Norman: Let's look at two tricks of the trade. Tricks that editors use to help move the audience's eyes right where they want them to be. At one point, I mention that when we were cutting away from Tiana during the staredown, that we did not want to cut out while the girl in the purple sweater to the right of Tiana was moving her arm. Here's the cut that we ended up with. Notice how the cut really keeps us focused on the staredown between Tiana and Magellan.
Now let's take a look what would've happened if we lengthened the end of the shot of Tiana. Notice how we now see some of that girl in the purple sweater moving her arm. Our eye moved right away to that girl's arm. And so at the cut point, we weren't really looking at Tiana's stare. Our eyes were off somewhere to the right of the screen. Let's highlight that. Notice how once our eyes were on the right side of the screen. We not only weren't looking at Tiana but we weren't really focusing immediately on Magellan's eyes when we cut back to him.
It's going to take us a second or so to come back to his face. Now let's go back to the original cut and see how much more focused it is without that girl's extra movement. Wow, that makes a difference, doesn't it? Finally, one last note. You'll see that in this cut from Tiana to Magellan, that the audio cut from her to him doesn't come exactly at the same point as the picture cut. It comes a tiny bit later, right when there are some sort of noise in the incoming side on the audio.
This is a great way to disguise your picture edits. Because each of these takes were probably shot at different times and the microphones were certainly pointed in different directions. There will be some differences in the background sound. When you cut the audio at the exact same frame as your picture, the audience is going to feel the difference in that sound. And will, therefore, feel the picture cut a little more. Unless you want that to happen, sliding down the audio until the first incoming sound, what we call the first modulation.
That's going to help disguise the change in the background sounds underneath the bigger change of the incoming line of dialogue or the sound of Magellan moving. These little tricks from the pros will help make your picture cuts look just that much better. And that's going to help the audience to focus in on the story you're telling.
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