Editing in a style where images often precede or follow the dialogue edit feel more natural to our minds and make the scene flow more smoothly.Ĥ. Or one person is talking and we look over to our friend to see their reaction before they respond.
I suppose this more closely mimics real life, where we first hear someone start to talk and then turn our head to see them. These are called split edits, L-cuts or J-cuts. Our brains seem to react better to edits where the change in picture and sound is not always together. Walter Murch refers to this as the Dragnet-style of editing. It followed this formula: cut to actor A – deliver the line cut to actor B – deliver the line cut back to actor A and so on. Audio and video edits tended to be made as straight cuts between the actors without any overlaps as they delivered their lines. No Dragnet edits – The original Dragnet television series used a certain approach to cutting dialogue scenes. Here, I tend to do better when I’m cutting to music rather than the other way around.ģ. The exception is a visual montage set to music. If a scene can stand on its own, then the addition of sound effects and a score will make it that much better. I prefer to cut a strong scene and make it work through editorial solutions. You tend to be more forgiving of a weak scene when there’s interesting music than when the scene is naked. First – people tend to fall in love with the temp score and then it’s hard to get real music that feels as good. Temp music – Many editors like working with temporary music as a placeholder. On the other hand, if it clocks in at two hours or longer, then major surgery is going to be needed.Ģ. If your first cut comes in at about 100 minutes, then you can typically get to 90 through further tightening of the cut. Most basic films don’t support audience attentions for lengths over 90 minutes. In general, my approach is to start with a cut that is precise from the beginning as opposed to cutting the first pass sloppy and then whittling down from there. It may also mean losing redundant lines of dialogue, after the director has reviewed your cut. Sometimes it mean tightening the gaps within dialogue sentences through the use of carefully placed cutaways. This means taking out unnecessary pauses between actors’ delivery of dialogue lines. Cut tight – The best editing approach is to cut tight scenes without becoming too “cutty”. Nevertheless, I hope they offer some takeaway value for you.ġ. I’m sure not everyone will agree with all of these points, since they come out of my own approach and style. Here are an even dozen tips that I feel will make any budding film editor better at this craft. I’m currently cutting a digital feature and this has made me think about editing styles.
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