5. PRODUCTION is breaking time and space apart into various,
often representative pieces.
EDITING is putting these pieces back together in a way that …
6. PRODUCTION is breaking time and space apart into various,
often representative pieces.
EDITING is putting these pieces back together in a way that …
…makes sense (CONTINUITY),
7. PRODUCTION is breaking time and space apart into various,
often representative pieces.
EDITING is putting these pieces back together in a way that …
…makes sense (CONTINUITY),
AND/OR
adds meaning and impact (MONTAGE).
10. Counterpoint, Harmony and Dissonance
Counterpoint - Differences are revealed when
compared, items that illuminate each other’s differing
qualities.
11. Counterpoint, Harmony and Dissonance
Counterpoint - Differences are revealed when
compared, items that illuminate each other’s differing
qualities.
Harmony - Compatibility; items that work together.
12. Counterpoint, Harmony and Dissonance
Counterpoint - Differences are revealed when
compared, items that illuminate each other’s differing
qualities.
Harmony - Compatibility; items that work together.
Dissonance – Harsh, discordant combination of
elements.
24. Editing is the process that sometimes
transforms a miscellaneous collection of
badly focused, poorly exposed, and horribly
framed shots containing reverse screen
directions, unmatched action, disappearing
props and hair in the aperture, but not
containing any close-ups, cut-ins or cut-
aways, into a smooth, coherent, and effective
visual statement of the original script...for
which the director takes the credit.
38. Walter Murch’s Six Criteria for
What Makes a Good Cut
• 1. Emotion - Does the cut reflect what the editor believes the
audience should be feeling at that moment? 51%
• 2. Story - Does the cut advance the story? 23%
• 3. Rhythm - Does the cut occur at a moment that is rhythmically
interesting and right? 10%
• 4. Eye-trace - Does the cut pay respect to the location and
movement of the audience’s focus of interest within the frame?
7%
• 5. Two-dimensional plane of screen - Does the cut respect the
180-degree rule? 5%
• 6. Three-dimensional space of action - Is the cut true to the
physical/spatial relationships within the environment? 4%
39. Walter Murch’s Six Criteria for
What Makes a Good Cut
• Make Sense - 16%
• Create Meaning and Impact – 84%
40. Edward Dmytryk
• 1) Never make a cut without a positive reason
• 2) When undecided about the exact frame to
cut on, cut long rather than short
• 3) Whenever possible cut on movement
• 4) The fresh is preferable to the stale
• 5) All scenes should begin and end with
continuing action
• 6) Cut for proper values rather than proper
matches
• 7) Substance first - then Form
41. Editing - The Basics, Man
http://www.youtube.com/watch?v=aQKiqUJ6Apc
42. My Cardinal Rule
• Unless you are trying to make a VERY
specific point, never let your subject exit
one shot and then enter in the next.
Your subject should still be in picture on
the last frame of the first shot and in
picture in the first frame of the following
shot.
71. Top Gear - Free Runners
http://www.youtube.com/watch?v=uNBPQe4dFxk
72. Top Gear – Car Chase
http://vimeo.com/36798353
73. New York Times Video
• http://www.nytimes.com/video/landing/late
st-video/1194811622182/index.html
• http://video.nytimes.com/video/2009/04/07/
us/1194839165465/small-town-big-
debt.html?scp=7&sq=tennessee%20&st=cs
e