogue scenes 215–216; cross-fade 104, 118; dialogue and music track levels 216–217, 216f; and dissolve 104–105; editing video tracks to beat of music 213–214, 214f; and fade 111; holes in audio tracks 212–213, 213f; J-cuts 81, 81f, 101, 139–140, 175–177, 176f; L-cuts 101, 139–140, 175–176, 176f; making cuts at loud sound on audio tracks 215; soundtrack leading visual track at start 217–218; using cleanly recorded dialogue for “off-screen” characters 210; using end of music for end of program 218; whistle 79–80, 80f; and wipe 109

soundtracks 50; (music) 45; (musical) 43; edit video tracks to beat of 213–214, 214f; leading visual track at start 217–218

source music see soundtracks

speech, editing interviewee 208–209, 209f

speed of action in close-up shots 180–181, 181f

split edit 101, 139–140, 140f

split-screen effects 134, 164f

spot effects 45

stages of editing process 7–12, 11f

standard definition 57, 83, 137, 137t

static shots: beginning and ending on 186–187, 186f; cutting from action shots to 187–188, 188f

still images, importing 142–144, 222–223, 222f

stings/stingers 46, 50

stock footage 172

storytelling: creativity vs. technology 144–145; familiarity with all footage 71; sound as a component of 138–140, 138f, 139f, 140f

straight cut 3f, 4, 95–96, 96f, 98, 102; becoming a split edit 140, 140f; into an L-cut or J-cut 175–176, 176f

subject movement, shot categories and 32, 33, 33f, 34, 35, 36

superimposition 105

sync sound 46–48

talking-head interviews 33, 34f, 56, 67, 174, 208, 211

technology vs. creativity 144–145

telephone conversations, editing 163–164, 164f

three-person dialogue, editing 165–166, 165f

tilt shots 35, 35f; avoiding cuts that reverse direction 189; beginning and ending on static frame 186–187, 186f

time: deciding shot duration 235, 236f; dissolve and collapsing of 104–105; dissolve duration 105; fade duration 111; insert shots to condense or expand 205–206, 206f; motivation to edit shots 81–82, 100; on-screen titles duration 220–221, 221f; wipe and moving around 108; wipe duration 109

timecode 128–130, 129f

timeline tracks organization 152, 153f

titles: font choices for 219–220, 219f; on-screen durations 220–221, 221f

tonal tracks 44

tools for editing 4–5

track-ins/truck-ins, cutting from action to static shots 187–188, 188f

track-outs/truck-outs, without motivation 183–184, 184f

transitions 13–14, 95–112; cut 98–102, 99f; dissolve 102–107, 104f, 106f; fade 110–112, 112f; video-editing software 95–98, 96f, 97f; wipe 107–110, 108f

two-shot (2-shot/2S) 29, 29f; cutting from two-shot to 165–166, 165f, 191, 192f

type and genre of project 5–6

ultra-high-definition television (UHDTV) 57, 58f, 137, 137t

“Vertigo shot” 36

very long shot (VLS)/very wide shot (VWS) 27, 27f

video-editing software 5–6; color correction 59–60, 59f; importing still images 142–144; keyboard shortcuts 150–151, 151f; timecode 128–130; transitions 95–98; wide variety of 145

video resolution 136–137, 137t

video scopes 142

vision and sound as partners 231–233

VLS (very long shot)/VWS (very wide shot) 27, 27f

voice-overs 44, 49, 77

waist shot/medium shot (MS)/mid-shot 24, 24f

websites, recommended 247

whip pans 200–201, 200f

wide shot/long shot (WS/LS) 26, 26f; edit in after a series of close-up shots 169–170, 170f; as an establishing shot in a new scene 171–172, 172f

wild sounds 43

wipe 13, 107–110, 108f; taking advantage of natural 109, 198–199, 199f; video-editing software 96–98, 97f

workflow, digital 144

XCU/ECU (extreme close-up) 20, 20f

XLS/ELS (extreme long shot)/XWS/EWS (extreme wide shot) 28, 28f

zoom: slow 182; visual differences between dolly-in shots and 181–183, 183f