I hope that this has been an interesting and a fun walk through the values of knowing your story both before and during the editing process. The more you really know the story of your project that you're about to edit the more you can bring the real meaning of each individual scene into the audiences mind and heart. I've seen too many editors go right to the editing before they've looked at the script, or looked at their dailies. Ultimately, that doesn't save you any time at all.
It forces you to make uninformed choices and that's going to slow you down, even if you shot the footage yourself. Understanding everything about your script, and how its characters emotionally move through the story. That will ultimately make you a more valuable editor. And someone who directors and producers really want to work with. Of course, the story approach to editing applies to every other phase of the filmmaking process. From producing to writing to directing and production design to sound, music and cinematography.
My book, The Lean Forward Moment, goes into those other areas. You can find out more about that by going to my site. There are also some other great courses available on lynda.com that can teach you more about shaping your editing to tell stories. There's a series of courses on documentary editing, another on narrative editing, and a third on commercial editing. Don't forget to check out some of the writing courses as well since, as I've said, editing is very much the same as writing.
Just with mostly completed pictures attached to it. Armed with the techniques about the lean-forward moment, scene analysis, log lines, and the rule of threes, you should be able to tackle any kind of project that you need to work on. And not just tackle those projects, but to make them really effective for the people who really, really count, your audience. Thanks for watching. Hope to see you next time.
Start with an overview of concepts like the rule of threes, review a sampling of footage from films past and present, and then dive into script analysis. Find out when and when not to make cuts, how to collaborate with clients and directors during recutting, and how to ground the emotional backdrop for your piece with music and sound. Norman closes with a look at adapting to different genres and filmic styles.
- Exploring the history of video editing
- Controlling what the audience sees
- Identifying the logline
- Performing script and scene analysis
- Coming up with an editing plan
- Cutting from on-camera to off-camera action
- Understanding the value of recutting
- Shaping moments with music
- Working in a specific genre
- Mixing editing styles together