READING & WRITING
“It is the role of the editors to edit the reality of the viewers.” That’s one of the key phrases Schroeppel uses to start off his chapter on editing. What you choose in terms of visuals and sound can help to get the message to viewers effectively and also trigger a reaction.
As the editor, it’s important not to stress out viewers by leaving them to fend for themselves with searching the frames for more information and also don’t surprise or shock them if it’s not intended. Things like using an establishing shot first can help the viewer to better visualize and put themselves in the situation of the characters and setting. Then other shots can be introduced that interact with different areas and people in the room. And the longer a shot is held the more importance and significance it can hold on the person watching. But there is also a line to be drawn for clips that are too short and log and distract the viewer from what is going on.
Pacing of the edit and using nontraditional cuts and transitions can help to add to the emotion and feel of the piece but should only be used to help add to the feeling. Every cut that is made is not necessarily the final cut. Fine tuning cuts and finding the right moment to move to the next shot is vital in helping viewers react the right way.
When reviewing your work, you should be in the mindset of someone who is seeing the video for the first time and knows nothing about the story or characters aside from what is being shown on screen. It is also important to not become attached to any shot or emotion that reflects what happened on set because it could detract from the final piece. If the shot doesn’t work then don’t include it, not matter what the background story of getting it is.
The key to a good edit starts with organization of the clips. Labeling the types of shots and their scene numbers can help editors to assemble to first cuts of the draft and also be able to easily access the clips again if need be later on down the road. It also helps to become familiar with all of the footage if you haven’t already seen it.
One of the most important things to keep in mind too is after each cut a different shot should appear (unless a jump cut is intentionally used). It’s ok to revisit the same shot say for a dialogue scene between two characters but the same shot should not be used back to back. Changing the framing and location of the camera can help to make editing smoother and cleaner for the viewer. And to find the best style to edit in, look to the way the piece was written and shot. The edit should not deviate away from the vision the director has created and accounted for with their shots.
RESEARCH TO INFORM
Vertigo (1958)
This scene from Vertigo is a great example of how to keep the audience involved within the scene and making them feel like they are a part of the story while moving around the scene established. Through the editing, the audience is able to take on the role of “detective” much like James Stewart’s character who is trying to put together the clues regarding Kim Novak’s character while she sits in the museum. The scene starts with an establishing shot of the museum and holds longer on shots of Stewart as he walks through the corridors looking at paintings. It is only when he finds Novak’s character sitting in front of a painting that resembles her look that we cut into close-ups of flowers beside her and in the painting as well as the bun in her hair which then trigger reactions from Stewart. These shots hold longer than most because it allows for the viewer to put together the pieces of the investigation without becoming alerted or distracted by a changing shot in their thought process.
Jurassic Park (1993)
This is an example of a slower pace of an edit that helps to build up to a big reveal for the characters. The shots hold longer on the characters who become shocked and speechless at what they see before their eyes but is not yet revealed to the audience. The cuts made early on allow for the camera to reframe in closer to the character’s eyes which are revealed when they remove their sunglasses and gaze at the sight that sits beyond the camera. Again when the dinosaur is revealed to be in front of them the shot holds so as not to take away from the massive size and stature of the creature but cuts to allow for the movement of other characters within the scene and their relation to where the dinosaur is. And while the special effects and animation for the film were revolutionary at the time, it’s the shots and editing of holding on the actors reactions to seeing the dinosaurs that help to sell the illusion of them being real for the viewer in this world.
Back to the Future (1985)
This is an example of a little bit of a faster pace of edit that helps to build tension within the scene and also foreshadow the coming events. Once Marty enters the DeLorean the pace of editing picks up to show his struggle in trying to outrun the Libyan terrorists in pursuit of him. But to also add another layer of “tension” persay, the editor cuts into close-ups revealing the more important moments and setups of the scene such as him accidentally turning on the time circuits (the dates popping up) and the speedometer getting closer and closer to the necessary 88mph to reach time travel which the audience is made aware prior.
CREATE
Above is a link to a video montage that I created for a locally owned business in my hometown that specializes in physical therapy and strength and conditioning training center in my hometown that I shot and edited with my partner.
Works Cited
“Chapter 10 After the Shoot-Editing.” The Bare Bones Camera Course for Film and Video, by Tom Schroeppel, Langara College, 2018.
