What are the rules of wedding video editing?

Log and Label your Shots

It's up to you if you want to pay me now or later. You should set aside some time to record and categorise all your shots. Label each shot with a subject and a description.

Typical Characteristics:

• In a broad MW sense (Medium Wide)
• Med C/U XC (Extremely Close) (Extreme Close up)
• Rotate Left Rotate Right Tilt Up Tilt Down
• Integrative and interpolative low-power zooming (Low Angle)
• Strong C/A (Cut Away)
• Two-Shot Revolver (Reverse Angle)

Choose the Best Footage

This advice may sound a little foolish, but try to pick and choose.

It is standard practice to capture more video footage than will ultimately be used, from which the best takes will be culled throughout the editing process. Many times, you will shoot multiple iterations (takes) of a scene and then pick the finest one in post-production. Avoid using a shot if it's too unsteady. Don't use it if you can't see clearly through it.

All Scenes Should Begin and End With Continuing Action

To illustrate, let's say a filmmaker decides to film a scene with a male and female protagonist and then has the editor remove one of the characters' heads or tails. Beginning a scene with the actor standing around, presumably preparing to act, is unnatural. Besides destroying the craft's invisibility, this sort of mistake messes up the flow of the task, which leads to much more serious issues down the road.

A scene should begin with an activity, such as an actor entering the frame, picking up a phone, washing dishes, polishing a sword, etc. Actors should leave the scene by doing something drastic (although not necessarily opposed) to the situation, such as hanging up the phone, smashing the dishes, plunging the sword into an orc, or walking out of the frame. This helps move things forwards quickly, so the audience doesn't have time to get bored.

B-Roll

The term "B-roll" describes supplementary video material that establishes a mood, provides context, or advances the plot. At a school play, for instance, you may also film the outside of the school, the programme, the faces of audience members, the cast members hiding in the wings, and the outfit details.

You can use these snippets to cover any edits or seamless transitions between scenes.

Let's say you're having trouble syncing your film with the scenario, or it keeps cutting in and out. This is when the use of a b-roll comes in handy. Jumpy or out-of-context shots can be lessened by inserting a b-roll between them. As a bonus, B-roll can break up a long, static scene.

A jump cut is used when there is a direct continuity between two shots using the same or similar camera setup. But the content is different, or the subject is in two different places.

The transition from one piece of A-Roll or Voice Over with the subject to the same subject in an interview is the most common cause of this problem during editing. The audience will be thrown off by the subject's subtle movement between shots if you leave them side by side. Use a fade or some b-roll to hide the edit instead.

You shouldn't have the interviewee cut directly to the same individual who was just in the B-Roll (A-Roll). Insert a Cut Away or a Transition (Dissolve or Wipe)

Don't Jump

A jump cut is when another immediately follows one shot with the same camera and the same framing but with a different topic. This often occurs during interviews when removing an unnecessary passage is necessary.

The audience will be thrown off by the subject's subtle movement between shots if you leave them side by side. Use a fade or some b-roll to hide the edit instead.

Once the camera's perspective shifts between views of the same topic, we get a case of jumping. If you must remove some of the interviewee's dialogue while editing, be careful to insert some b-roll between images of the interviewee. If not, the video will be quite disorienting.

Stay on Your Plane

Let's pretend there's a flat plane between you and the people you're studying. During the recording of this scene, please remain on your end of the line. The audience's sense of familiarity is preserved by maintaining a 180-degree field of view. If you’re looking for the best Video Company in Melbourne then look no further. Check out Vines of the Yarra Valley’s ultimate list. 

Try inserting some b-roll between cuts if you must edit material that breaks this rule. The shift in viewpoint will be less jarring this way, assuming it is perceptible.

Trace the area where your focus lies. In your mental coordinate system, that would be the X-axis. Never go beyond the X-axis, as doing so will throw off the viewers' sense of perspective.

Set a plane between your subjects, keeping your focus on that side of the room or your activity until you're ready to move on to the next sequence. This ensures that the characters maintain eye contact, you can easily identify where furniture and other props are located, and the plot moves forwards without being bogged down.

45 Degrees

When compiling footage from many cameras to create a composite, it's best to prioritise views that show the subject from 45 degrees or more away. If you don't change things up, it'll look like a series of jump cuts to the audience.

When shooting a scene with more than one camera, it's best to switch up the angle by at least 45 degrees between each image. It's a good way to dampen any jolting sensations.

Choose Your Editing Points Wisely

Make transitions between still images. Don't interrupt a span or zoom to alter. It's best to wait for the shot to settle before moving on. A similar rule applies to any ongoing activities within the confines of the picture.

Use a transition like a dissolve or wipe if you need to make changes in the middle of a take. Make your edits at periods where there are obvious changes in the scene, such as when a character enters or exits the frame, a character crosses in front of the camera, or when there is a particularly compelling close-up.

Cut on Motion

The rapid movement of the camera prevents the viewer from detecting the numerous edits. Therefore, try to transition between shots while the subject is in motion. For instance, the transition would be choppy if you were to go from a still head to a door that was ready to open. A motion cut also allows for a more fluid transition between two video parts if their respective motions are related.

This means that the editor should transition from one shot to another whenever possible by cutting from motion in the previous shot. There will be a lot fewer jarring transitions in the scene. Try to picture the difference between a quick cut from a moving train to an opening train door and a cut from a stationary train.

This usually involves a few cameras and extra work, but the results are well worth it. It's far simpler to cut between images of the same subject than between completely different subjects. Switching lenses every so often is a good idea if you're filming a long event like a wedding or interview. You can modify the arrangement of frames or remove unnecessary segments by splicing together a wide shot and a medium close-up.

Whether it's a man sitting on a park bench or a woman shifting her gaze to the left, the idea is to make the transition in the middle of the action to make it seem seamless. The ideal editing would be completely unnoticeable and "magical."

This requires the most refined timing, which can only be achieved by in-depth knowledge of how the human mind works and how the eyes move. Cutting too soon makes the next cut look illogical and out of place. If you wait too long to cut, you risk withholding important information from the viewers and testing their patience.

An ideal time to cut is right in the middle of the action. You should probably make your incision for the man seated on the bench where he is touching the seat. You might want to cut in the middle of the woman's eye movement to the left rather than before or after. Editing basics like knowing when to cut will help you create more fluid transitions and enhance the meaning of the scenes you're working on.

Change Focal Lengths

It's simple to switch between close-up and broad images by cutting between two photos of the same topic. So, switch focal lengths every so often when filming an extended event like a wedding or an interview. You can modify the arrangement of frames or remove unnecessary segments by splicing together a wide shot and a medium close-up.

When filming the same topic for long periods, such as at a wedding or an interview, switching between focus lengths can help keep viewers interested. By filming in a variety of close-ups and wide angles, the editor can prevent jump cuts and rearrange or shorten the video without sacrificing the overall effect.

Cut on Similar Elements

In Apocalypse Now, there's a transition from a revolving ceiling fan to a hovering chopper. Although there is a large transition between scenes, the design similarities help create a seamless and original transition.

This means you can also use this technique in your videos. The transition from a cake flower to the groom's boutonniere or from one scene to the next by tilting up to the blue sky and then down from the sky.

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Changing the shot or scene by cutting on motion or cutting on related parts are also effective methods. Cutting on similar elements refers to cutting from similar-looking objects or scenes between consecutive shots. For example, cutting from a garden to flowers in someone's hair, cutting from one blue sky to the next, or cutting from a fan to helicopter blades. There's no need for the images to have the same focal length, but they should share a similar aesthetic.

Use Nat Sound as a Defining Element

You must ensure the volume of the natural sounds (Nat Sound) that sit beneath your voiceover or narration is set appropriately. It should make up roughly 20% of your main audio. It won't be audible if it's any lower, and if it's any higher, it might compete with the main sound. You can insert Nat Sound Breaks into your story or use them to transition between scenes.

Wipe

A couple of transitions come to mind that could be useful (but used sparingly). Transitioning from moving to static images can be done smoothly with a dissolve or cross-dissolve. The video could begin and end with a fade to black. Aside from these elementary segues, you should avoid using any others.

Massive, eye-catching graphics and transitions are commonly used by productions making videos with a limited lifespan. Because they know the footage won't be around forever, they can get away with it (and it is edited by professionals who know how to use a wipe properly).

It's simple to switch scenes without shocking the viewer when a single object takes up the entire frame, like the back of a black suit jacket. During filming, wipes can be arranged in advance or taken advantage of as they occur.

A wipe occurs when one object, like a person walking in front of the camera, takes up the entirety of the frame. Although it may seem counterintuitive, this can be a useful transition between pictures because it does not throw the viewer off.

You will see three types of cuts that frequently dissolve: the cut, the cross dissolve, and the wipe. When the entire screen is taken up by a single object (like the back of a black suit jacket), the transition to a new scene is seamless. During filming, wipes can be arranged in advance or taken advantage of as they occur.

Match The Scene

The beauty of editing is that it allows you to take clips filmed in random order or at different times and seamlessly combine them into one seamless scene. For this trickery to work, however, it is essential that all of the components in the photos be consistent.

For instance, a character that moves out of the frame to the right should go into the next shot from the left. Unless I'm mistaken, the individual has turned around and is now walking backwards. Or, don't cut from a photo where the subject is clutching anything to one where she is holding nothing.

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If you don't have the necessary footage to create seamless transitions, fill in the gaps with a b-roll.

Using editing, clips shot at different times can be stitched together to create a seamless scene. The editor's job is to ensure that the scene's location, motion, and elements are consistent. Film shot a month ago in the park might be combined with recent footage to create a seamless transition that fits the environment. For example, if the subject was running from left to right across the screen, they should reenter the frame on the left.

Let's pretend the individual shown in the clip from a month ago was a businessman carrying a briefcase dressed in a suit, as it would be more in keeping with the setting. The man in the video from the day before must be carrying the same briefcase and wearing the same clothes.

It's not uncommon for the action to differ somewhat across takes and camera angles throughout production. Some of these factors, such as the duration of a cigarette's burn, the frequency with which city lights flash, and the placement of hands and feet during dramatic situations, are impossible to eliminate. While this isn't a problem if you're just going to leave a photo alone, it becomes a major issue if you must constantly cut between images. Disregard the need for consistency.

In a tense situation like this, the editing should reflect the emotional realism of the scenario so as not to rob the audience of the impact. Most viewers will focus on the scene's emotional arc rather than its technical flaws, even if the action doesn't match. Most editing mistakes are probably not the fault of the editor but rather the product of the director's desire to highlight a particularly moving performance.

SAVE Frequently

The worst thing is to spend time revising something only to have it disappear without a trace. If you're making big changes to the project, save it several times an hour.

To begin, you'll be prompted to give your editing project a name and choose a location on your computer to store the project file. Give your project a meaningful name, and remember to save often.

Back It Up

Get a copy of your recorded videos off-site. Try not to lose it. Create duplicates using DVDs or a copy to a disc drive you may take with you. Is there a backup plan in case something terrible happens to your computer? You won't have to worry about losing any of your films if you have a good backup system.

Motivate Yourself

Every slash needs an explanation. There should be a clear purpose when moving from one picture or camera viewpoint to another. A simple "the camera shook" or "someone walked in front of the camera" can provide sufficient impetus in these cases.

Although ideally, you'd want to cut for reasons that further the story you're trying to tell in the video. Take into account how you will use the footage in post-production editing as you set up the cameras and shoot. It's far simpler to think of a brilliant move while making it rather than trying to extrapolate from a collection of random clips.

There is always a judgement lurking in the background of an edit, frequently made on the fly based on the overall flow of the sequence. To determine when to make a severance cut, editors sometimes rely on their intuition, colloquially known as a "cut from the gut."

The editor should learn to rely on their judgement. As an illustration, you should not cut if you don't think it's required. Sometimes it's only the master shot that needs to be heard. However, there is conscious deliberation involved in deciding when to cut. Don't make haphazard cuts, though. There needs to be a valid justification for it.

You should have a good justification if you decide to make any cuts or edits. The ability to quickly and creatively shift the camera's position and field of view should be a constant goal. A perfect world is one in which that drive is just to improve the production's storyline.

Conclusion

Your movies may have that classic feel without many clunky transitions if you follow a few simple rules. Knowing these tried-and-true techniques is essential if you're just starting in video editing. It is unusual for a scene to begin with the actor standing there. Blending in the b-roll between frames can help smooth out the transitions and make the video feel more natural.

Background footage, or "B-roll," can be utilised to break up a long, static scene or transition smoothly into a new one. When another immediately follows one shot with the same camera and framing but a different subject, this is called a jump cut. If you leave the photos side by side, the audience will be confused by the subject's slight motion in between them. Be sure to put some b-roll between photos if you must cut out any of the interviewee's dialogue while editing. Make changes after the span or zoom has finished.

Before continuing, it's advisable to let the shot settle. Focus your cuts on the moments that showcase dramatic shifts in the setting. Switching lenses every so often is an excellent idea when filming a long event like a wedding. In a perfect world, editing would be invisible and seem like magic. In the thick of the action is the perfect time for a cut.

When filming a lengthy event, such as a wedding or interview, it's a good idea to switch focal lengths every so often. Knowing when to cut is one of the editing fundamentals that will help you make smoother cuts. When editing, it's common practice to cut between shots that share visual similarities or "cut on similar aspects." Adjust the volume of the ambient sounds playing in the background as you narrate or voiceover. Nat Sound Breaks can be used as scene transitions or inserted directly into the narrative.

Dissolves and cross-dissolves provide for a seamless transition between moving and still images. A wipe happens when a single subject, such as a person walking in front of the camera, fills the entire picture. As the spectator is not thrown off, this can be a very effective transition between images. It's crucial that every detail in the images match up for this ruse to succeed. With the help of editing, footage captured at separate times can be combined to form a continuous scene.

The editor is responsible for ensuring continuity in terms of setting, action, and props. While filming, it's usual for the action to change slightly between takes and camera angles. A decision, often made on the fly depending on the dominant flow of the sequence, lurks in the shadows of every edit. At times, editors will use their gut feelings, or what is informally known as a "cut from the gut," to make a severance cut. Discretionary spending reductions should only be made when there is a good reason to do so.

Content Summary

• Your movies may have that classic feel without many clunky transitions if you follow a few simple rules.
• There are certain approaches that have stood the test of time in the world of video editing, and you would do well to become acquainted with them.
• An editing programme has some great transitions, effects, and other tools at your disposal.
• If you're good at editing, you probably won't have to do much of it.
• The vast majority of contemporary film and video productions fail to take advantage of these qualities, despite their obvious practicality and delightful aesthetic worth.
• To pay now or later, that is your decision.
• Investing the time to write down and organise your thoughts is a risk that will pay off in the long run if you are willing to take the plunge.
• You may think this is ridiculous advice, but attempt to select and choose.
• It is common practise to record more video than needed, with the best takes being selected later in the editing process.
• When filming a scene, it's common practise to do several takes before settling on the final version.
• You shouldn't use a shot if it's shaky.
• If you can't see well through it, don't use it.
• As an example, suppose a director filmed a scene with a male and female protagonist but afterwards had the editor chop off one of their heads or tails.
• It is totally unusual for a scene to begin with the actor just standing there.
• Any disruption to the workflow, such as losing the craft's invisibility, can lead to far more catastrophic problems later.
• An actor entering the frame, picking up a phone, cleaning dishes, polishing a sword, etc. are all appropriate activities to kick off a scene.
• Actors should exit the scene by doing something extreme (although not necessarily contradictory) to the current plot, such as hanging up the phone, breaking the dishes, plunging the sword into an orc, or walking out of the frame.
• This helps keep the plot moving swiftly so the audience doesn't become bored.
• B-roll refers to any additional video footage used to set the scene, explain something important, or move the story along.
• The exterior of the school, the playbill, audience members' faces, secretive cast members in the wings, and the finer points of their costumes may all be captured on film.
• These cutaways can be used to conceal cuts or transitions between scenes.
• For example, maybe your movie keeps cutting in and out or you can't get it to match up with the scenario.
• Here's where some b-roll footage would be useful.
• Blending in b-roll between frames can help smooth out the transitions and make the video feel more natural.
• An additional benefit of using B-roll is that it may be utilised to break up a long, static scene.
• That was a jump cut when two pictures were taken with the same or extremely similar camera setup but the topic matter or material is split between the two.
• This often occurs when an editor cuts from one shot of the subject on A-Roll or voiceover to another shot of the same subject in an interview.
• If you leave the photos side by side, the audience will be confused by the subject's slight motion in between them.
• Instead of showing the cut, use a fade or some b-roll to cover it up.
• When another immediately follows one shot with the same camera and framing, but a different subject, this is called a jump cut.
• Typically, this happens during interviews when a superfluous answer needs to be cut.
• If you leave the photos side by side, the audience will be confused by the subject's slight motion in between them.
• Instead of showing the edit, try using a fade or some b-roll to cover it up.
• Jumping occurs if the camera cuts quickly between several angles of the same subject.
• Be sure to put some b-roll footage in between shots of the interviewee if you need to cut out any of the interviewee's dialogue during editing.
• If you don't, the video will be incredibly confusing.
• Consider a flat plane to be interposed between yourself and your research subjects.
• You should not move from your end of the line during the filming of this sequence.
• Keeping the camera at a fixed 180 degrees ensures that the viewers never lose their sense of orientation.
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• If you absolutely must edit content that does not adhere to this guideline, try splicing in some b-roll between the cuts.
• This way, the change in perspective, if it can even be felt, will be less of a shock.
• Follow your attention's path.
• That's the X-axis in your internal frame of reference.
• Stay on the X-axis at all times; doing otherwise will confuse your audience.
• Create a visual divide between your subjects by placing a flat surface in the room or focusing on a single aspect of your task until you're ready to move on.
• This keeps the story from being bogged down, keeps the characters making eye contact, and makes it easy to see where things are.
• Prioritising views that show the topic from 45 degrees or more away is recommended when assembling footage from multiple cameras to produce a composite.
• The audience will perceive it as a succession of jump cuts if you don't mix things up.
• Create a flow from one static image to the next.
• Make changes after the span or zoom has finished.
• Before continuing, it's advisable to let the shot settle.
• Any motion within the frame is subject to the same regulation.
• If you need to make adjustments in the middle of a take, use a transition such a dissolve or wipe.
• You should cut at transitions in action, such as when a character walks into or out of the frame, when another figure passes in front of the camera, or when there is a particularly interesting
• close-up.
• The fast-paced camera work makes it impossible for the audience to spot all the cuts.
• Try to cut between pictures with the subject in motion if possible.
• For instance, the transition would be rough if you went from a stationary head to an open door.
• If the actions in two video segments are related, a motion cut can help smooth the transition between them.
• If the editor can, he or she should cut from action in the preceding shot.
• Fewer abrupt cuts will be present.
• Imagine the contrast between a cut from a stopped train to an opening train door and a cut from a moving train.
• Although this may need a few extra cameras and effort, the result is generally well worth it.
• It's much less work to transition between shots of the same topic than it is to switch to an entirely new one.
• Change lenses every so often if you're capturing a lengthy event like a wedding or interview.
• A wide photo and a medium close-up can be edited and combined to create new compositions or to delete unwanted parts.
• The goal is to make the change in the middle of the action, such as when a man sits down on a park bench or a woman looks to her left.
• In a perfect world, editing would be invisible and seem like magic.
• This calls for the finest timing, the kind that can be attained only by in-depth familiarity with the workings of the human brain and eye movement patterns.
• If you cut too soon, it will look irrational and out of place in the context of the rest of the piece.
• Cutting at the wrong time can test the viewers' patience and cause you to withhold crucial information.
• In the thick of the action is the perfect time for a cut.
• If you want to help the man sitting on the bench, you should probably cut him where he is contacting the bench.
• It would be more effective to cut in the middle of the woman's eye movement to the left rather than before or after.
• Knowing when to cut is one of the fundamentals of editing, and it can greatly improve the flow of your scenes and the impact they have on the audience.
• Cutting between two photos of the same topic is a quick way to flip between close-up and wide shots.
• When photographing a long event like a wedding or interview, it's a good idea to vary focal lengths periodically.
• A wide photo and a medium close-up can be edited and combined to create new compositions or to delete unwanted parts.
• Focus length changes can assist keep viewers engaged when filming the same subject for extended periods, such as at a wedding or an interview.
• When shooting a video, it's helpful to switch between close-ups and broad shots so that the editor has more options for rearranging or shortening the footage without compromising on the overall impression.
• The whirring of a ceiling fan has given way to the hovering of a helicopter.
• There is a lot of cutting back and forth between scenes, but the similarities in style make it feel natural and fresh.
• To clarify, you can also implement this method into your videos.
• You may get from a cake flower to a boutonniere for the groom, or from one scenario to another, by tilting the camera up to the blue sky and then back down again.
• Cutting on motion or related elements are equally efficient ways to alter the shot or scene.
• The term "cutting on similar elements" is used to describe the transition from one shot to the next that involves the use of visually similar items, such as flowers in a garden to flowers in someone's hair, a blue sky to another blue sky, or a fan to helicopter blades.
• Images don't need to be shot with the same focal length in order to look good together.
• It's important to adjust the loudness of the natural noises (Nat Sound) that serve as a bed for your voiceover or narrative.
• It ought to be about 20% of your primary audio.
• It needs to be at just the right volume; any higher, and it could drown out the primary sound.
• Dissolves and cross-dissolves provide for a seamless transition between moving and still images.
• A fade to black could be used at the start and finish of the video.
• You shouldn't use any transitions other than these simple ones.
• In order to grab viewers' attention, short-lived videos often feature elaborate visual effects and transitions.
• They believe they can get away with it because the recorded evidence won't be accessible forever (and is edited by professionals who know how to use a wipe properly).
• Avoid using images or transitions that could make the film seem antiquated or inconsequential if I'm going to go to the work of making it.
• When one object, like the back of a black suit jacket, fills the full screen, it's easy to cut to a new scene without startling the audience.
• Wipes can be prepared in preparation or used on the fly during filming.
• A wipe happens when a single subject, such as a person walking in front of the camera, fills the entire picture.
• As contradictory as it may sound, this is actually a great way to move from one image to the next, as it does not throw the viewer off.
• The cut, the cross dissolve, and the wipe are the most common forms of cuts and dissolves you'll encounter.
• The moment when the guests process down the aisle is always my favourite during a wedding.
• They express regret, which is understandable if the incident occurred during the wedding vows or the first dance.
• For example, when the back of a black suit jacket fills the entire screen, cutting to the next scene is completely undetectable.
• Wipes can be prepared in preparation or used on the fly during filming.
• The beauty of editing is that it permits the seamless combination of clips shot in a disjointed fashion or at different times.
• But this method relies on there being no inconsistencies between any of the parts in the photographs.
• If a character exits the screen on the right, they should enter the next shot from the left.
• If my eyes aren't deceiving me, the person has turned around and is walking in reverse.
• In other words, don't splice together photos in which the subject is holding anything with ones in which she is not.
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• Use b-roll to bridge any gaps in your film if you're missing key pieces to make transitions look natural.
• With the help of editing, footage captured at separate times can be combined to form a continuous scene.
• The editor is responsible for ensuring continuity in terms of setting, action, and props.
• It's possible that the film shot a month ago at the park will be edited together with more current footage to produce a smooth transition that is appropriate to the setting.
• For instance, if the subject were running across the screen from left to right, they would re-enter the frame on the left.
• We can better imagine the context of the video from a month ago if we imagine the person depicted to be a businessman with a briefcase and a suit.
• The individual on the previous day's footage must be using the same briefcase and have worn the same outfit.
• While filming, it's usual for the action to change slightly between takes and camera angles.
• Some of these are inescapable, such as the time a cigarette burns, the regularity with which city lights flash, and the location of hands and feet during dramatic events.
• Dmytryk proposes ignoring the need for consistency, which isn't a problem if you're just going to leave a photo alone but becomes a significant issue if you have to cut between images continually.
• Editing in a dramatic event like this should represent the emotional authenticity of the scenario without undermining the impact.
• Even if the action doesn't match, most viewers will concentrate on the emotional journey rather than the technical errors.
• The director's desire to emphasise a particularly moving performance is likely to blame for most editing errors.
• Spending effort refining something only to have it vanish without a trace is the worst possible outcome.
• Save the work frequently if you're making significant alterations every hour.
• The first step is to name your editing project and save it to a specific spot on your hard drive.
• Give your work a name you'll remember, and don't forget to save frequently.
• You should make sure you have a backup of any videos you record.
• Having a reliable backup system ensures that none of your film will be lost in the event of a disaster.
• The slashes must be justified.
• There needs to be a reason for cutting from one shot or camera angle to another.
• In these situations, a simple "the camera shook" or "someone walked in front of the camera" can serve as adequate motivation.
• Although ideally, you'd cut for reasons that further the story you're trying to tell in the video.
• Before starting to set up cameras and shoot, think about what you want to accomplish with the footage after you have it back in post-production editing.
• Instead than trying to extrapolate from a jumbled collection of clips, it's far easier to think of a spectacular move while you're really performing it.
• A decision, often made on the fly depending on the dominant flow of the sequence, lurks in the shadows of every edit.
• Sometimes editors will use their gut feeling, or what is informally known as a "cut from the gut," to determine whether to make a severance cut.
• The editor needs to develop the ability to trust their own instincts.
• One such example is not cutting something unless absolutely necessary.
• There are instances when the master shot is all that's required.
• However, the timing of any cut requires thoughtful consideration.
• Nonetheless, you shouldn't make arbitrary cuts.
• One must have a good reason for doing so.
• You should have a solid reason for making any changes to the original text.
• It's always important to work towards fluidity and originality in camera movement and perspective changes.
• In a perfect world, that motivation would only serve to strengthen the plot of the production.