- Cover
- Half Title
- Title Page
- Copyright Page
- Table of Contents
- Introduction
- Acknowledgements
- Chapter One – Editing Basics
- A Very Brief History of Film Editing
- What Basic Factors May Affect Your Editing Choices?
- Stages of the Editing Process
- 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 Categories: The Increasing Complexity of Motion Imagery
- 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
- Sounds Gathered During Post-Production
- Audio Terms that You May Encounter
- 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
- Chapter Five – When to Cut and Why: Factors that Lead to Making an Edit
- Chapter Six – Transitions and Edit Categories
- Transition and Edit Terms
- The Four Major Categories of Transition Types
- The Five Major Categories of Edit Types
- 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
- 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
Grammar of
the Edit
Fourth Edition
Christopher J. Bowen
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