1. The Grammar of Editing

2. What is an Edit? ed·it –assembly of 2 or more shots in a linear fashion using cuts, fades, dissolves, and other common transitions.

3. Editing Motivation A constant flow of new information involves the audience in the story and keeps them interested. There must be a good reason for making an edit. The motivation for an edit can be...

4. #1 Visual Cue A Gesture or Look-off –When a character points or turns his head to look at something, the next shot should show what has caught the character’s attention.

5. Visual Cue Continued... A Facial Expression –When an actor so much as smiles, the editor has a reason to cut to what the character is smiling at. (works well for screams too)

6. #2 Off-Screen Reference Sound –A shout, a gun blast, a telephone ring heard off-screen is usually followed by a cut to an image that identifies the source of the sound.

7. #3 To Add Variety –Changing images make the video more interesting and dynamic.

8. #4 To Change Location Edits can move back and forth to different locations as the story develops. These different sequences can be cut together and the audience will accept the change and follow along.

9. Most Common Edits CUT DISSOLVE FADE WIPE

10. The CUT The CUT is the most commonly used edit. It is an instantaneous change from one shot to another. When the cut is made properly (normally on action), the audience will accept the transition and won’t notice the edit.

11. The DISSOLVE The DISSOLVE is a gradual transition between two shots. (One shot “breaks down” to reveal another shot.) Very effective when there is a visual similarity between the 2 shots. (the shape of an object in an outgoing shot dissolves into a similar shaped object in the incoming shot) The audience is fully aware of the transition and it must be appropriate.

12. The FADE The fade is a gradual transition from an image to a black or a white screen. Typically Used: –To fade IN or OUT at the beginning or end of a film –To show a passage of time –To change location.

13. The WIPE The WIPE is a less frequently used transition. (currently out of style or maybe “retro”) One image appears to be sliding off the top to reveal another image underneath it. Or, one image will appear to slide over another to cover and replace it.

14. Why do cuts work? The audience has no problem accepting a sudden change when the difference between the outgoing and incoming shot is significant

15. Significant Change If the shot size has only slightly changed between shots and new information is not received, then the cut will not work. (Jump cut)

16. Shot Size When similar shots are being cut together, they must have similar shot size, composition, and framing.

17. Shot Size A change in composition like the one below is annoying to the audience. One character’s head appears to be much larger than the other.

18. Continuity of Action Hold the action as long as the viewer is still interested….don’t cheat the viewer’s expectations by cutting too soon or too late. Rarely do edits occur during a zoom or pan

19. Continuity of Content It is the editor’s job to make sure that the content flows properly throughout video.

20. Continuity of Direction Only action from the same side of the action axis will cut together (180 o Rule) If the director “crosses the line” it appears as though the characters have changed positions between shots.

21. Selecting an Edit Point There are 2 editing practices the editor must master: ENTRANCE / EXIT CUT ACTION CUT

22. Entrance / Exit Cut Basic Rule: hold the empty frame for a “beat” before the subject enters the frame. Showing extra footage after the subject leaves is confusing to the audience. CUT ON ACTION.

23. ACTION CUT An action cut presents two different views of the same action cut together to appear as one continuous action. A well executed action cut is seamless and will not be perceived as two different shots.

24. ACTION CUT Continued The cutting points between the incoming and outgoing shots should slightly overlap (approximately 3 frames) depending on the speed of the action. The overlap gives the audience time to orient themselves to the incoming shot.

25. Measure of Success? The editor is successful when her/his work is invisible (i.e.. The edits are not obvious or unnecessary) The edits must add to the story being told.

26. The Final Word Keep accurate records of the shots from the field tapes so you can find shots quickly and easily. If you want to be unconventional…do it consistently.