Editing Techniques

Cutaway

- when an editor cuts away from the main action

- Rule of six: a list of prioritized criteria when deciding on each cut. (50% emotion,

- if tone is mournful or contemplative, hold on shots for longer

- if filled with frantic action, rapid cutting

- might indicate what's on the character's mind

- or cut to what a character is looking at

1. Eyeline match

- when an editor cuts to the object of the character's attention

- if a character notices something, we cut to what they see (pov shot, or char's perspective)

- we reveal what they see, or we may not show it at all

- it's the character's eyes that motivate the cut

- his eyes lead the cut

- shot reverse shot: cut between a shot of subject A and a cut of subject B in a reverse angle, often similar angle and composition. most common use is in conversations.

- inserts are also prompted by eyeline match scenes to emphasize prop or element

- great way to connect the dots to what the char sees or feel

2. cross-cutting

- cuts between separate scenes

- cuts between 2 or more scenes happening in different locations usually at the same time

- creates an ironic juxtapositon that elevates the whole sequence

- can be an effective way to combine multilayered actions

- create parallel scenes of multiple action in one

3. Eye trace

- designed to keep the audience's attention fixed to a specific part of the frame

- allows the viewer's eyes and attention to stay focused without having to scan the frame for each shot

- can be used through blocking and cam movement, guiding the viewer's eye within a shot

- ideal for action scenes which tends to move quickly

- whoever is at the center point of that shot have to be in the center frame, in fast cuts, you don't have to shift attention

- helps the viewers process even the most chaotic action

4. split edits

- helps smooth over the transition

- changes over the sound or image before the other (jcut: audio plays before we see it or lcut: audio plays after cutaway)

- often used during dialogue scenes creating natural conversations and the reaction of the character listening

5. Intellectual Montage

- puts unrelated images together to create a certain feeling or idea

- makes use of the Kuleshov Effect: creating meaning out of a cinematic juxtaposition

- as the scene plays out, an image of juxtaposing imagery is inserted

- visually reiterate larger themes in film

- great way to evoke emotion and meaning out of shots that don't have them

6. cut on action

- cutting during a character or object's movement

- when an out point of shot A corresponds directly to the inpoint of shot B

- can be used for simple actions like taking a drink or shaking a hand

- create smoother cuts that feel more natural to the audience

- often found in fight scenes

- cut on impact

- punching on a wide, and closing in on impact

- creates a more epic feeling