Editing Advice
Firstly, I gathered a lot of different tips from several sources on things to both remember and avoid in order to strengthen the film when editing...Five Key Tips
"1. Cut Tight:
The best editing technique is to cut tight between scenes without becoming too jumpy. This can be done by taking out unnecessary pauses between actors’ dialogue delivery of lines or sometimes simply tightening the gaps between dialogue sentences through well-placed cutaway scenes." [3]
I completely agree that by cutting each clip tightly together, especially in dialogue-based scenes, the edit will appear more smooth and well timed. The further into my assemblies and version of Double Exposure, the tighter cut it will be.
"2. Matched Action:
Matched action is something many editors consider second nature, yet many times there are numerous instances in every film where a continuity issue could have been solved with a simple exercise in matched action editing.
Matching actors’ hand positions, use of props, eyeliner and stage position from one cut to another are all consider matching action. As an editor your job is make the cuts that drive the emotion in the scene or move the story along.
Many industry professionals feel that if you keep the audience engaged in the story, mistakes in matched action can slip by unnoticed. A good editor will discover the fine line between driving emotion and technical matched action." [3]
Matched action will be discussed further in this post, and in order to keep continuity within the edit and have each shot match on action, I will be thorough on checking continuity and coverage in both pre-production and production with the DOP and director.
"3. Do not cut back to the same angle:
If you happen to have a choice of different camera angles, do not feel you need to cut back to the same angle you had in the previous shot. There are times when this is unavoidable such as in dialogue scenes with only two angles; but if by chance the director shot different takes with different framing, make an effort to use a variety of them.
Try to exercise the 30-degree rule; the camera should move at least 30 degrees between shots of the same subject occurring in succession. Be careful not to violate the 180-degree rule." [3]
While as mentioned above, it will often be necessary to cut between particular shots, especially during dialogue, I will keep this in mind during editing.
"4. Save longer version along the way:
When cutting down film, it’s a good idea to duplicate sequences along the way, renaming them with sequential numbers (e.g. intro pass dump, intro pass 1, intro pass 2… etc.) The Dump sequence is the initial footage and audio. Each sequential pass is shorter than the previous. The theory behind this being if you ever need to retrieve a clip or sound bite from a previous cut, it is there ready and waiting." [3]
I will definitely be doing this, with each new cut or assembly that I make of the film, especially when removing parts of the edit, I will always save my last project, and create a new one. This will keep track of my work and ensure that I don't lose anything.
"5. Moving camera shots:
Moving the camera around is a key part of action sequences. Movement can be anything from a camera on a dolly to handheld motion. In action scenes this is designed to create a level of tension with the audience. I feel the best way to create this tension is by cutting on movement, so that the camera is in constant motion from one cut to the next.
Some directors may disagree with this and will want the camera to start and stop before making the cut. Both methods work, it just depends on the circumstances when deciding which one to go with." [3]
While there aren't necessarily big 'action' sequences in the film, there are movement-based moments and chaotic scenes, such as a dolly shot in a supermarket, and the main character running out to find a dead body. I will be discussing and concluding with the director in post-postruction the most effective ways to cut these scenes.
Further Advice
"Temp music:
Many editors like working with temporary music as a placeholder. I advise against this for two reasons. First – people tend to fall in love with the temp score and then it’s hard to get real music that feels as good. Second – temp music becomes a crutch. You tend to be more forgiving of a weak scene when there’s interesting music than when the scene is naked. I prefer to cut a strong scene and make it work through editorial solutions. If a scene can stand on its own, then the addition of sound effects and a score will make it that much better." [4]
This is something that I hadn't considered, but it could come up during post-production. With the above points on why it's best to edit the film without music first and not use temporary music, if the director or producer suggest this, I will now have a good understand and reasoning as to why we shouldn't.
"Editing is an unobtrusive skill. If it is done well, the audience does not notice it, but is absorbed in its effect. During an exciting scene, for example, when the duration of shots is made shorter and shorter as the tension grows, the audience is only conscious of growing agitation, and fast-moving action." [5]
I agree that this subtle technique of cutting and action/exciting/manic scene in shorter and shorter shots allows for the tension to build without the shots even being noticed. I plan to do this in the chaotic scenes of the film.
"Avoid cutting between shots of extremely different size of the same subject (close-up to long shot). It is jolting for the audience." [5]
I will definitely keep this in mind during editing, as it is something I may not have considered before.
"Avoid cutting between still (static) shots and moving images (panning, tilting, zooming, etc.), except for a specific purpose." [5]
Again, this is something that definitely needs to be considered during pre-production and production. There needs to be a large amount of coverage to ensure that every shot cuts together. I agree that cutting from a moving shot to a static shot or vice versa may not look right, so I will make sure that any static shots that accompany a moving shot are reshot as moving for extra coverage, and the same the other way around.
"If you have to break the continuity of action (deliberately or unavoidably), introduce a cutaway shot. But try to ensure that this relates meaningfully to the main action. During a boxing bout, a cutaway to an excited spectator helps the tension. A cutaway to a bored attendant (just because you happen to have the unused shot) would be meaningless, although it can be used as a comment on the main action." [5]
I find this to be a great example, and again this is where ensuring that we have a lot of coverage will come into play before post-production in my job as an editor.
"When cutting between images of people, avoid the following distracting effects:
- Mismatched camera angles.
- Changes in headroom.
- Jump cuts. Avoid cutting between shots that are only slightly different in size. The subject will suddenly appear to jump, shrink, or grow." [5]
The first two points on this list will be very reliant on the DOP, however by editing on site and creating quick cuts, I will be able to point out if these issues have occurred during shoot days. And the final point confirms why I would never cut between very similar shots, as I agree that it it would look clunky and unusual.
Anticipating Editing
"It does not matter how good the video images are; if they have not been shot with editing in mind, you may not be able to use them. Here are some of the issues to think about when shooting:
- Include cover shots (long shots) of action wherever possible to show the overall view of the action.
- Always leave several seconds of run-in and run-out at the start and finish of each shot. Do not begin recording just as the action is beginning or the talent is about to speak, and do not stop immediately action/speech finishes. Spare footage at the beginning and end of each shot will allow more flexible editing.
- Include potential cutaway shots that can be used to cover edits when any sequence is shortened or lengthened. This could include crowd shots, longs shots, and people walking by.
- Avoid reverse-angle shots unless you need them for a specific reason (such as slow-motion shots of a sports event). If it is unavoidable (such as when crossing the road to shoot a parade from the other side), include head-on (frontal) shots of the same action. These shots can work as transitional shots.
- Remember that a dissolve, slow-motion, wipe, or digital video effect (DVE) usually indicates a change in location or time." [5]
All of the above examples will be heavily planned and actioned in pre-production and production through myself, the DOP and director. Especially when referring to coverage in the first two points, I will make sure that during filming there is as much coverage as possible, and that extra time before and after each shot is recorded.
Editing Cut Techniques
One of the key things to know in editing is the types of cuts, and how, why and where to use them. In order to create edits at a high standard, I have previously learned about the below cut types. However, I found it very helpful to learn more about each one, and to consider where and how in Double Exposure I will use each one. Or even if I'm unlikely to use some of the techniques.Hard Cuts
Description:
"The hard cut is the basic type of cut in editing. This type of cut is utilized when you want to cut from clip to clip without any type of transition, or where you cut from the end of one clip to the beginning of another. The only down side of the hard cut is that (out of all the cuts we’ll talk about) this one gives the least amount of visual meaning." [1]
I may use hard cuts in the edit of Double Exposure where appropriate, however as these are so basic, I plan to avoid this. I feel that for the most part, J Cuts and L Cuts, and cutting on action will be much more effective and of a high standard of editing, as they will also create better sound design and pacing by mixing the sound of each clip effectively, and allowing each movement or conversation in the scenes to flow.
Jump Cuts
A clear description of a Jump Cut can be found in the video below...
'The Understanding of Jump Cuts' Video
In the video, the presenter states that:
"A jump cut is an abrupt transition, typically in a sequential clip, that makes a subject to appear to jump from one spot to the other without continuity."
Examples are then shown of the presenter's movements and dialogue quickly cut together.
"Jump cuts can also be used in creative ways. For example, to speed up ... a sequence." - This is accompanied by cuts of him looking thoughtful, as if time has passed.
Gathered from this research and the examples presented, Jump Cuts are most useful in creating illusions, such as someone disappearing, mysteriously relocating in a scene, or to signify time passing by. While this is an effective, often humorous use of editing - especially in the comedy genre, this will not be used in Double Exposure, as Jump Cuts will neither fit with nor suit the film.
L Cuts & J Cuts
L Cut Description:
"What L Cut means is that you are hearing the audio from the previous shot, even though we’ve moved on to another shot. So, the audience is looking at clip B but still hearing audio from clip A." [1]
"This technique will keep your film or video flowing naturally, while also giving your audience much needed spacial information." [1]
An example of a great use of an L Cut can be found below...
Fight Club Example:
We see that in the start of the clip, the character portrayed by Brad Pitt recites the rules of 'Fight Club' while the members prepare themselves. But his voice is actually heard in the initial shot, then we see his environment while he continues to talk from that first clip, explaining who he's talking to and where he is. This allows the opening of the scene to flow together with an L Cut.
J Cut Description:
"A J Cut is essentially the opposite of the L Cut. Here we hear the audio before we see the video. So, the audience is is looking at clip A but still hearing audio from clip B. This type of cut is used quite often in all forms of filmmaking and videography." [1]
"Just like with L Cuts, you can give your audience additional visual information to go along with the dialogue that is being fed to the audience ... this allows your audience to gain a better understanding of the environment the character exists in." [1]
In the image below, we can see exactly why L Cuts and J Cuts are named exactly that. It is because when using a J Cut, the audio and video in the timeline form a J shape, and when using an L Cut, the audio and video form an L shape...
J and L Cuts will definitely be used in Double Exposure's edits, especially during dialogue scenes and among scenes that use a large amount of sound design. I feel that they allow for each separate clip to really feel as if they're all shot simultaneously within the same moment, and they also blend the visuals and audio together seamlessly. Making the viewer much less aware of the edit.
Cutting on Action
Description:
"The basic idea of cutting for action is that the editor cuts from one shot to another and matches the action of the shots ... Your film will develop a better ‘flow’ if you cut on action instead of waiting for pauses." [1]
"This results in a much smoother transition and a more tense action scene." [1]
An example of large amounts of cutting on action within action scenes can be seen in 'The Matrix' below...
The Matrix Example:
In this scene, almost every single shot cuts on action, such as taking out a gun, performing a flip, and running from one spot to another. As opposed to a slower pace of, for example, a character taking out a gun in one shot, and waiting until the gun is already out in the next shot.
I feel that cutting on action is very important in keeping a scene flowing smoothly, and making sure the pacing of each scene doesn't move too slowly. It also allows each shot to be blended together very smoothly. I will use this technique many times throughout the film, especially when a character is performing a slow or exciting action. This will also heavily rely on continuity and coverage however, so I will constantly be ensuring this before post-production.
Cutaways
Description:
"Cutaways take the audience away from the main action or subject. These are used primarily as transition pieces to give the audience a view of what is happening outside of the main character’s environment. This also goes a long way in helping you emphasize specific details of the mise-en-scène and allowing you to add meaning to them." [1]
While cutaways will not be used largely throughout Double Exposure, they will be used to full effect in key moments of the film. Such as in the opening scene, when the main character (Emily) enters her home to find a woman, meanwhile we see her boyfriend (Dan) in the shower. This is a great example of how the cutaways that I use in the edit will support the story.
Cross-Cut / Parallel Editing
Description:
"The technique of the cross-cut, also known as parallel editing, is where you cut between two different scenes that are happening at the same time in different spaces. When done effectively you can tell two simultaneous stories at once and the information being given to the audience will make complete sense." [1]
This is often used to great effect, such as in 'Inception', when we see shots of the character's both asleep in the real world, at the same time as seeing them in their dreams. However, using this technique is very unlikely to fit with the narrative/script for Double Exposure, as no parallel actions are performed. But I'm very keen to use this technique in future editing.
Montage
Description:
"The idea behind the montage is to use rapid cuts of imagery to help convey the passing of time or to help aid the context of the narrative." [1]
A key cutting technique within editing that has been used to great effect in many films over time. I have previous experience with this technique and feel that when used where appropriate, they can be great in telling a story through only visuals, especially when time is passing. But i will not be using the montage technique in this film, as montage-styled moments will not occur in the story.
Match Cuts
Description:
"The match cut is the technique of matching the movement or space of two opposite environments together. This technique has been used for many years. It’s most effective when you need to move the narrative along, but you need to find a way to connect them together seamlessly." [1]
This technique will be very important in connecting the shots of the film seamlessly. For example, a character entering her house through the front door in one shot, and coming through the same door to the house's interior in the next shot. If done correctly, the edit will go unnoticed and appear as one action. Match cuts will be used very often in the film with subtle effect.
Editing Motifs
In the last area of my research, I looked into the different techniques of blending shots together with a specific purpose, such as in time with the music soundtrack, or in order to highlight a specific area of a scene. I found it very interesting to learn about the different categories for these techniques, and whether or not they will apply to my own process in editing.Rhythm
Description:
"Rhythm editing describes an assembling of shots and/or sequences according to a rhythmic pattern of some kind, usually dictated by music. It can be narrative ... or, a music video type collage ... In either case, dialogue is suppressed and the musical relationship between shots takes center stage." [2]
I think that learning about rhythm editing has been very helpful in considering the patterns that I will need to edit to. Such as possibly timing clips with the characters whistling in the opening scene, or by making sure to follow the choreographed movements of the actors in certain later scenes.
Spacial
Establishing Shots:
"The Establishing Shot or sequence serves to situate the audience within a particular environment or setting and/ or to introduce an important character or characters. The establishing shot is usually the first or the first few shots in a sequence, and as such, it must be very efficient in portraying the context." [2]
An example of a clear and simplistic establishing sequence can be found in the video below...
'Inglorious Basterds' Example
In this scene (the opening scene of the film), we can immediately gather from a number of varied shots of locations, settings and characters, and text and dialogue, that this scene is set in France 1941, on a family farm.
I think that establishing shots and sequences are extremely important in giving the audience a sense of where and when each new scene is based, and which characters are in the opening of the scene. Without establishing shots - such as the exterior of a house, followed by a character entering the house from the exterior, then them closing the door in it's interior - each scene would simply appear to be chopped up, and actually confuse the viewer, giving them no sense of time or direction in the narrative. Therefore, I will make sure that there are large amounts of coverage in shot size and location during production, to ensure that all new scenes and sequences are begun with establishing shots.
Eye-Line Match:
"In an eye-line match, a shot of a character looking at something cuts to another shot showing exactly what the character sees. Essentially, the camera temporarily becomes the character’s eyes with this editing technique." [2]
"Because the audience sees exactly what the character sees in an eye-line match, this technique is used to connect the audience with that character, seeing as we practically become that character for a moment." [2]
A clear, useful example of an eye-line match can be seen in the following video...
'No Country for Old Men' Example
We see that in this clip, the character approaches a dead body, standing over it. Then we see a high angle shot of the dead body, as if we are witnessing this through his eyes. The moment is only a few seconds long, and consists of a small amount of shots. But through well directed cinematography and well-timed editing, the concept of this moment is clear and simple for the viewer.
I will often use the eye-line match technique in Double Exposure where appropriate. Such as in simple moments of a character looking at a laptop, then the camera revealing the content on the laptop. Or in artistic moments, such as the character of Emily taking photos on a location, then the camera shows the beautiful setting that she's viewing, as if we are looking through her eyes.
Overall, I'm extremely happy with the research that I've conducted on editing techniques. The results of this have helped me to learn about techniques and decisions to make during all phases of production that I hadn't considered before. Along with confirming the reasoning for why I will use specific techniques in many areas of the film's edit and how effective they can be. I will also use this research when creating a list of rules for myself in my editing preparations before post-production. Lastly, this will help in creating and deciding on my own editing style.
