Editing Aesthetics

The advent of consumer non-linear editing software has broadened the exclusive club of professional
video production to just about anyone with a computer and camcorder. But editing is much more than
using a technological innovation. Editing itself is an artistic profession equivalent to that of painters,
playwrights and poets. From their unconscious, creative depths, the editor synthesizes images into
meaningful patterns that profoundly moves the audience. The cuts are never arbitrary, but are, in fact,
motivated by the editors creativity and judgment of what the story is about.

Images: Creative Commons

There is a joke that illustrates what is considered the novice approach to editing, where an image is cut to
every single significant word in the script or dialogue. This form of literalism was spoofed in an edition of
the BBC's The Frost Report when host David Frost called this form of literalism the 'Lord Privy Seal.'
Images of a Lord, a privy and finally a seal (subject to some interpretation) are edited respectively to the
mention of the words "lord, privy, seal." Some might call the result an artless, uninspired and second-rate
piece of work.

What motivates the cut?

The motivation behind the cut is to advance the story, providing new information as it moves forward.
When the shot no longer adds any crucial information or slows down the story, the editor cuts to the next
shot to show the audience something different. The expression cut from the gut is a fitting way to
describe how editors decide when to cut. Sometimes it becomes important simply to trust your instincts.
Often the editor will find a way to withhold information until the most effective dramatic moment, not to
frustrate the audience, but to keep them interested or riveted. As the editing progresses, new and
unexpected bits of information get revealed until there is resolution.

Despite its technical challenges, editing can be learned in a short time. But editing is a skill that is often
acquired over a period of years. The advantage of digital editing technology is such that anyone with
basic skills can easily experiment on new ways to link shots together, coming up with ingenious
alternative patterns for sequences. Nevertheless, whether its feature films, news and documentaries, or
corporate videos, the objective is the same to maintain the audiences interest. There are certain rules
to follow, but rules are meant to be broken, although not in a haphazard way. An innovative editor who
cuts from the gut can find ways to intrigue audiences with something that throws them by surprise. But
an editor who sets up the audiences expectations unintentionally, using a shot that has no good reason
to be there, or assembles a sequence that is incoherent, will ultimately disappoint.

The challenge in editing is to assemble a number of images that create continuity, or a sense of logical
progression from one image to the next. However, the goal of editing is to create a final product that not
only maintains continuity, but one that is dramatically effective. Master of suspense filmmaker, Alfred
Hitchcock, once said that, drama is life with the dull bits cut out. Indeed, editors are seemingly capable of
manipulating time and space, transforming what is Real Time into Dramatic Time. However, editors need
to be clear about the purpose of the scene.

Editing relies on the juxtaposition of images, but ultimately the editor decides how to assemble the
images in a way that is dramatically effective. Their decisions are helped if they are given a variety of
angles from which to choose, providing more options for cutting. Sometimes editors are not given many
choices, or they are given too many. But the meaning of the story as a whole helps the editor make
decisions on how to reconstitute a scene from the raw materials that are generated during the production
process. That is, the footage and sound that exist after the shooting is complete.
he editors primary purpose is to tell a story

Why does an editor cut? Answer: to move the story forward.

The right reasons to cut

to sustain the viewers interest, involvement and investment in the show

setting a pace other than the real-time pace set by a single shot

keeping continuity where the cut appears seamless

Before you edit

Its vital that you know the purpose of the show and its target audience. Youre the one who
decides what the audience sees, when they see it, and what they learn from it. Know your raw footage.
Take notes on the shots or memorise them.

Before you make the cut

Know where the scene is coming from and where its going. Each cut should be motivated. Be
clear about the purpose of the scene, and the purpose of the cut. Each cut should advance the story, the
action, the flow and the thought process.

Do you make a cut because it looks nice?

Answer: No. Instead, the cut links or knits the story together. Editing is a delicate, precise process.
Editors always review and refine a scene after putting it together. Refining can take place after a scene is
put together, sometimes several hours or a few days later.

Rough Cut vs. Fine Cut

1. Roughing out a scene means you edit without pausing. Then smooth it out, tightening or
loosening edits, making overlaps, adding cutaways, etc.
2. Fine-cut you make the edits exactly where you want them to go. Then review before going on to
the next.

Cut from the Gut - Use your instinct to cut

When cutting into a shot:

Find the right point to enter. Ask yourself if it is

Where the drama starts?

Where something begins to happen?

Where information is given out?

When cutting out of the shot:

Where does the shot stop being interesting?

When do you want to see more, learn more?

When not to cut to shot:

When you think you should. You never cut arbitrarily - its motivation that guides the cut.

Because you think you shouldnt. Dont stick to a shot because its sooo good! Once the
information is conveyed, move on.

Because the shot took such effort to get that it must go in. Absolutely dont use shots just
because you feel obligated to do so. Why drag the audience down with something that says
nothing to the story?

Cutting Patterns:

These patterns are not to be taken as formulas. Cuts should be approached with the story in mind. But
dont be too cutty make sure that your edits serve the story.

Conventional: starts with a wide master shot, then cuts to a medium and then to a close shot.
This pattern cuts you closer to the subject. This tried and true pattern works very well.

However, you can also go with the unconventional pattern

Unconventional (also known as a Reveal): Start with a CU (or even an ECU), then cut to a
MCU, MS, WS to reveal the context.
 Matching Action - cutting on movement makes for slick, dynamic and seamless
edits

Use of Overlaps - audio leads video or video leads audio, using dissolves or
wipes as transitions often frees the editor from thinking in straight cuts only

If it serves the story, the edit can cut to shots that create unbalance, e.g., from a ECU to an OTS that
makes the cut more jarring or unsettling. Perhaps this coincides with the psychology of the character and
makes the story more dramatic.

Types of Shots That Cut Smoothly Together

Type of Angle What Angle Cuts To

WS or Extreme Wide Shot Full Shot, MS, MCU, CU,
Full Shot MCU, CU, ECU
Medium Long Shot MS, MCU, CU
 Rules of Editing
The standards of cinematic excellence requires that edits go largely unnoticed by viewers. However,
there are always exceptions when artistic expression is involved. But understanding the rules first will
help you decide when it becomes necessary to break them.

The Basic Rules

Cuts are seamless so that one shot transitions to another smoothly without causing any
unnecessary attention or distraction.

Cuts happen at a logical point in the shot, which maintains continuity

Matching the action from one shot to another also creates the illusion of one continuous motion

The sense of screen direction must be maintained to avoid confusion in viewers

The types of shots (wide, medium, close-up, etc.) should be varied to create a more dynamic
sequence

The pacing of shots should also vary to create moods or atmospheres

The length of the shot is often determined by how much information it conveys. Once the
information is obvious it's no longer necessary to linger on the shot.

Motivation behind the cut

Behind every edit there is a decision, which is often made intuitively based on the
overall rhythm of the sequence. Sometimes editors use a 'gut feeling' to determine the
appropriate time to cut, often referred to as a 'cut from the gut.' Essentially, the editor
needs to learn to trust their instincts. For example, if you don't think it's necessary to
perform a cut, then leave it alone. Sometimes the master shot plays fine just by itself.
But when it comes to knowing when to cut there is a deliberate thought process
involved. However, never cut arbitrarily. There should be a good reason for it.

When does it become necessary to cut?

To advance the story

When the shot no longer carries the action

To impart information that is clearer to the audience than in another shot

To see something different and maintain interest

To show how a person thinks or feels

 To cut when the shot slows down the story or doesn't add any crucial information

Cutting Patterns
Listed below are some of the most common patterns used when cutting together a
scene:

Conventional - begins with the wide shot and then cuts to a medium shot and
finally a close-up, working closer towards the subject or character

Reveal - begins with a close-up (tight) shot, then cuts to a wider shot, revealing
more information about the scene

Matching Action - cutting on movement makes for slick, dynamic and seamless
edits

Use of Overlaps - audio leads video or video leads audio, using dissolves or
wipes as transitions often frees the editor from thinking in straight cuts only
 The Editing Process

The goal of editing is to create a final product that is not only continuous, but is also dramatically effective.

In the end, the editor's creativity is based on their knowledge of the story, which then helps them choose

the right shots.

The Shot - the fundamental unit of editing

How you assemble different shots to tell the story depends on your vision. Editors begin with the 'bread-

and-butter shots' - wide shots or establishing shots, mediums and close-ups. The length of shots varies

from story to story. In a dialogue sequence, shots could last as long as the conversation itself, 10 minutes
perhaps. However, a chase scene could use shots that last just under one second.

The challenge of editing is to assemble a number of shots that create a continuity, which doesnt draw
unnecessary attention to itself. That is, the edit goes largely unnoticed by the viewer.

The Editing Process can be summed up in two stages:

Rough Cut - building the audio first and then filling the gaps with video b-roll before
making modifications to the clips.
Final Cut - fine-tuning and polishing the rough cut, transforming it into the final edit

The second stage emphasises Rhythm and Pace. Rhythm is determined by the overall 'seamlessness'
of the edits, and Pace depends on the temporal length of each shot.

Choosing the Right Shots: Once they're handed an assignment, the editor must first know the
story and then study the shots. They note the variety of shots and their composition, including possible

transition shots that also include matching action to help create seamless edits. The editor also notes the

sound (natural or wild sound), which can add rich textures and atmosphere to any visual story, and can

even be used to help transition between shots or scenes.

If the camera work is done right, and the reporter or producer scripts to the visuals, then it's sometimes

easy for the editor to make the right edit decisions. Always, the first challenge is coming up with the

opening shot. This shot needs to grab, or hook the audience's attention, which is why the editor chooses

an opening shot that is as compelling as possible. While pictures are worth a thousand words, you may
have only four seconds to grab your target audience. The truth is - people are busy and they want to get

their information in the most efficient, and time-saving way possible. Therefore, the video must be

appealing, it must be captivating and it must spark the curiosity of your target audience and define the

story.

Once that shot is selected, the second shot must then have some relationship with the first to maintain

continuity. Each time the editor cuts, the shots should continue to advance new information or insight to

the viewer. Choosing shots depends on how much information they convey, and that determines how

long they are seen by the audience. Typically, a wide shot conveys more information than a close-up and

is held longer on screen the first time it is seen. But choosing the right shot also depends on how well it

serves the dramatic purpose of the story. If a shot fails to move the story forward, provides little

information or serves no other purpose, then it must be discarded, left on the proverbial 'cutting room

floor,' even if it was beautifully photographed.

An editor should never feel obligated to use shots that were difficult to acquire if they don't serve

the story's purpose.

Compressing Time: Sometimes it seems that editors can do what no physicist can - violate the laws
of time! Editors can turn real-time events into dramatic time, which is a way of compressing the time it

takes for an event to complete in real time (such as making a cup of coffee). To do so, the editor chooses

the least number of shots. using only the key shots to show the genesis of a cup of coffee, from grinding

the beans to pouring the finished coffee into the cup. However, the editing should never confuse viewers,

instead keeping them informed and involved in the story. Viewers stay involved when the shots are edited

seamlessly; when the editing doesn't remind viewers of the editing itself.

Seamless Edits: Effective editing requires the edits to be seamless, where they don't draw
unnecessary attention to the edits themselves. To viewers, the transition doesn't appear obvious. As long

as the cut is made at a logical point in the shot, when the edit is smooth and the action between shots

match, then the audience won't be thinking about the editing; they will remain immersed in the story.

Matching Action: Editors are always looking for ways to exploit motion in the shots. Edits appear
more dynamic and engaging when action is cut on the motion itself. The more motion, the greater the

opportunity for dynamic editing. In matching action edits, the shots of the same action, taken from multiple
angles, are assembled to create the illusion of one continuous motion. For example, when a character

raises their hand, we see their hand in approximately the same position from one angle to the next.

Matching the action between shots moves the story forward.

Matching Action edits can happen in one of two ways.

Cutting after the motion

Cutting on the motion

Additionally, matching action must take into account the similarity of angles. Subjects in one shot should

be facing the same screen direction in the next shot, and so forth.

Screen Direction: The sense of direction must be maintained from shot to shot. Otherwise, viewers
will get confused over the change of angles. Is the character coming or going? Left-to-right patterns must

be maintained and if a character changes direction, the change must be shown.

Matching Tone: In addition to exploiting movement, the editor looks for variations in light and colour
between shots that could break the continuity. Therefore, photographers should take great care in getting

shots that are exposed properly and framed appropriately. Otherwise, variations between can cause

confusion not just for the editor, but for the audience.

To learn more about matching tone, click Tone and Colour

 The Sequence
Putting the Shots Together

The editor juxtaposes a variety of shots so that the interrelationships between them are made obvious.
For example, consider cause and effect: the action in the first shot A is concluded in the second shot B.
Or perhaps the action is drawn out in a series of B, C and D shots. The editing must show clearly that A
causes B or that B logically follows A. Of course, when viewers see a collection of images they will
automatically try to construct a cause and effect relationship on their own even if the images are not
obviously related.

Read more about how Editing mimics the way we see the world.

When we shoot a series of shots that relate to the same activity, we call it a Sequence. The sequence is
really the foundation of visual storytelling. Sequences not only offer visual variety, but they can also
compress real time into dramatic time, helping editors develop better pacing to the story. Additionally, the
shots in the sequence advance new information to help move the story more efficiently. Viewers who see
sequences of Wide, Medium and Close-up shots get more information with each progressive shot.

Many still photographers can find the story in a single picture. But when we do broadcast news, there
simply isn't enough time for our audience to let their eyes linger over the image until they see the detail
that is important; they can only take in so much information at a time. As videographers, our job is to think
in terms of multiple images that can be used to add interest, provide more detail and understanding and
effectively direct viewers to the detail in the image that we deem important. That's where Sequences
come in.

Essentially, we're doing what our brains do naturally, using the camera, like the eye, to collect a number
of images. The brain does the job of assembling the images to convey meaning. So as a photographer,
think like an editor. How will you edit from one image to the next? To accomplish this, get a variety of
shots. When professionals shoot a Sequence, they always think in terms of getting wide shots followed by
several tight shots. We call it:

WIDE SHOT, TIGHT, TIGHT, TIGHT

Wide shots convey the entire area and are good for establishing the scene; medium shots show
characters from the waist up and their proximity to one another; close-ups show a particular part of the
character, usually their face.

Why so many close-up shots?

There's a reason why we shoot so many tight shots. Photographers need to think like editors. Cutting
close-ups back-to-back reads more naturally. It's the way we might view a conversation between two
people. Our brain perceives close-ups of each person as our eyes volley back and forth. But when we
edit adjacent wide shots, the effect can be jarring. We see a jump cut because the framing and distance
are so much the same that it looks like the subject often shifts, or jumps abruptly.
Another reason to consider getting mostly close-ups concerns the fact that many of us consume media
using our smart phones. We watch videos from a small screen device, too small to really see the details
in a wide shot.

So to avoid editing wide shots back-to-back and to make sure the audience doesn't miss the important
details in the activity, photographers will use a certain shooting ratio:

25:25:50
That's 25 percent wide shots, 25 percent medium shots and 50 percent close-ups.

Below is a sequence of shots taken at CU's Varsity Pond. These shots are among some 15 that were
taken during a 10-minute period. What you get out of a variety of shots is s a sequence that adds visual
interest and helps tell a story. You can also use the variety of shots to write more creatively. Remember,
always write to your visuals. And when you sit down to edit, the shots will simply fall in place.

Editing Patterns - Learn more about them in The Rules of Editing

The example below shows a conventional approach to editing where the first shot is often a wide shot
that establishes the location. The next shots provide further detail within the wide shot, directing our eyes
to the detail that we need to know about.
 Types of Edits

The following list comes from Jeremy Vineyard's Setting Up Your Shots, Great camera moves every
filmmaker should know

Continuity Edits or Matching Action - one shot follows the other in a logical, or
sequential pattern, creating the illusion of one continuous actin. The most
common way to show matching action is to cut on the motion itself so the
audience is paying more attention to the action rather than to the cut. Another
way it to cut on the look when the character looks over at something off-screen
and then cuts to a shot of what they're looking at. See Look At below.

Jump Cuts - these cuts are made between shots where the angle and distance
don't change significantly. The audience notices what appears to be a slight shift
in the shots, and this draws attention to the edit. Jump cuts can potentially
distract audiences, but they can also be used artistically to convey the passage
of time or to enhance action.

Off-Screen/On-Screen Action - this edit starts with an empty frame and the
subject entering the shot. When the subject exits, leaving an empty frame, the
editor is free to cut to anything from there.

Cutaways and Cross-Cutting - to cut away from the principle action can show
what's happening elsewhere simultaneously. Often, cutaway shots can be used
to hide continuity errors, but they are also used to focus our attention on
interesting detail. Cross-cutting shows two separate scenes happening in
different locations at the same time. Often, cross-cutting generates suspense and
adds tension to a scene.

Cut Ins or Inserts - when editors cut away from the principle action to show
detail within the scene. For example, a character driving a car starts to
accelerate. The insert shot would show their foot on the accelerator or their hand
shifting into another gear.

Montage - the juxtaposition of images and sounds that express a certain mood,
atmosphere or emotional state. One could say that the montage is
impressionistic, creating an emotional impact rather than trying to follow any kind
of logical or sequential pattern.

Impact Cuts and Impact Moves - these edit decisions are made to show
contrasts from one image to another. The Impact Cut is used to generate
excitement, suspense or confusion. Think of horror films that cut quickly to the
monster. The Impact Move happens when the camera changes the angle to
 reveal significant detail. Also in the horror genre, think of the camera panning
quickly from the protagonist to the monster.

Thematic Cut - this type of cut happens between two images that have similar
thematic properties.

Subliminal Cut - a cut to a shot that appears very quickly (only a couple frames
long). This cut shows the audience only a glimpse of the shot, which can activate
a subconscious reaction.

Freeze Frame - the effect 'freezes' a portion of the moving image to end the
sequence on an enigmatic or emotional note.

Multi-Take - a single action gets repeated many times, which adds dramatic
impact to the scene. For example, the multi-take is used when something
important or decisive takes place, or when the action happens so quickly (as in
an explosion) that it gets repeated several times seen from various angles.

Cut Zoom In - cutting closer and closer to the subject.

Cut Zoom In - cutting to successive angles that move us further away from the
subject.

Split Screen - two separate shots appear on screen at the same time. Used
most commonly when characters are having a phone conversation.

Superimpose - inserting images on top of another. Used most commonly to

show what a character is thinking about, but also describes text that appears on
screen.

Walk, Reveal - a transition that begins on a shot that shows people or objects
passing in front of the camera (typically close enough to fill the frame and block
the view). The editor then cuts to a new shot when another person or object
moves away and revealing the new shot. Also known as a 'natural wipe.'

Collage - several small images are added to the screen to enhance the thematic
context.

Impact Flash - at the cut, the editor inserts a 'flash' to white and then reveals the
new image. Used commonly during fight scenes when a character gets punched.

Here's a video from the Vimeo Blog showing some great examples of natural transitions
that will help you move from one scene to the next. Video courtesy of Framelines TV
 Pacing & Rhythm

Editors should clarify rather than confuse. Determining the right shots, the pacing and the transitions must
all make the point of the scene clear. During the rough cut stage, the editor juxtaposes shots that are
related to one another, suggesting a level of continuity. However, in the final editing stage, the editor's
goal is to fine-tune this juxtaposition, introducing dramatic emphasis in the scene. This dramatic emphasis
is achieved through pacing.

Pacing
Pacing occurs when the editor varies the length of the shots and, thus, guides the viewers in their
emotional response to the scene.

Rapid pacing suggests intensity and excitement

Slower pacing is more relaxed and thoughtful.

The editor has to make several decisions based on their understanding of the sequence as a whole.
Where in the sequence would a particular shot have the most impact? Should a close-up or a wide-shot
be used? Which shots contain the better visuals to provide exposition or characterisation? What is the
most effective use of timing in the juxtapositions within shots?

Let's not forget that audio is just as important. How can the natural sounds in a scene be used to move
the story forward, or to transition from one shot to the other? Additionally, the editor decides what type of
transitions are best -- the straight-cut approach, dissolves, or some alternative strategy. For instance, in
either a horror film or a comedy, the editing strategy would be based on the element of surprise.

Visual Information
The visual information in the shot determines how long it should be held on screen. For instance, wide
shots contain more information than close-ups, so a wide shot, seen on screen for the first time, is
generally held up longer. Thus, the more information in the shot, the longer it should be held on screen,
giving viewers the chance to explore and find the meaning of the visual.

Moving shots are also held up longer because it takes time for viewers to absorb the new information as it
shifts across the screen.

The fast-paced nature of broadcast news is such that shots are not held on screen longer than it takes to
get the information across. Therefore, the information must be obvious to viewers almost immediately.
Editors choose shots that direct viewers to the most important part of the scenery, leaving little time for
their eyes to roam before cutting to the next shot.

In contrast, the close-up contains less information than the wide shot and will be held on screen far
shorter. The same is true for static shots and shots that are repeated. Once viewers have seen the shot
it's not necessary to show it for as long on the second or even third viewing.

With time and experience, editors develop a sense for how long shots should be held on screen. Although
there isn't an absolute guideline to the length of shots, some rules can be followed when making this edit
decision:

The more information in the shot, the longer it should be held on screen;

Moving shots are held up longer than static shots

The shot is held longer the first time it is used than when it gets repeated;

Shots in a sequence should never be the same length;

Rhythm

Sequences where shots are the same length have no rhythm. In a sequence, rhythm requires that the
length of shots should vary. But rhythm is also perceived intuitively. Viewers know when a film lacks
rhythm because they can sense the abrupt transitions or when the audio pops, even when the
composition lacks balance or even when the image was shot without proper white balance. Since editing
should appear seamless (going largely unnoticed by the audience) such bad edits or bad shots will draw
unnecessary attention to the production efforts. Viewers should be immersed in the story, caught up in
the characters, not be reminded at every turn of the camera's presence or the lack of polish in the editing.
Intuition may be the only way to judge rhythm, but some practical considerations need to be made such
as choosing the best shots and the smoothing out the edits.

Straight Cuts - Straight cuts are abrupt transitions from one shot to another that convey the
feeling of immediacy. We also perceive the world in straight cut because that is the way our
brains process information coming in from our eyes. However, these cuts can be jarring and
sometimes even confusing when there's no other cue to suggest a change has taken place.
Jump Cuts - these cuts occur when the visual information between shots hasn't really changed
much. At the transition the shots appear to shift. Jump cuts can be distracting and they draw
attention to the edit.
Dissolves - on the other hand, dissolves smooth out the transition by fading up one shot while
simultaneously fading down the other. During the transition the two shots appear to overlap.
Dissolves are often associated with the passage of time or change of location (or both). But these
transitions may be inappropriate for use during a dialogue scene or an interview show, which
requires straight cuts to maintain the sense of immediacy.

Understand the Story

The editor's goal is to make the sequence seamless. To do so effectively, they must understand the story.
A pause in dialogue may not be a lapse in thought, but a dramatic pause put in by the actor. Such a
pause might convey a moment of reflection and even provide subtext (unspoken dialogue), which is
gauged by the character's expression whilst they're listening. But an editor, unfamiliar with the story,
might leave out this reaction thinking the pause was a mistake. Leaving out the pause might actually
break the rhythm of the performance. Therefore, it's essential for editors to distinguish a performance
from an error and this requires that they have an understanding of the story and its subtext.
Pacing for Video and Cinema Editors:
Timing and Types of Cuts
By Ross Hockrow
Jul 22, 2014

Contents

1. Defining Pacing
2. Principles of Pacing
3. Timing of Cuts: The Pacing Formula
4. Types of Cuts

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Pacing is your single most important editing philosophy and is the hardest to grasp. In this
chapter from Out of Order: Storytelling Techniques for Video and Cinema Editors, Ross
Hockrow defines pacing and discusses the principles of pacing and the timing and types of cuts.
This chapter is from the book

This chapter is from the book

Out of Order: Storytelling Techniques for Video and Cinema Editors

Learn More Buy

This chapter is from the book

 Out of Order: Storytelling Techniques for Video and Cinema Editors

Learn More Buy

One, two, three, four. One, two, three, four. One, two, three, four. One, two, three, four. One,
two, three, four. One, two, three, four. By now, maybe you skipped most of that because you
couldnt imagine the purpose of it or you thought it must be some kind of mistake. Or, maybe
you trusted the book enough to read each number, which allowed a rhythmic pattern to enter
your head. The repetition forces you to stop reading and start recognizing the shape of the words.
Its similar to speed-reading. Your mind forms a flow, and after a few counts you begin to say
the phrase, one, two, three, four, the same way each time.

Mastering pacing is something you should strive for.

Once the flow is formed, its hard to break unless you give it a different flow. I used the word
rhythmic earlier. Please note there is a major difference between pacing and rhythm of a film,
as I use the terms in this book. Pacing is the timing of cuts, the topic of this chapter. Rhythm is
the flow and separation of the overall story, which is covered in Chapter 5.

The purpose of the one, two, three, four count is to show you the foundation of what pacing
actually is in a film. The four principles of pacing are:

1. Pattern
2. Symmetry
3. Flow
4. Timing

Pacing is your single most important editing philosophy and is the hardest to grasp. I could sit
side by side with you for a year and you still might not master it. The key to pacing is to
understand the difference between good pacing and bad pacing. Mastering pacing is something
you should strive for, but there will never be a day when it comes to you automatically. At times
you may be sharp, and at other times you may be sloppy, but you are generally never going to be
perfect.

Defining Pacing
Pacing is an abstract concept that takes practice, practice, and more practice. But dont get
frustrated. Im working on a music video right now and I had to recut it three times until I felt the
pacing was right. Thats the nature of editing. The important thing is that I knew the first two
cuts were not paced well and that the third cut was right. I knew when to keep goingand when
to stop. Thats what you need to understand about pacing.
The biggest misconception about pacing is that it has anything to do with speed (fast cuts or
scenes) or time (length). Its often assumed that the faster something is edited, the better the
pacing is. Wrong, wrong, and more degrees of wrong. Something that is cut fast can be perfectly
paced. Something thats cut extremely slow can be perfectly paced.

Pacing Examples: Slow and Fast

A lot of great editors believe pacing is managing and utilizing the space in a scenespace
meaning dead air. Some of the greatest examples of pacing come from Quentin Tarantino. The
pacing of the conversations in his films really sets the bar for pacing. An example that sticks out
in my head is the basement bar scene in Inglourious Basterds.

For those who have not seen the film and are planning to, watch it right now because a spoiler is
to follow. In the scene, British and American soldiers, who are pretending to be German, meet up
with their German contact. She is a famous German actress who is playing a card game with a
few Nazi officers when they arrive. When a German character recognizes that one of the British
men is not German, the mission falls apart and many people die.

That scene is a masterpiece when it comes to pacingyet the pacing is very slow. That
particular scene manages the space very well. There are long pauses between lines of dialogue
and it feels just right. The pacing builds intensity instead of diminishing intensity. Yes, the great
writing and acting help, but the editing is a crucial element. In fact, the editing may be the key
ingredient to making that scene, and all scenes like it, the masterpiece it is. It comes back to what
I said in Chapter 1 about the viewer anticipating what will happen. In this scene in particular, the
viewer has a pretty clear understanding of whats going to happen, and the long pauses in the
dialogue allow them to relish the anticipation of the predicted outcome.

Pacing ties directly into story arc and conflict. Youll notice in that scene that the back-and-forth
dialogue gets slower as the scene goes on. Whats happening is that the scene gets slower as the
outcome becomes clearer. Tarantino uses anticipation as a means to manage the dead air in the
scene. The pacing gives you plenty of time to anticipate the many possible outcomes of the
scene.

Pacing canand often doeschange. The pacing of a particular scene is for that scene only.
Pacing is a situational concept, which is why there are no magic bullet points for getting it right.

A 10-minute dialogue scene in The Social Network also takes place in a bar, but it couldnt be
more different from the Inglourious Basterds scene. In The Social Network, its very fast. And it,
too, is a masterful example of the art of pacing. This film, by the way, won the Academy Award
for Best Film Editing.

Pacing and Effects on the Viewer

The speed of these two example scenes may be very differentone fast, one slowbut both are
paced perfectly. Pacing is situational. Its based on the desired feel, mood, or outcome, and is an
ever-changing phenomenon. There is no set rule. Its not as if drama is paced this way and
comedy is paced that way. There certainly are trends (which I discuss later), but no rules. A
scene may start out fast paced and yet slow down right in the middle.

I have formulated an equation (discussed later in this chapter) that may help you determine the
proper pace at any given time. But first, you need to learn the importance of feeling the right
pace. Most of the time it comes down to feeling and instinct. Consider a heart-rate monitor. Slow
indicates tension, fast means intensity or action, and normal means, well, normal.

Slow Pacing

A slow heart rate represents things like tension or anticipation. Beep ... beep ... beep. Those long
spaces give you time to think. Whats happening? When will the next beep come? Will the next
beep come? Relate those beeps to the scene in Inglourious Basterds and the dramatic pauses
between lines. You have time to anticipate. You have time to let your mind wonder about the
possibilities. You can feel the tension in the room.

The slow heart rate can fall on the totally opposite end of the emotional spectrum as well. You
can also relate romance to a slow heart rate and rely on the very nature of being in the moment to
create that pace. Picture a couple lying in bed with dim lighting. Theyre laughing, giggling, and
talking about their future together. The long spaces between their lines can let you project
yourself into their moment, or think of a moment that was similar in your life. The slow pacing is
a good calling card for romance because it allows the viewer to really feel whats happening in
the scene.

Fast Pacing

A fast heart rate represents action or intensity. Beep beep beep beep beep gives you no time to
think; youre just perceiving the storyline at an alarming rate. A great action scene or otherwise
intense scene should actually raise the viewers heart rate.

My best friend is a neuroscientist who loves nothing more than a good experiment. We did a
little testing of our own and discovered that the way a film is edited has physical effects on the
viewer. We found the effects to be most apparent during action sequences. We monitored the
heart rate of several subjects in three age groups, all with similar health histories. (Apparently,
that matters in a scientific studywhich is why I needed my friend or else I would have just
used random people.) We had them all watch the same movies in the same environment and
noticed a spike in heart rate during the action sequences. The spike was relatively substantial
an average increase in heart rate of 9 percent. It wasnt on the level of a workout, but there was a
common spike among them all at the same point in the film. That may not seem like a lot, but if
you consider that the subjects were sitting in chairs and not doing any physical activity, its
pretty impressive.

Then we showed them all an action sequence from a different film, out of context, and nothing
happened. That suggests that context, or the lead-in, matters for emotional investment. And then
we did a third test: We showed one test group an action sequence with poor pacing and we
showed another test group the action sequence with perfecting pacing. The results were amazing.
The viewers who watched the film with proper pacing had the physical response. The ones who
watched the film with improper pacing showed no spike in heart rate whatsoever. It was a
fascinating test, and one day I hope to do a real study and publish the data. But for now, my point
is this: Pacing affects the viewer physically. And note that the lead-in to scenes also has an effect
on how successful certain moments will be.

Pacing affects the viewer physically.

Fast-paced scenes should keep viewers on the edge of their seat. There are different levels of
fast. There is fast dialogue cutting, and then there is car-chaselike action. Obviously the action
sequence with no dialogue, or limited dialogue, will be much faster, but keep the heart rate
monitor in your mind. For the sake of argument, lets say that a fast cutting dialogue scene would
hit 90 on a heart rate monitor, and an action sequence would range from 120 to 150. (Please note
that these rates represent our scaled measurement, not a viewers actual heart rate. Just know that
the viewers heart will be beating a little faster than normal.)

Normal Pacing

Normal is the constant in the equation. Normal equals nothingno drama. Normal is your
normal heart rate in everyday life. Normal is you getting dressed. Normal is you eating breakfast.
Normal is important because when something not normal occurs, you recognize it. Normal is the
gray area between black and white. A good film is normal much of the time. Its the flat parts of
the rollercoaster between the ups and downs.

This is why pacing changes all the time. Lets say Jenny is outside working in the garden,
minding her own business (normal). We hear a child screaming from inside the house, and Jenny
pauses to listen. (At this point, the slow heart rate amplifies the anticipation.) Then the scream
happens again, and Jenny runs inside and finds a burglar robbing the house. (Fast heart rate.)
That one scene could take you through a spectrum of emotions and heart rates, and the pacing
(timing of cuts) should match each part of the scene.

Now that you have a general idea of what pacing is, its time to break down the principles of
pacing.
Editor's Job: aesthetic choices and technical skill
often cut films while still shooting, editor can make rough cut of scene.
editor should be in tune with intentions of the director
must tell story clearly
editor screens every bit of footage.
consider actor's performances, i.e. who is carrying scene, who to emphasize, shots to
use.
aware of contributions of cinematographer, actors, production designer
editor manipulates time, slows or cuts it down
creates time shift using flashbacks and flashforward
use an objective eye
with script, makes loose continuity cut to see how narrative works in rough form
Selection
eliminate unusable footage: bad takes, duplicated actions, poorly acted CUs, technical
problems.
content should graphically reveal script's desired action
photographic quality: composition, exposure, focus, etc.
continuity
best sound, if lip synched
Coverage: it is the director's responsibility to give the editor enough good film footage
for
options
may have to choose between good content and quality of shot, ie light, sound, etc.
insurance is toward heavy coverage
heavy coverage can be a burden by providing too many choices. More is not
necessarily
better.
Tempo, Rhythm and Pacing
General rule: the longer the shot = more relaxed, shorter the shot = more exciting.
Length of shots varies throughout a film.
Action films: fast pace. Suspense: longer shots gradually shorten to accelerate tempo.
An exaggerated long take can create tension and suspense.
Continuity Editing
Provide a logical flow and emphasize the apparent realism and naturalness of the story.
Minimize the presence of film technique.
Attempt to make the cut from one shot to the next flow as smoothly & unobtrusively as
possible
arrange shots to tell a story coherently and clearly
to allow space, time and action to continue in a smooth flow over a series of shots
breaks in continuity can confuse and meaning loses credibility.
In typical Hollywood film, the story unfolds scene by scene, generally in chronological
order.
Often skip over events that are not needed.
traditional: LS, MS, CU, LS
 motivation: change of scene, if someone looks at something - show it.
The 180 degree rule maintaining a constant screen direction by the camera staying
on the
same side of the line of action.
Eyeline Match: two characters appear to be looking at each other from one shot to the
next.
The spaces they both inhabit are connected and often established in a wide or master
shot.
Hidden Editing or Invisible Editing: mask the cuts, make them less apparent.
To hold continuity:
Overlapping action: the action in 1 shot is repeated, in part, in following shot.
Match cut: characters movement & position is perfectly aligned in both time & space
from one shot to next, whether CU or LS
Time
Cinematic Time: keep on a shot only long enough to reveal character, to develop the
plot or
make a dramatic point. Show what is significant.
Ellipsis: periods of time are left out of the narrative, cuts down an action, omits
unnecessary footage
Emotional Time: may be lengthened for effect
Freeze Frame: hold on a single frame, suspends a moving image in a timeless
moment
Slow motion: can make a moment more dramatic
Overlapping editing: action from the end of one shot is repeated in the next
Real time: visual record filmed in entirety, most often used with powerful conversations
Double action: part of the action is repeated in successive shots
Cutting on Movement
editor creates one movement comprised of many individual shots.
when cutting during rapid action, delete or overlap movement
cut from larger scene to smaller, delete frames of movement at head second scene
when cut from small to large: overlap tail action
for an important visual action, cut to most graphic viewpoint before action occurs.
if action significant, play entire dramatic action in full w/o cutting.
after each action, cut to a reaction.
Cutting as a thematic statement
Usually juxtaposing seemingly disconnected, and perhaps dissimilar, images to achieve
deeper
insight in the meaning of the film.
Transitions
Straight Cut: instantaneous change from one shot to the next, as one would see
Dissolve: one image fades out, another fades in through it, rate is important -
traditionally
passage of time
Jump Cut: cut to similar picture, angle, frame, sudden displacement of subjects, can
give more
energy and/or confuse
 cutting from two very similar shots and/or angles, too similar
continuous action with center of film frames cut out
switch from 1 time period, action or place to another, using same cam angle
Fade In/Fade Out: from black to image, from image to black
different rates, most often to indicate passage of time
Wipes: horizontal, vertical, iris (circle) in or out.
Most often associated with silent, early film eras. More noticeable.
EDITING TECHNIQUES
Associative Editing: splicing of two scenes in succession with similar-shaped images.
Rule of Thirds: when a cut occurs, smoother if focus of attention is in same third.
Flashback and Flashforward: dissolves may introduce this.
back: gives visual presence to a past event
forward: flash to the future
Visual Simile and Metaphor: one image represents another, edited visual comment on
a
subject made by intercutting it with a scene of another
Parallel Editing/Cross-cutting: different locations, different action - interrelated, cutting
to
parallel action, to build tension.
Cutaways: those shots that have no visual continuity with the previous scene, but a
logical
continuity. May use when can't show the event reaction shot.
Tonal Editing: a lighting concept in which succeeding scenes are gradually lightened or
darkened to correspond to an improving or deteriorating situation in the story.
Montage
A technique that composes shots associated by subject or theme in a way that conveys
mood and
ideas.
American: series of short shots that as a whole convey a single, unified meaning.
connotes a long passage of time, cataclysmic events
Narrative Montage: recounts an event in a minute, consolidates. Musicals, War Films.
to establish a particular mood or to condense a long and complicated action.
form a poetic impression or passage of time
Russian: portray events of momentous importance rather than as fill-in for short
episodes.
ie,.battles
shot takes its meaning from the context in which it is placed
emotional and intellectual impact of a film grows out of placement of shots
visual conflict between and among shots
Sergei Eisenstein
"Collision of images": by blatantly and obviously cutting one shot to another, believed
that an
entirely new meaning could be created through the editing, a meaning not contained in
either
shot alone but produced exclusively by their juxtaposition. Editing need not always be
focused
on maintaining continuity. A cut could be made for metaphoric purposes. Today:
commercials.
V.I. Pudovkin
Linkage:
Scenes of a film have no intrinsic meaning until put together - cumulative meaning.
Theory based on "relational editing": a process that emphasized the different
relationships that
could be established among a series of shots thru contrast, similarity, symbolism or
repetition. A
scene could be constructed simply by adding significant detail to significant detail and
that this
kind of "linkage" could be done unobtrusively, masked by the logic of the editing and the
power
of the drama.
Pudovkin: " The foundation of film art is editing"
Europeans use the term montage as Americans use the term editing.
French: any cutting of the film = editing
Other Editing Techniques: for retention the eye needs 3 to 4 frames of film
footage.
do not cut away from most interesting shot in the scene until it is fully exploited
don't be afraid to use takes of long duration, have their own internal tensions
you may not want to break up the continuity of a single action
can habitually cut in the middle of a physical action with succeeding shots continuing
the
direction of movement. Will give a "kick" of added energy.
the viewer follows the tail of a movement, compulsively drawn along its direction.
Editors
can "cheat" when succeeding shots do not match perfectly.
what is not seen can be as powerful as what is seen, viewer will fill in space beyond
the
frame with imagination
CUTS
Editor's Cut: rough composition of how film will be laid out, reasonable if its is 15%
longer
than the final cut. Includes all scenes and dialogue that were shown. "European Cut"
Director's Cut: fine cutting, SFX, music, dubbing added. By terms guaranteed by
Director's
Guild, have legal right to this cut, his/her vision as complete.
Final Cut: approved by producers, may or may not be director's choice.
Linear Editing
Film Viewers: moviola, upright, motor-driven, older version, beauty is in its simplicity.
physical control over variable speeds
editor physically handles film
with film viewer, keeps editor "close to film"
can use 2 viewers, 1 for shot cutting from, 1 for shot going to
Flat-Bed Editing Decks: most popular are KEM AND STEENBECK, faster and can
activate
many reels at once.
can quickly view various segments of footage at once
may use to locate footage if not primarily used for editing
Nonlinear Editing: computer editing
allows for speed and random access to material
can jump immediately to any point in the film material
editor can freely insert and pull out frames of a take, move them around quickly
transfer dailies and editor's versions of cuts on video to reference
Approaching the Material
Deductive approach: have a solid overview, strong sense of the script, commit to a
faithful
allegiance of the story and its characters.
Inductive approach: know the script but look at the footage constantly, notice what is
most
interesting and what has worked best.
All narratives have a beginning, middle and end