Editing 101
These days we use NLE systems to edit digital video. A Non Linear Editing system is a non destructive method of 'cutting' or editing a video. Cutting describes the old process of physically cutting the film and sticking it back together to make an edit.
Many terms have be coined from older techniques and methods e.g. Folders you store video files in are generally referred to as 'bins' this comes from the wheel bins they used to fit large rolls of film in. Even with the advances of digital video many still prefer the warmth, grain, dynamic range and quality of film.
Vimeo have put together the below videos to get you started:
There are lots of resource out there for learning the different editing programs. Videos, online articles, books, forums read up on the program you have access to. The key is to practice and get editing. This can be with your own footage, found footage or remix a current videos. The more you edit the faster your understanding develops for how shots relate to each other and becoming faster at using the software opening up more advance tools and spending more time thinking about the story rather than the technical how. No matter what program you use to edit with there are some core principles that will aim you in telling your story.
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"The Kuleshov Effect is a film editing (montage) effect demonstrated by Soviet filmmaker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation." wiki
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Cut/Dissolve/Wipe - Transitions
These are all types of transitions. A 'cut' being the simplest, moving instantly from shot A to B. A 'dissolve' being a type of blend or fade. This could be a cross dissolve between shot A and B where there would be a point of 50% opacity of both shots overlaying each other. Alternatively a fade to black would do as it describes. A wipe is a directional movement of pulling or pushing the shot B over/along side shot A. There are many elaborate transitions and thought is need to which best suits what your trying to establish. Each transition can alter the relationship between shots, the pace and passing of time. |
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There are also subtle ways of using these techniques for example cutting on cross-frame. This is where an edit is made on a natural wipe action. e.g some walks past the camera and object passed the camera or the camera tracks past a wall. Another subtle example may be pointing the camera towards a light to blow out the image combining this with a fade to white. Making the transition seem more seamless and integrated.
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Continuity editing
Continuity editing is editing that creates seamless flow that smoothly takes the viewer across shots and scenes without jarring inconsistencies, immersing them in the action. There are many technique that form part of continuity editing. Think of these techniques as tools to preserve continuity within your edit:
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Cutting on action
Match on Action - A cut between two shots of the same action from different positions, giving an impression of seamless simultaneity |
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Cross Cutting/ Parallel Editing
Swiftly cutting backwards and forwards between more than one scene. Showing parallel stories happing at the same time. Often used to build tension. |
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Shot Reverse Shot
Two successive shots from equal and opposite angles, typically of characters during conversation. |
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Montage Editing
A style of editing involving cutting so that one image is juxtaposed with another. This can ignore the natural time and space relationships of continuity editing. Soviet Montage Theory Sergei Eisenstein a Soviet film maker studied the relationship formed by placing different shots within a sequence. Montage is french for assembly i.e. editing shots together. He explored the abstract meaning that two shots can have when put together this was intellectual montage, and is a alternative system to continuity editing. He argued that "Montage is conflict" (dialectical) where new ideas, emerge from the collision of shots within the sequence. He categorised 5 types of Montage:
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Graphic Match
An edit between shots of matching form or shape. e.g. Fading between a bicycle and a shot of the moon where the wheel and moon align. |
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Eyeline Match
It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, followed by a cut to the object or person at which they are looking. |
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Jump cut
A jump cuts are generally avoided. They occur when the camera positions has changed while shooting the same subject. When play together object, characters appear to jump around the frame. This interrupts the continuity and is therefore jarring. However knowing this we can use this to our advantage when we want to create a sense disruption, disorientation the abrupt passing of time. The '30 Degree rule' is used to stop jump cuts occurring. By moving the camera angle by 30 degrees the shot is viewed as a different shot rather that the same shot but slightly out. |
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NOTE. Rough cut
This is not a type of cut but a term used a lot meaning to put together the first pass threw of the sequence. Like an essay a video will go through a series of drafts and versions to be refined to the finished product.
This is not a type of cut but a term used a lot meaning to put together the first pass threw of the sequence. Like an essay a video will go through a series of drafts and versions to be refined to the finished product.
Cutting to soundtrack
Editing to soundtrack is when the pace of the cuts are motivated by how fast the music is played. By this I mean an editor is allowing the soundtrack to guide the position of the cuts. A good example of this is a music video. Of course creating your own film score will allow you to recreate this sisynced effect to match the tempo of you edits. |
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Sound Bridge
A sound bridge connects seamlessly two scenes together by overlapping the sound from one scene to another, repeating a sound from one scene to another or in this example sound matching between scenes. This clever sequence uses multiple techniques of parallel editing, graphic matches, match on action and montage editing. There is a sound bridge between the bike wheel clicking and film wheel clicking. Much like a graphic match this creates a symbolic link between the shots. |
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J and L Cuts
J and L cuts describe two ways of introducing audio before or after the video edit as shown by the diagram. You can find out more by visiting this Vimeo lesson here. |