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by Roy Thompson, Christopher J. Bowen
Grammar of the Edit, 4th Edition
Cover
Half Title
Title Page
Copyright Page
Table of Contents
Introduction
Acknowledgements
Chapter One – Editing Basics
A Very Brief History of Film Editing
What Is Editing?
What Basic Factors May Affect Your Editing Choices?
Tools
Project Type and Genre
Degree of Audience Manipulation
Other Factors
Stages of the Editing Process
Acquisition
Organization
Review and Selection
Assembly
Rough Cut
Fine Cut
Picture Lock
Finishing
Mastering and Delivery
The Basic Motion Picture Transitions
Chapter One – Final Thoughts: Editing Purpose and Process
Related Material Found in Chapter Eight – Working Practices
Chapter One – Review
Chapter One – Exercises
Chapter One – Quiz Yourself
Chapter Two – Understanding the Visual Material
The Basic Shot Types
Shot Descriptions
The Extreme Close-Up
The Big Close-Up/Choker
The Close-Up
The Medium Close-Up/Bust Shot
The Medium Shot/Waist Shot/Mid-Shot
The Medium Long Shot/Medium Wide Shot
The Long Shot/Wide Shot
The Very Long Shot/Very Wide Shot
The Extreme Long Shot/Extreme Wide Shot
The Two-Shot
The Over-the-Shoulder Shot
Shot Categories: The Increasing Complexity of Motion Imagery
Simple Shots
Complex Shots
Developing Shots
Chapter Two – Final Thoughts: Camera Shots Are Your Building Blocks
Related Material Found in Chapter Eight – Working Practices
Chapter Two – Review
Chapter Two – Exercises
Chapter Two – Quiz Yourself
Chapter Three – Understanding the Audio Material
Sound
Sounds Gathered During Production
Dialogue
Room Tone/Natural Sound (NATS)/Ambience
Wild Sounds
Soundtracks (Musical)
Sounds Gathered During Post-Production
Narration/Voice-Over
Automated Dialogue Replacement (ADR)/Looping
Ambience/Tonal Tracks
Sound Effects (SFX)/Spot Effects
Foley Effects
Soundtracks (Music)
Stings/Stingers
Score
Audio Terms that You May Encounter
Sync Sound
Diegetic Sounds
Non-Diegetic Sounds
Sound Design
Sound Motifs
Chapter Three – Final Thoughts: Sound as Emotional and Physiological Manipulation
Related Material Found in Chapter Eight – Working Practices
Chapter Three – Review
Chapter Three – Exercises
Chapter Three – Quiz Yourself
Chapter Four – Assessing the Footage: Selecting the Best Shots for the Job
Criteria for Shot Assessment
Focus
Framing and Composition
Exposure and Color Balance
Screen Direction
The 180-Degree Rule/Axis of Action
The 30-Degree Rule
Matching Angles
Matching Eye-Line
Continuity of Action
Performance
Continuity of Dialogue/Spoken Words
Audio Quality
Be Familiar with All of the Footage
Chapter Four – Final Thoughts: So How Does All of This Help You?
Related Material Found in Chapter Eight – Working Practices
Chapter Four – Review
Chapter Four – Exercises
Chapter Four – Quiz Yourself
Chapter Five – When to Cut and Why: Factors that Lead to Making an Edit
Information
Motivation
Shot Composition
Camera Angle
Continuity
Continuity of Content
Continuity of Movement
Continuity of Position
Sound
Chapter Five – Final Thoughts: Is There a Right or Wrong Reason for a Cut?
Related Material Found in Chapter Eight – Working Practices
Chapter Five – Review
Chapter Five – Exercises
Chapter Five – Quiz Yourself
Chapter Six – Transitions and Edit Categories
Transition and Edit Terms
The Four Major Categories of Transition Types
The Cut
The Dissolve
The Wipe
The Fade
The Five Major Categories of Edit Types
The Action Edit
The Screen Position Edit
The Form Edit
The Concept Edit
The Combined Edit
Chapter Six – Final Thoughts: Does Everything Always Apply?
Related Material Found in Chapter Eight – Working Practices
Chapter Six – Review
Chapter Six – Exercises
Chapter Six – Quiz Yourself
Chapter Seven – Editing Terms, Topics, and Techniques
Additional Editing Terms
Timecode
Montage
Parallel Editing
Multi-Camera Editing
Composite Editing
Rendering
Chromakey
Video Resolution
Additional Editing Topics
Sound Editing
Color Correction/Color Grading
Importing Still Images
Digital Workflow
Technology vs. Creativity
Chapter Seven – Final Thoughts: Old Techniques Done with New Technologies
Related Material Found in Chapter Eight – Working Practices
Chapter Seven – Review
Chapter Seven – Exercises
Chapter Seven – Quiz Yourself
Chapter Eight – Working Practices
1. Pay Careful Attention to Media and Project Organization
2. Learn and Use Keyboard Shortcuts
3. Organize Your Timeline Tracks and Maintain Consistency Across Projects
4. Keep Your Rough Cut Long
5. Review Each Edit or Series of Edits as You Make Them
6. Duplicate Your Sequence Before Making Major Changes
7. Seek Feedback While Editing Your Motion Picture
8. Put Aside Your Edited Sequence for a While and Watch It Again with Fresh Eyes
9. Use Shots with Matching Headroom When Cutting a Dialogue Scene
10. Avoid Shots Where Distracting Objects Are Too Near to the Subject’s Head
11. Avoid Shots Where the Subject Gets Awkwardly Cut Off at the Edge of the Frame
12. Cut Matched Shots in a Back-and-Forth Dialogue Scene
13. Ensure that Subjects Talking on the Telephone Appear to Be Looking Across the Screen at One Another
14. In a Three-Person Dialogue, Beware of Cutting from a Two-Shot to Another Two-Shot
15. With a Single Subject, Try to Avoid Cutting to the Same Camera Angle
16. Beware of Screen Placement Issues with an Object of Interest
17. Edit in a Wide Shot as Soon as Possible After a Series of Close-Up Shots in a Group Scene
18. Cut to a Close Shot of a New Subject Soon After He or She Enters a Scene
19. Use an Establishing Shot to Set Up a New Scene’s Location
20. Use Close-Ups of Subjects in a Scene for the Greatest Emotional Effect
21. Cut Away from Subjects Soon After Their Look Rests upon Their Object of Interest
22. Use J-Cuts and L-Cuts to Smooth Over Transitions
23. Create Continuous Motion Action Edits by Matching Physical Movements
24. When Cutting a Rise as an Action Edit, Cut Before the Subject’s Eyes Leave the Frame
25. When Cutting to a Close-Up of an Action, Select a Version of the Close-Up Where the Action Is Slower
26. Understand the Visual Differences Between a Dolly-In and a Zoom
27. Beware of Shots that Dolly Out without Motivation
28. Select the Best Version of a Pan or Crab Dolly Shot
29. Begin and End Each Pan, Tilt, or Dolly Shot on a Static Frame
30. Avoid Editing a Stationary Simple Shot After a Moving Complex Shot of the Same Subject
31. Avoid Cutting Pans and Tilts that Reverse Direction at the Cut Point
32. Avoid Crossing the Action Line or the Screen Direction Will Be Reversed
33. Avoid Cutting an Action Edit from a Two-Shot to Another Two-Shot of the Same Subjects
34. Allow a Subject to Exit the Frame Completely Prior to Showing Him or Her Entering the Next Shot
35. Maintain Screen Direction Across an Action Edit
36. Avoid Making an Action Edit from a Long Shot of a Subject to a Close-Up of the Same Subject
37. Beware of Editing a Cut-to-Black Followed by a Cut-to-Full-Picture
38. Take Advantage of the Transition Point that Natural Wipes Offer
39. Take Advantage of the Transition Point that Whip Pans Offer
40. Do Not Use Video Track Dissolves During a Dialogue Scene
41. Use a “Soft Cut” or Mini-Dissolve to Mask a Cut in Interview Footage
42. Use a Dissolve Between Simile Shots
43. Handle Continuity, Time, or Information “Gaps” with an Insert Shot
44. Cut to Reaction Shots During Phrases or Sentences Rather than at the End
45. When Editing Dialogue, Avoid Automatically Removing a Performer’s Pauses
46. In Documentary Programming, Edit Out “Ums” and “Ahs” in Interviewee Speech
47. Use a Character’s Cleanly Recorded Dialogue under His or Her Off-Screen or Over-the-Shoulder Line Delivery
48. Do Not Be Too Bound by Dialogue When Looking for a Cut Point
49. Do Not Leave Any Holes in Your Audio Tracks
50. When Appropriate, Edit Video Tracks to the Beats of Music in Your Sequence
51. If Appropriate for Your Story, Make a Cut at a Loud Sound on the Audio Track
52. Hold Off on Adding Music to Dialogue Scenes
53. During the Audio Mix, Make Sure that Music Track Levels Do Not Overpower Dialogue
54. Consider Using a Sound Element Before Active Picture at the Start of a Program
55. For the End of a Program, Use the End of the Music
56. Make Appropriate Font Choices for Your Titles
57. Be Aware of Proper On-Screen Durations for Inter-Title and Lower-Third Graphics
58. Use Still Digital Photographs Whose Image Resolution Is as Large as or Larger than the Project Format’s Pixel Resolution
59. If Working for a Client, Complete Rudimentary Color Correction Before Showing a Rough Cut
60. When Color Grading, Work Through Shots, Then Scenes, Then Overall Look
Chapter Eight – Review
Chapter Eight – Exercises
Chapter Eight – Quiz Yourself
Chapter Nine – Concluding Thoughts
Sound and Vision Are Partners
A New Shot Should Contain New Information
There Should Be a Reason for Every Edit
Pacing Has a Purpose
Observe the Action Line
Select the Appropriate Form of Edit
The Better the Edit, the Less It Is Noticed
Editing Is Manipulation
The Role of an Assistant Editor
Editing Is Creating
Chapter Nine – Final Thoughts: Key Take-Aways
Chapter Nine – Review
Chapter Nine – Exercises
Chapter Nine – Quiz Yourself
Appendix A – Helpful Resources for the New Filmmaker
Appendix B – Crew Members Commonly Needed for Motion Picture Production
Appendix C – Practice Script
Glossary
Index
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