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Part 1 So You’re an Assistant, Now What?
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Part 1 So You’re an Assistant, Now What?
by Diana Friedberg, Lori Jane Coleman
JUMP•CUT
Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
Foreword
Acknowledgments
Part 1 So You’re an Assistant, Now What?
Chapter 1 Deep Assessment
1.1 Choose Your Venue Wisely
1.2 Assess Your Current Status
1.3 Step Away from the Internet
1.4 Choose Your Editor
1.5 Tools
1.6 Finances
1.7 Summary
Chapter 2 Cut. Cut. Cut.
2.1 Communicate Your Desire to Edit
2.2 Dig In
2.3 Contribute to the Editing Workload
2.4 Recognize a Safe Environment
2.5 Think Outside the Box
2.6 Learn How to Leave
2.7 Summary
Part 2 Discover the Rules
Chapter 3 Theory
3.1 Script Breakdowns
3.2 Architecture—The Master as the Support Beam
3.3 Eye Candy
3.4 The Director’s Breadcrumbs
3.5 Custody of the Eyes
3.6 Ten O’Clock Rule
3.7 Layering
3.8 Juggle the Characters in the Room
3.9 Cycles of Motion, Dirty Frames and Empty Frames
3.10 Actor Grooming
3.11 Headless Hands
3.12 Own Every Cut
3.13 Polish Your Cut
Chapter 4 Practical Uses
4.1 Cadence—Dialog as Your Melody
4.2 2, 4, 6, 8, 10, 12 Frame Rule
4.3 Air on The ‘A’ and ‘B’ Side of the Cut
4.4 Projectile Rule—Cause and Effect
4.5 Match/Shmatch
4.6 Overmatching in the Master
4.7 Sports—Follow the Ball
4.8 Dancing—See the Feet
4.9 Montage—Juxtapose Images
4.10 Come Back to a Character in the Same Position
4.11 The Eyes Have it
4.12 Never Leave Anyone Hanging to Dry
4.13 One-Eye Rule
4.14 Meter—Pauses, Commas and Parenthetical Phrases
4.15 Pre-Lapping and Post-Lapping Sound
4.16 Band-Aids®—Consonants, Speech Blends, SFX and MX—Consonants, Speech Blends, SFX and MX
4.17 Soundscape
4.18 Music
4.19 The Art of Jump•Cuts
4.20 Making Lifts
4.21 Summary
Chapter 5 Additional Skills
5.1 Transitions
5.2 Placing Chyrons and Subtitles
5.3 Placing Credits—The Main Title and Opening Credit Sequence
5.4 The Recap for an Episodic Television Show
5.5 Gag Reel
5.6 Comedy
5.7 Action
5.8 Courtroom and Monologs
5.9 Telephone Conversations
5.10 Crossing the Line
5.11 Summary
Part 3 Guidelines for Editing Non-Fiction
Chapter 6 Editing Scripted Documentaries
6.1 Introduction to Non-Fiction
6.2 Editing Documentaries
6.3 The Process Begins With the Script
6.4 Get Started
6.5 The Form of the Script
6.6 View the Material
6.7 Organize the Media
6.8 Create the Assembly
6.9 Make the First Cut
6.10 Editor’s Cut
6.11 Interviews
6.12 Lower Thirds and Chyrons
6.13 Stock Footage and Stills
6.14 Music and Sound Effects
6.15 Creative Tips
6.16 Complete the Cuts
6.17 Online and Mixing
Chapter 7 Editing Non-Scripted Documentaries
7.1 Introduction
7.2 Where to Start
7.3 View Material
7.4 Find the Story
7.5 Make the First Cut
7.6 Develop the Cut
7.7 Collaboration With the Director
7.8 Narration
7.9 Music
7.10 Refine the Cut
7.11 Mixing
Chapter 8 Capture the Action
8.1 Introduction to Reality
8.2 Find the Story
8.3 Work as a Team
8.4 Stacking and Audio Tracks
8.5 Approaches to Cutting
8.6 Conclusion
Part 4 Words of Advice from Editors
Chapter 9 Journeys
Alan Heim
Mary Jo Markey
Michael Tronick
Maysie Hoy
William Goldenberg
Paul Rubell
Pam Martin
Mark Helfrich
Sabrina Plisco
Marlise Malkames
Mark Andrew
Hunter Via
Tyler Nelson
Carsten Kurpanek
Shoshanah Tanzer
Afterword
Glossary
Index
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Acknowledgments
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Next Chapter
Chapter 1 Deep Assessment
Part One
So You’re an Assistant Editor, Now What?
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