Editingr

4t-

4.E

Whatdo€s an cdtbr do? Bashl!/, Oro edlton arscnrbhc lmage and eoundelot9[ a ctoty h 3 rray that me*cl ccnr. atrd ln a urqf-&a[ tnrcls trc anf,lbnoc.

Edi$tg ba hngnrage.lfshotsarctords, tfrebcicurilt! of cxprcssbq ttren wuoan thlnkabout,coms as rerrbncls, and ceguanolr aB pnbraptrs ongrrrr,ctaptens of a sctcen atoty. trnguage has rl1ifut, to do ilnrs.-nnrtm or padngb crcqbd h edl&tg.

TIre Eil?tor' lhc ufual peoetryatlon d u c&or dptM b b ptit hM q M h fiaac dtha *fuw. Jthat do Snu wutt tlp aufuw b b A*rmU abd d aott pfudarnq .s* ? Wraru atn Arq geg b b t@tW ? ]Urrt cb tott wa* AE ;t; tW ? tf frpyan b&u t rffiwt .oar*frrq, to feetl all frp twy thrwj* t tc frhn, yonb erre efuiiaa t n ol, asyou an cverdo."

Wattcrl{uich Gdltorand rqrnd fulgngrrirhoso cr€dltr hcludb ne Cqvqila6t,ap@ Now, llp W Pnt il e U Ofpc/.und rttc Etgtkh Wrtl

,@

Wh€n tre oOiecfve of a sccne h to cruefie ancpeirso or to drowttre ernolionalrelalbnd{p befrilGn tuocfteraa0errrftc cd rftoEs sho0r longprbser€dhe cub. tnthb case tre rfr$ftm or f.ftlg dttre rsre b sald t , ba cbu. longr'sftofie !trotr &eaudlmae time to mfte qry tftclr own rntrdc ebout uiratlc taeeenfu on tre scrrgn.tYlco a soano calb for hlame aa0oo srrdr ts a car otrase a ! rrblonteq;ument, theed'tor usse m,ore chots, shorter ehotr that a[ow the audbnoe !o crqcrience Orrc sceneas fiastgaced and urgent

&Ittors a,re powerful stor;rtellers.W?ren cdftocdo &Cf trort utcll, trc etrdfnoc b abwted by hc slory. Whin tr6tor3acrcmtle ftnagm .td iorrnd! wlttrod ru+cctftr.de{i tilamontaL, ffrc andlcnoetirilt b. dhbactcrt RrlUrrlhen cttg Sott,ftc trrt/, lhc.audbncc bccome eulnBthay atl uretcftLrg manlpl&d hqcc and coundg.-

ln orderto becornean eng.ghg and ofirrctlvc ctoqrtclter, an edtbr nrustfirstteara.trcbislc nrle of edlting.

The Grammar of Eldtttqg:WlEt is an edit ? "

Arr edttle a ha ndbnbsturccn ttyo ahotr. Enery Omo rc cdltrvc prrocltncgv,ffiinn:too- kr film produodon, Urc mocf, cornrirn Gdb rrc urc,{Jf, thr DlssoLvEandthe FADE

The CutThc arlla thc moct cornnrqnU rrred eaU ftc cqt lr an lnrtanhneola cilrange trom onsshot to arcOrcr. t{trsn a cutL mtde accorrflng b

".n0rrg rulee, the audbrfu ufll

aaoept tre hu.rfoo and ruont no$cc trs €dlt .

Thc qitlr uccdto:

e€

ae

keep tre acdon corilfiruous

chang€ tre lmpact lrdtrln a sarEne

inhocluce trcr hformaUon

change location

The Dissotve .

A Mlwb a gridual bansfition b*rean tf,o sho0e. Ths ildEmgg b tully swEr.g of tretranctton es the trw t"U-,*l"plbrtlre dsrfld anorrtCtrro. I1r" Lrgertr.ovgrlap, tltc hnger it tlre dlssoluc. The orfidng *ot lbdes out to g6fua1f r-rcat gie

The dissolve ls traditionally used:

€ tohdtcstetftapa*ags oftlme

€ tocftaqge'locdon

€ whcn lherc is a visrat:tnuerfr bceruor oulgrotrg end trcoor6g chots(c.g.llt0c[rcoo*b '?Qrtd;+;]rc qto ;or.ffirrr rlronlrrecqance a do*ttp dUood nrnnftrg fu t . {t !n, a clrtNq cficcotnoc trto; ffi..1*. .pof tftc vicUmrc cryn, ano0rcr anfc.t

The FadeY 4L-"gradorl benslEon rom an tnagc b e bMr orr wlrlb rcrpgrr. -Thb b alwe od.ttuhcn the hansmon b ftom

" bbcili"crr.,-t" ; lneg9;6h;;;66'Zi,1tadeW

.

The fade b hadltonally used:

# at the bcginning orend of a fflm or prcgram

€ at&. rigmning orend of e ccene

€ b chowa pasEqe oflimc

€ rnhen0rere b e cfiangof,r bcation,

T?-upe u a rir'ftiniauyrrcdht'ufiuon. rne wrpe, -r. ftr.;'**.o,tu ba ;, is[dirl9 olthc bp u narual e-noorcn t q. undanrm:'or, o* [mge wn +i#tcldc over.ano,trcrb qowr.nd rcpfoe A ...- .-..: .

ln vldeo podtrction, an cndtccc vrerfiaty-of tnancluorc can be crcaled as d$td v6eoe'fi'c'ts (ovEL Frcioqde, a DVE ".itor,rru-;thif,ir,!"..page wtbh 6 tnncd torayeat the next std. or,0re ouuprng "il;;l.a:,i'tiio a ttrousanc rds u,,trictrtmble otrUre eorsen toreuel f,e ii"o-lng shot

UrILy do Cuts Work ?A cut ls an instantaneoult teptacement of one shot or image rritr another. Every timette edftormakes a

"rrr, *"i;;;*;; u.;;;;;;'e,Iaruate rhe n"*r shotcontenrand toqeeptlL The audience rras n-o pn"ir*-";.",r-; the sudden ctrange wtren the

kansitim ls subue an! the difference betrreen the o,tgoing shot and ureinOOming ShOtlS bffiCant -r' -r'!'v"'lr errescrrtr urs

Hourcnrcr, audiences will-lotacoeptlhe @rqge wtren ihe tneneltion is notsubUe andf:rffiffi,ffi [* -'ts""'s;"d o," id;ft;,"t t il-'ie,,ii""] cno.grr to

SHOT STZELet's go back to ure erampte about avgngo(aeeorrrec!ry lol) wfrere trs musb,anarrives at0re house forbind practh#F"tr;*ffi6 ffi;'*st;F;"

Let s salr the ehot stss {qp horrtr? ltot pruoentr only a Clgh0y closer view Uranthe oulsotns sn*, a crrtt*rrcur E[d ",tiin;-.il,{",

when ure drfierenoe in strot-"h"h *lIqllqnteno-ugh between rncoming andoutgoing ehots, fts erd proous a m"r,t rJ.rrrng -t

, ffi,.rol"nce, atump.An ohrloue erample of afiary artb aril$ chot of donrrlorrn t,'tto lblound grano&er ntde shot of the a,irfu ah"toordiil @;i *o tn 8re orngohg shot wt[appear to harc magrcafly p"pp"d ort orrhr, *t iril#;nt peopre and cans havepopped on in the hcomini siroU

odgolng

rhe di'eren* i,, :tol qglrent betwea I-" -- "r:Tllt .ig'm""r,tjffi tr#.i:**igamtrHxlg"mm,#.

4

Outgolng tLroolnhg

The cut be&reen ttrese two shob ls mouvatsd by ttre taat [rrt.*u gd neurinformadon, actoceibo&atfte dt*iiJ;t.Ih6 sagqildtt r!g" h shotsizc bchrcen hcomlng end orftotng "rr"tr

rn"r.o or a iituc ramroon easlly. . ; acrieptedbyureaudi;-n";.--

ExceptioJts...

tofs aav we'rt *9"g: dialogue ssens wlth trc ctnrasters. onoe the cfraractershryc been e*aua,.i n a melium 1,:!*ret'i r.v, Lcr" arnmu.en mutnghcad add shorrder eftorB ; d;fi; ;.dhfr;-Jr$I&-;H;;ff-TAs bngec the soroen dhscffon malresasnrolnd&eftamlng h boorch6trsorc same,cstfng ffiircen ansteriag dose-qe. ; [h".;; ffiL* chordder ehots wilr ruork.Horvener, cutiog from a-dose|p of me characbr to an ar*"^rt"g hcad and shoutdershot of the other clraracter uar riotuirn rhe mbmatJi h shot gtzes rm make ltappear(on rhe cut)aa aror,eoir"6r"g tfr fi'Iilfo1y*,r"rg"o.sirnlarty, c,flirqg beensqr ti,o Gftotr uttch_T pTcgr+-omrqruy, wil not rorrc Forexanrf,e, cutfi|E l?un

-a o*rrcfry ftamed rr".o -.o--t'"u- shot d one dnratrr toan ficorrecty ftamGd rrqd rnu &,*r-loer rh"t-;;;;; cftaracter, &at *ouiu ioo

$ffill ffi tt'pp"'" i* *; d; ililil" charaot# r,o'iio*ry

\

:ffffiiffi#S.drog6&er. when e,rrng b"fir,*" ta,rfrrg heads, rre

ffilH*ote wmtc*ttogrctrrea who. "niltrns

bettreen tarkrng heads, rhe

These two shots w* cut togethea shot sizes and framing-matcrr.

fr)TflNNUI'TY

!! it U,. edltor'siob b rmke suru flrat a olittttis dwtffib m.htalnsd throughouttrd rcene or sosrenoe. For cngr$, u,hen h the odgotrg mrftrit thd tu dal actorpbl&qg up the tdqpftonc wllh hb rigm hend, tfie incomlng-dogltp nu.rct slrow theactorholdnglhe tetephonc ln hls dgmhard

wnn{ ofadootr*to do ruiilr whatpartof tre shotto uae. For qanpfe, a shot of ahocby phyer taking a shot on goal shontd be heU qr Ore scrcen fqg sriouifr until dr;

the aclion. lf we cutto fts geafie b6rt &. lpqterenrpmrc l*acfion,d$r.lng ngrYnd up lct'r cqr, wc wlll lrerc cilrsdod thc vllrnnr'qfdffior* xorrnariywr-l-roVr cutruay fitm I cfmllloant rcOoG We must wdtftr tto irdon to fnbhb*iro wrt od aury from G gfficnr:rc fte cG[t lssv!! tre rd€ncl umddfed.

Salpen diredion r*tt bfhc urry Peode and obJects ars morilag lnd lhr dlreclion hwhicft p€opb rr? looldng. Thc rdttor mrl€! twcbanfrrgfi dffii;ihhl;Li'from shd to tfiot urffiln I eoenc or requ€noe.

,

-- ICTIoN Ans---s&-

e{y w fianed oa lhe aop &e dap r&r, a* wil at @dw. eowaparum I wiil &t wrat anqz rctbjq, z @;;&*, I uil arrt wrtt, ;r;psfifq4.

s6rwt diltwtfiaas niltutwet*dtf*eantb*oon pefurc I *td3 *zaadi.W t il war.b harelmwed *wt qp ac ian rrrrrn b arc oarcr. wewercuillb onfrcedW.hesufrea ihange deaotfur-*r& an oents?, mova acnossaoecen axls duilngaehotani d-atdbae*sGarrrg in llqe<;n dtuectiontakhgplace.

+

efton otpc &tu frp ,e degrw tdc. 7/Irx fiw ffi uwtr ant tog*awbwtrc h tP @ @, ap e, * i;fu, @. the car b rnm,coaunutr d frrp r*,nrto ttre oder q?s. onqg t g basb raapmal,bntusa orf aneditor ts to acl.'rob h.gor

"rd ;*d" i;;rqy-uilfr"ka8 sonss. This meam rhattfie cdlto cslectc strotr urt*ar can b" edttad bdr#l;a bgbal ,. cfironotogtcatotder. lt woutd bs :gtrfgg lon ihe auOeocatfG "";;ffitr;*y;;il'ri;';;:making,,,,"b;;mffi ,Hfi:Ifrffi i.

Selectingr an fdit pointAt rfltet point rn ttre chot cho,rd an editor make a cut ?cholcco tbo&ttnh€ru b alrtanduiancsd ry;;"rtil/ offirolors: d'slrcd pacdng, drotipntmt' tre edtto/soUec'ttvoof"t*.erg 5-otuntu,rn a coencand wher." ln thehame ttro atdlcnce b 6krrs ritii * no rranc anotust ruleg abbutwtrera to rnatcethe cuf butttrere are eOit,ng'cdenUons.

The fioltowing arctactc edl0qg pracffcee an edlbr should mastan the ENTRANCEcuT, the EI0T CUT, and t" aEiioN cW.ENTRANCE CUT

Tlk -antuw(,t'c:6an edEttoan lru:omlng shot where lfteaubjectorobJecils enlerlngtrg ftemg

!t-_r..!...v _tsa tr.ft rE u

cuttfng to fte new shotJustas tre eubJect entare thofr:arne caa setup a conflict ln t."vierue/c mind' The^ qres aE dnawn t"-[,r"-rn"orl"H#'u- subJec{ beftrc the audlencehas a chdnce ro orhir u,.iii*iri tru,. ;,"nil;it ;, kroomhrs frame. This rno-mentary dishacdon -Le" t eJnipp"", abnrpL

The baeb rute about an entnanos cut ls-to lrotd the gmntq ftame for a .beaP before tresubJect enters ttre ftame.- tn* ;tr;" audience *ur

-o5 iore to rook at the new frarne iand orient trremserves p.i"iio i#;iA;;-;;il;L: doE !o ]oolt at the n _:

EXITCUT

The exlt cutis an edit to an outgotng shot rrfterr the subJect or obJect ls lerying ttretame.

To make a goodetdtcut, ttreedltormustbok atwhatthearrdiqrce is loo*ing at Ther€F n9 rrs9making an douttrlfra audiicnceb not*etclfrythecubjeotorofrcotbawtg the tut9, ay bolrlng dtlre outgolng *rottre ryaitho audienoe cacj L greedilor ldentifies tre osntc diilemst h ftc ftarn€.

Guidellnes br'iaedfiing ftc csntne of tbr.t€ The elncarsdrawntotrlghtcolours.

e The eyea ara dnwn to entnafip rdtlr ftrn tnmlnab orycctr (ftr qernCe, ha ahotof a barnyard, orrGy€s gro tmm€dlatdy to Ore hqi€s -ifiillg etoit, ;etofto bara).

€ a,ro"nes dolootrbrpeople and plaacc wherc pcopla am h a ctot* Ourclruc aru rlrann bnrordngoffi rdrsruun dilc onec (furcrampb asr prfihg q* of a lot {iLd lvftlr parlarl cansf.

The smootttect p{aoe io rnake an edt on an cxit cut is iust as ure subisct, fte contne ofinterest h l€auing ftGfram!.

The reacon lur thF tns to do u,l& how trg urtrft trc rcroqr. U{Irerr trc ocntru orhtarcatb abostto btt orrlirrnc- retrtc the .rcttrgorr!"d ""a

i""r, n r€std0ro.lhamc to bok 6r ncw mrtttd;n. tt b durlrqg urb .r" nrorement wtren trg odltormakesthecut

ACTTON CUT

Nt ffit, antle qrS.lt {- *"r, t*b€ehs kr tlre- afiorrg.hot,lnd ompl36a hqg irroorntng rtrot an aoon * t "p-,r.,+lpq*.tft

&t, broeurc t prem6 trcdlfrbrontvbm oflfte carnc rdon outbF[iiio ;;i;!a onc oolr&ruou, louon. Awdl crcouted .ctrm cot b tcadosr ""i*u;"td;;"ft.J;i tiilffi.m rhor!.Let'e exccub an acfion otrtus&rg ouruanrple of &€ mueilobn openhg the trunrtoretrieye hls gulhr. YtIe ruart to qrtnom fts wld€ .ttot6-u,. mcdlurn strot of the bunkopening.

we could make the cutfrerthe aston trs complete. "**

*&€ lid of the trunk isopen wide in tfie odgolng shottotlre mediumgtrotofora trunkfid rr the samc positionmakea for a staffc hamltbn- rrnerwgran edltor le preented wlur ft€ opportrnlgr tomake an acton c{t, sfte should takell

The erroo0restandmostefrecffne editforaaastinn cut is nradeduring thataction.Bu[ at rfid poft* in ore actontrsrere ls tfie "rt-p"rrrt -r tre outgotng sho! and o,,"in*ointon the lncomhg"hoi i

Herearo 0re guidelhes:

Outlroint 'i

Fa,"t u,B haue b H tfie a,rilence ese urat an aarion rs taklng ptaoe.This mcenr lhc odtoraflorrt"r "o*t -r"-urt,eo; uran l.ralf, of g1o acgon to oceurbeforu qilfingto ano0rer rfierr of tL

tf *ushow0reardlencetoo muar ofthcacoon ln tre outgclngshot, thqywllthavehtcn thc ac'tion for grantad anoitreh ryec ,^il iii"J -"ra *, b "fr; n rrg" rn oreftame.so' ln ore oulgo'r€ u'ido sftoq the music{sn rtrlbckg Ure. tunk and opcns ft about a ortrddtfte way- That'r-qr outpiit*i"r" *,,,.-rn Hl.nTechnlcal match

Tof'? up tre i"ryId Iq trrg rnqo.mrng medrmr shot of-the aam€ acffon, we rook for atcffid naWt A tactmrcar;;tcii-mc"m wr roo,i ror fire qaet same-#me tftatnratche tte progn€ct of tf,e ".u* nqrfiGiiit'ifi.u tn our era'p6 we rod( rbr ftcposttbn of the td of tre tunC ifre *at trlurfrtfi il;{r* &e outaotnt of theotrtgoingehot

HCtvEvGr' a4 eelion c[t,on aterfrtsadmt|cfr.usualb, wonrtwor:tr. Herurs urfqy,! On a cuqtltd andlcnoc r r,"t "rrpscilrxg

fft"r* ar,ot vrffi"Ct oorr*, nleurenc haue torcorlent ttren'Gtrcs' ti'"hdffi-;Uatfrrk il; i iii"n- mtsse! the rtuurfttr rranresof the rrcornhg cptaniil;e;rlylppe.rr ebnrptln-point

Hero's tre coruuon: -Afier

you find tre tschnrcat m€ftch. I.

;:il:ffi;[Htil;.

10

Flnilframe ouQtdtgt dlt* an-Ntil, ttre c&br afrous a dN oi ue adton to@ffbfqe nartdng AE outpint

Second'framq lnunbg Shot T@lrniaet mabh.

Tlfrd ftame : hwneq M @, ?tr, M* ttptb dp dt pfirrt about dlwIt,,r'o bae rtw up wt*d a*at *, ffi d" "rrt

The acffon cutwltha 3frame overlap.

Motivationuuhen ws tatk aboutmotivaton h edltng rvs r*rtotheffithatthercsrroutd be area-son for malrtrg an edil Th. rnow"uoi 6r an Gdit ;;;;ms from a vreuar or trom asoundaounce. -"

rv

Herc ane some basic neaaolts for making an ediL

& To preoent yw n\malorye.g. c,$ng from a medfum shot to a crose up nratbrtrgs tre vierver c{oser to ire imouon-nryrstet- on a oframcters race; id adgltmenhrv abotrt an inetrument nraker, -we-crii-. a full shot of ttreoraftsman athis workbench to a c{ose<rp E "t"t "rus

hts hands atwodr.Pt"gnTrrg new inforrnllon by "ruingd. did;;orcroserview addsvariety to the scene and involies tfie iuOience-

' --'

€ A g,shfi,,w b*eff,wt.-,ta cfraracterpoints orfurns r& head to took at,ffiffi t*"Tiry;*tln[ir.EifiIilffi ngtoor

€ *ffiffim;H*so rlilrch as smfles, the'ediror has a ruason

# off*swt %1"tro'q " ?g brs a.terephone rrn-g heard otrscreen ,.fo,ourcd bv a cutro.'n iu,"g"H.ii;,od"i;:ilL orrhe sound.

Edttingr Do's and Don'tsBefore you make an edil..*-.ffffiffi;

Hr6:fi.ffi;ffiysrrotonrre

rffi1ffi# 8c.cn !'our tuL5eq.r-in rrc margins o,f yommin.arec.tffi"ffiff :HfiTffi,Hiflkfi;.u;ffi;uffi-DO- ffake tra necessaryctraqgres bthd thuefrEofhs lcriptaedrding to" the bes'mases..a-is16rfrffimevou

rna*ed geserbr.DO- Wrttc a rya&.trhkcqr adttdeclalon &s.lffimH#ft33ffiffiffiS'BHffiffihL,

When you make an edll...

ffff|Ftsdt (EDL) as a u,eprrnilbrputtng tre program

ffi trerg aro dithrcnt chot shec or cam€ra angrca

Cut a*ay frronr an*Oon bcfore the actr.osr ts.comptete.Gutduring azoom orpan.

'r--!r'

8e arvare of audro ^,rct*crrva{hen gutrg ftom a rong shotto a;lfi#f[: ffiff-tJbd;"; ilx;d rhat soes wnh n e crose

Do-

DO-

DONT.

DONT.

DO-

@12

When editingan informationa! segment (news story' profile or

rnini-aoaumehtary)"'

DONT' .. l"ay the naration first and cut ttre shots to fitthe length of the

l: sentences'

DO - Gutacfualitlt' interview clips and voice-overs first

DO - Gut the nar:atioh to fit the picttres'

DoNr: :#.ffi:fr rffffiffffir:ffiI*"'Do- 3pi;*';fil1f#ff#lt*:portantpffire',,**t*

I ruvoic€ornalT 'aof peoptespeakl'ngwithDoNr' HJsiffifl*ffihl"rcros**

DO' Lx1rin background sound'

ff)- Editvisualsqqf"t"seque-ncesthatprogresebgically(orIilil;;ao"rry} "'iu'

i clginnins' nriddle and end'