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Editing Your Film or Video 2ND EDITION
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Contents
List o Tables 2nd Edition Foreword 1st Edition Foreword Preace: The Practical Alchem Alchemy y o Editing Acknowledgments Permissions Introduction: Stepping Aboard and Navigating the Book
STAGE I SETTING UP AND ORGANIZING YOUR PROJECT Introduction
Part One Starting Starti ng Your Your Proj P roject ect Introduction 1. Decisions, Decisions: Getting Started on the Right Path through Postproduction Appendix AProject Checklist 2. Video, Digital, and Film Basics: Terms, Concepts, and Practices
Part Two Organizing for Editing Introduction 3. Setting Up the Cutting Room: Workows, Labeling Shots, and Other Cutting Room Common Tasks vi i
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Appendix BDIY Postproduction Schedule 4. Preparing Dailies Appendix CStage One: Budget Form or Dailies
STAGE II EDITING Introduction
Part One How to Approach the Footage Introduction 5. To Cut or Not to Cut: Where to Cut and Why 6. Everyday Editing Challenges 7. From Animation to Reality: Editing Dierent Genres
Part Two Getting from First Cut to Final Cut Introduction 8. Making the Cuts: Editing on a Digital System 9. The Process: Getting rom First Cut to Locked Cut Appendix DTape DTape and Tapeless Show Continuity Form Appendix E Film Show Continuity Form Appendix F Stage Two: Budget Form or Editing
STAGE III COMPLETING YOUR PROJECT Introduction
Part One Sound, Music, and the Mix Introduction 10. Designing Sound and Music 11. Editing and Mixing Sound and Music Appendix G ADR Cue Sheet Appendix HStage Three: Budget Form or Sound, Music, and the Mix vi ii
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CONTENTS
Part Two Finishing and Delivering Introduction 12. Finishing on Tape, File, or the Web 13. Finishing on Film and via DI Aterword Appendix I Stage Three: Budget Form or Finishing How to Find an Editing Job Resources Glossary Bibliography Index
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List Of Tables 1.1. Coding and Measuring 1.2. Determine Your Finishing Format 1.3. Film and Video Formats: How Shows are Shot, Input, and Finished 2.1. Digital vs. Analog Video 2.2. W Worldwide orldwide Tape and Television Television Signal Standards 2.3. Drop and Non-Drop Time Code 2.4. NTSC Frame Size, ps, and Scanning Types 2.5. Retroftting a 16:9 to a 4:3 Aspect Ratio
Typical pical Postproduction Schedules 3.1. Ty 4.1. Reel Labeling Methods 4.2. TV Series and Multi-cam Show Labeling Methods 4.3. Daily Database rom Te Telecine lecine 4.4. Database File or Telecined Negative 4.5. How Data Typically Enters the Editing System
Telecined lecined Negative Database File Entry 4.6. Te 5.1. Smooth Cutting Angles 5.2. Mismatched Shots and How to Fix Them 5.3. Editing Styles: Classic vs. Modern 6.1. Parallel Action and Cross Cutting 6.2. Examples o Montage Types 6.3. Scenarios or Cutting Picture and Music 8.1. Insert and Overwrite Edits 8.2. Types o VFX 9.1. Three Methods to Play Out Ou t to Tape 9.2. Sample Change List 10.1. Translating Story to Sound and Music 10.2. Scene Beats, Sound, and the Wizard o Oz
Types pes o SFX and Viewer Perception 10.3. Ty 11.1. ADR Cue Sheet 11.2. Sound Eects Mix Cue Sheet 12.1. Disk Sides and Layers 12.2. EDL vs. Project Files 13.1. Fixes or Cutback Frames and Frame Re-use 13.2. Sample Cutlist with Key Code
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Stage I
Setting Up and Set Organizing Yo Y our Pro Projject “The buck stops in the cutting room.” — Dede Allen, A.C.E.1, Bonnie & Clyde , Dog Day Aternoon , and Reds.
Introduction Stage I lays the oundation or every project. It is the critical stage where you set up and organize your show so it passes smoothly through the cutting room and emerges as a well-edited flm or video. Part One inorms you about the important editorial decisions you must make at the start o every project and helps you make them. In Part Two dailies arrive in the cutting room and you learn how to organize them and the cutting room or the next stage in the postproduction process: editing. Stage I, as well as Stages II and III, contains a number o appendices which consist o charts and orms. You can ca n photocopy them and use them on your projects or download them rom www.joyoflmediting. com by clicking on the Free tab. 1. A.C.E., American Cinema Cinema Editors, is an honorary honorary society o editors who are voted into membership based on their proessional achievements, dedication to the education o others, and commitment to the crat o editing. A.C.E. always ollows their names on screen. A.C.E. hosts its own editing awards ceremony ater every year or which winners receive a Golden Eddie award. award. It also runs an editing internship program.
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Part One One
Sta tarrti ting ng your your Project Project
Introduction In Part One you will fnd out how to make the critical decisions necessary to set up your project properly or editing. Chapter 1 provides you a thorough overview o the editorial process and supplies you with a checklist or setting down your decisions and do-it-yoursel owcharts or plotting your project’s path through postproduction. You can also download the checklist at www.joyoflmediting.com by clicking on the Free tab. Chapter 2 o Part One takes you on an introductory tour o the two types o cutting rooms — digital and flm — to help you choose which system you’re going to edit on. Ater Part One you’ll be ready to step into the cutting room and learn how to prepare it or the task o editing in Part Two.
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CHAPTER CHAPT ER 1
Decisio Dec isions, ns, Decisio Deci sions ns Getting Started on the Right Path through Postproduction
“A flm is like a boat; it’s just waiting to be sunk.” — Francois Truf Truffaut, faut, director
Overview
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n order to stay aloat and on course, you must put your project on a proper path through postproduction. To do this, you need to make critical decisions right at the start: It’s best to know where you’re going beore you set out! Consequently, this chapter begins by summarizing the six phases o ilm and video projects. Next, a substantial section advises you on shooting correctly to achieve an eicient postproduction process and create the best ootage possible or editing. The chapter then lays down some key cutting room terms and acquaints you with how and why shows are measured and coded. This leads to the last part o the chapter which details the ormats that projects shoot, edit and inish on. You’ll then be ready to determine your project’s ormat(s) in Appendix A, which ollows the chapter. Let’s begin!
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Be clear on what happens before and after editing “Ten years ago postproduction was at the end o the ood chain. Now we are in production meetings.” — Alic ia Hirs ch, VP of postproduction, Fox Television Studios
There are six phases to any flm or video project. Understanding what goes on beore and ater editing will give you more insight into the flmmaking process and make you a better participant in the process. It will help you communicate more eectively with those whose work overlaps yours, primarily the script supervisor and cinematographer (rom the production phase) and promo producer and publicist (rom the distribution phase). More importantly, current workows are converging postproduction with production and even preproduction, especially in animated shows and those with lots o VFX (visual eects). The lines between flmmaking phases are less distinct today and will get even uzzier in the uture. The ollowing list describes each phase.
Six Phases of Every Project 1. GREENLIGHT:
Project is ormally approved and acquires its fnancing. Once green-
lit, a.k.a. greenlighted, it moves into the development phase. 2. DEVELOPMENT:
The script is set and director, producers, casting director, and
principal talent (actors) are hired. 3. PREPRODUCTION:
Preparatory phase during which script and money are fnal-
ized, the rest o talent and crew hired, locations and schedules locked, and sets, wardrobe, props, etc. created. On animated and VFX-driv VFX-driven en flms, previsu previsualizaalization (previz) takes place in the cutting room or VFX house to plan and prepare or the shoot. 4. PRODUCTION: Also
reerred to as “the shoot” or “principa “principall photogr photography,” aphy,” this th is
phase sees primary flming take place on set and location and VFX created at the lab or VFX house. 5. POSTPRODUCTION: Also
reerre d to as editori reerred editorial, al, editin editing, g, or simply, post, it’s the fnal creative phase during which all picture and sound editing takes place, music is composed and sound mixed, visual eects are fnalized, and all other fnishing work completed. It produces the fnal show or viewing on tape, fle, disk, and/or flm. Time when completed project goes to market (with a little or a lot o marketing!) and its audience sees it. 6. DISTRIBUTION:
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DECISIONS, DECISIONS
Shoot Right for Postproduction Too many projects show up in the cutting room sadly compromised due to poor audio, lighting, or planning in general. Don’t let this happen to your show. I you’re an independent or student flmmaker, you’ll probably be participating in all phases o your project and production will be a most critical phase. So when you’re on location or on the set, remember that ater the wrap someone — you — will have to put the ootage together. You serve the editor/yoursel and the show by getting the critical shots, recording the important sounds, and keeping accurate logs and records during production. Shooting correctly also saves time, stress, and money in postproduction. Here’s how:
Maintain an Organized Shoot A well-organized shoot sets the stage or a well organized editing room. During the shoot be sure to: Keep accurate records, notes, camera logs, and sound logs. This gives the editor important inormation about the shots and assists the editing crew immensely in keeping track o the ootage. Maintain good communication with the crew. Good communication, particularly between director, script super visor, camera, and sound recordist, means that the right shots are flmed and printed and editorial does not have to chase down the crew or the lab to get the anticipated shots. Stick to the shooting schedule as much as possible. This makes it easier to coordinate and schedule work in the cutting room.
Shoot Good Slates on Every Take Mark the slate clearly with: f Scene and take f Date and location f Camera designation (A, B, C, etc.) f Camera roll and sound roll f Director and production name f MOS (i shot has no recorded sound) Hold the slate squarely in rame and voice slate the take e.g. "Scene 57, Take 5” on a scripted show or “McDonald’s arm, 12/15” on a 5
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documentary piece. Then clap it i you’re shooting double system (sound and picture captured on separate mediums) beore whisking it out o rame. Clearly slating each take consumes but a ew seconds in the feld and saves valuable time and temperaments in the cutting room. Voice V oice slating is essential because dialogue editors will need to fnd the original takes or the audio tracks used in the show. “We can’t see the slate,” explains dialogue editor Victoria Rose Sampson. “We locate takes by the voice slate.”
Cut in the Camera ed itor should cut by ending shots or pointNOT! Don’t dictate where the editor ing the camera away rom the action too early. Always remember: The camera sets the pace o the shot, the editor sets the pace o the show. An inexperienced camera operator, believing static shots are boring, may push the zoom button as i playing a trombone. This rustrates the audience and the editor. The editor can set a fne rhythm with a lovely series o static shots and should not be limited by a hyperactive camera that zooms and pans without purpose and gathers no usable shots.
Get Coverage To “cover” a scene means to shoot angles in addition to the master shot such as close-ups and two-shots. Directors usually plan coverage or every scene. Why? Because most scenes — when edited — don’t work when played all the way through in a master shot. Coverage adds needed pace and points o view and gives editors options or how to cut the show. Additionally, coverage serves as insurance in case the planned shot doesn’t work, e.g., a master shot drags or is repetitive in the middle. By cutting to coverage, the editor can skip over the slow spot and cut back at a more vital point. Directors who don’t cover themselves usually regret it.
Hold and Repeat Action at the Start and End of Takes When shooting a new take, don’t just continue rom where the last take let o; repeat dialogue and actions rom take to take. Let’s say you’ve flmed a master shot o a dining room scene where nutty Uncle Ed sits
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DECISIONS, DECISIONS
down and tells a weird joke. When you flm the medium shot o Uncle Ed, don’t start with his joking. Rather, have him sit down and begin joking, repeating the action o the master. When you repeat action at the tail (end) o one angle and the head (beginning) o the next angle, the editor has the latitude to cut to any take at the best possible rame.
Hold the camera Beore starting and ater ending every shot, be it a static shot, a zoom, pan, or dolly, hold the camera still or fve seconds. As with repeated action, these static seconds can make all the dierence in the editor being able to cut to shots at the best moment. Additionally, these action handles allow or dissolves, wipes, and other eects that an editor may apply to transition between shots. Occasionally, holding the camera even solves an editing problem: For example, editors sometimes use the ootage rom when the camera was rolling beore the director yelled “Action!” or ater they said “Cut!”
Shoott Good Shoo G ood Continuity A good scrip scriptt super superviso visor, r, who keeps an eagle eye on cont continu inuity, ity, is always an MVP on a flm set. Make every eort to match pacing, actions, lighting, wardrobe, placement o props, hair, makeup, etc., rom take to take. It’s a shame to orce the editor to cut earlier or later than optimal due to a lack o continuity. We’ve all noticed the laughable mismatch between an interior and exterior shot o a traveling car moving at dierent speeds and with dierent scenery in each shot. This continuity mismatch underscores why continuity is so important: Mismatches can take viewers out o your flm, risking their distrust and disengagement, and lead to bad word-o-mouth. Here are our important components o achieving good continuity:
1) Shoot Cuttable A ngle ngless Shots that are similar in angle and ocal length jar the audience when cut together. I jarring is what you want, shoot this way. Otherwise stick to the 30° rule: Vary the new camera angle at least 30° rom the last and your angles should cut together “like butter.” (For more on cuttable angles, see the sections on smooth cutting angles and mismatches in Chapter 5.)
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2) Match Eyelines When a scene calls or cuttin cutting g back and orth between shots o interacting characters, they need to be looking at each other, i.e., their eyelines must match. I shot incorrectly, their eyelines won’t match and the characters will not be looking in the right direction. This may conuse the audience and cause them to take an unintended meaning rom the characters’ interaction.
POV and eyeline eyeline A common eyeline error occurs when making the Point o View (POV) shot. Let’s say you’re shooting a closeup o someone and their eyes (and possibly head) move let to right as they look at something. When you cut to that something, you’re cutting to their POV. To match their eye and head movement, the POV shot must move the same direction, rom let to right. 1.a Example o an eyeline match. Notice that in the boy’s close up, he maintains the correct eyeline.
3) Match M atch Screen Scr een Direction Dir ection I a character or object moves let out o the rame, they need to enter the next shot rom the right o the rame so they look like they’re moving normally, rom 1.b Follow the oating balloon as it matches screen direction. let to right. I exits and entrances don’t match, your audience wastes time keeping up with the action instead o immersing themselves in your movie.
4) Don’t Cross the Line: Observe the 180° Rule Crossing the line (a.k.a. crossing the axis), is an extension o screen direction.
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1.c Crossing the line. Shoot the pawns rom the correct cameras or they will appear to jump sides.
Example
A car is going down a street and you shoot two angles, one rom each side o the street. Perectly valid angles but i cut together, the car appears to be traveling in the opposite direction. Reason
There is an invisible line in every camera set up that bisects the scene horizontally at 180°.
The 180° Rule: How to observe it Scenario
I two people ace each other, the 180° line runs across their heads. When editing, i you cut to the angle behind them, the person on the let now appears to jump to the right, disorienting your audience. Add another person and you add another 180° line. The Rule
When shooting, keep Person A on the let and Person B on the right by not moving the camera across the 180° line. When editing, don’t cut angles together that cause people to unintentionally jump sides in a scene.
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Example
Cinematographers and their crews shoot ootball games rom one side o the feld only. This way there is no chance to cut to the other side o the feld and make the players appear to be running toward the wrong goal.
Get the angles you need without crossing the line
observe this rule daily when they Robert rt Wise would alwa always ys plan his axis “ Robe change…there was always one key shot. When you don’t get those shots, and you just have somebody coming in without any reason, then you have a scene where nobody relates to anyone. Nobody is looking anybody else in the eye, and it’s totally disorienting. The audience might get thrown out of the scene because because it’s non-connective. non-connective. Film is connective; that’s what ilm is .”
O course there are many times when you wan wantt to shoo shoott a lot (Emphasis added.) o angles that cover both sides — Dede Allen o the action. Here are several methods: 1. Establish a new 180° line Have the characters move within the shot or move the camera within the shot to break the line and create a new one. As Dede Allen note notes, s, dire director ctor Rober Robertt Wise always anti anticip cipated ated his axis changes. 2. Shoot cutaways Cutaways diminish the disorientation, allowing the editor to cut away beore cutting to the line-breaking angle. An overhead angle keeps the audience oriented and enables the editor to reely cut to any angle. Jumping the line disturbs the audience, especially in 3-D movies, which, by their nature, immerse viewers more deeply than 2-D movies. 3. Break the 180° rule deliberately I you choose to ignore the rule, be aware that you are breaking it and be smart: Shoot some cutaways or insurance, just in case you don’t like the resulting cut. More requently, due to the inuence o modern-style cutting, flmmakers ignore the 180° line. (More about this in Chapter 5 To Cut or Not to Cut: Where to Cut and Why,, during the discussion o traditional editing style vs. modern Why style.)
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DECISIONS, DECISIONS
Getting the “Film Look” with a Digital Camera “We want the flm look,” says the client or producer. Many budget-conscious flmmakers, notably students, independents, documentarians, and television networks, use low cost digital video cameras but desire the flm look. We’ve all seen the scratchy, old timey flm look applied ater the shoot and many o us have used sotware to produce a supposed flm look. But what exactly is the flm look and what’s the best way to get it when you shoot digitally? As an editor, how do you advise clients and producers? As prod product uction ion and pos postt ove overrlap more and more in the area o perecting a show’s images, these questions continue to crop up. The topic has been coming up in Final Cut Pro and other digital system users groups or awhile and here’s 1.d Millennium flm camera. Photo courtesy of Panavision. the common wisdom: To get the flm look, shoot or it — surprise — during the shoot! Below are a ew tips on how to do this. Film and digital cameras capture images in two distinct ways. Film capture is a photochemical process which creates the grain (texture, ullness) and highlights we’re accustomed to seeing. Digital 1.e HVX200 digital camera, Photo courtesy o Panasonic. capture relies on electronic signals to produce non-grainy images that are cool, clean, and crisp and oten described as harsh. Digi-cam’s ability to capture flm-like shots is continually improving. So get the best digicam you can aord; either video camera or the new DSLR still cameras that can shoot videos. As o 1.f EOS 7D HDSLR camera, Photo courtesy o Canon. o Canon.
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this writing, however, the best HD camera does not approach the look o 16mm flm, let alone 35mm. So, to achieve a flm look, address the dierences between the two mediums using these specifc methods: 1. Shoot 24p as this ormat has the most ilm-like motion characteristics. 2. Be conscious o how you block the camera: Leave enough room or zooming and separate the camera rom the set. I space is lacking, direct the talent to move orward; this is preerable to having them move sideways. 3. Set the proper depth o feld (DOF). Since video has an infnite DOF and flm has a shallow DOF, you need to narrow the DOF to approach flm. Do this by using flm-style lenses, zooming, adding a digital adapter, and changing the F-stop to widen the aperture. 4. Light flm-style to avoid the cold video look. Go beyond “room lighting” and use key, fll, and backlighting in dierent scenes. balance e to mimic flm’s photoc photochemical hemical color 5. Adjust the white balanc timing. 6. Pay attention to what the audience’s ocal point will be with every setup. What will they notice frst? Catch in their peripheral vision? Gravitate to next? 7. Finally, because sound is vital to viewers’ acceptance o visual images, record high quality audio to bolster your flm-image look. Which neatly brings us to the last topic in this subject.
Record Location Sound One misconception that many people in the flm business have...is that i you want great sound in your movie you don’t really need to think about sound early on. Randy Thom, C.A.S.1, sound designer and mixer, How to Train Your Dragon, The
Incredibles, The Right Stu Stu , and Return o the Jedi .
To create the best-sounding flm or video, start during preproduction. You want wan t to anticipat anticipate e how your show will sound, budget or sound, and record your desired audio during the shoot. This way you’ve got the sound you want or when your picture comes together audio-wise during sound editing in Stage III.
1. Cinema Audio Society, Society, U.S. sound honorary society equivalent to A.C.E. or sound mixers and their associates: sound editors, recordists, and technicians. 12
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Record clean clean tracks Be the sound editor’s best riend. Record clean tracks: no helicopters whirring overhead, no doors banging, no dolly squeaking, etc. Make sure all dialogue is crisp courtesy sy of 1.g Fostex digital sound recorder, Photo courte and clear so your audience won’t American Music & Sound. miss a word. Poor sound can only be corrected so much in postproduction — and usually at a cost — so do it right during production!
Get RT and WT on every location and set RT, a.k.a. room tone, ambience, or presence
Record a minute o RT — wordless, noise ree background sound — or every scene. Sound editors need RT to smooth out scenes, especially dialogue scenes. WT, a.k.a. wild track t rack or wild sound
Record WT — non-sync, non-dialogue sound — on every outdoor location. Get the orest sound, the trafc sound…all the natural sounds. Record specifc sounds that are crucial to how you want your project to sound. The sound editor can access thousands o sound eects but won’t have the mating sound o the ring-tailed lemur your show’s documenting. Picking up such sounds later could be costly. Make a list beorehand o WT you need to record and add to the list when you’re on location.
Create a sound vision Part o realizing the vision o your flm is conceiving what the viewer will hear hear.. Think about the dierent scenes or parts o your show and how you want them to sound: light and sprightly, cheery with a sinister threat in the air, painul but upbeat, etc. You might start by imagining each character or subject as an instrument or a theme: What would they sound like? What tune would they play? Next, envision how scenes or sections will sound as purely musical themes. The goal is to get an idea o the subtle and grand tones o your flm and consider how sonics can support them.
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Last word There’s a belie in the flm industry that you “Pay it up ront during production or pay it downstream during post.” So, save yoursel time and money by getting picture and sound right, right rom the start. Shoot your ootage ootage correctly so that shots cut together the way you want and are logged and slated properly or maximum editorial efciency.
Cutting Room Terms
Overview Cutty, hissy, tubby; editing has a language o its own. This section lays down the basic editing, audio, and flm terms in this section and add more as we go along. But frst, some background: It’s helpul to know when and how the terms originat originated ed in the history o flm editin editing g so they make sense and are easier to remember.
A 10-frame 10-f rame History H istory of Editing Ed iting Tools or the Genesis of Cutting Room Terms In the beginning — the 1900s — there was a light well or viewin viewing g flm rames, a razor blade or cutting the flm, and a cement splicer or gluing the cut rames together. Cutters, as editors were promptly called, propelled the flm with their hands in order to see the ootage move. In 1924 Iwan Serrurier invented a mechanical editing device. The Moviola eatured a hand crank or moving the ootage and an electric light. Beore long it ran reels o picture and sound via electrifed oot pedals and a magnetic sound head picked up the sound and amplifed it through a built-in speaker. Photo to cour tes tesyy of Chr Chris is 1.h Moviola. Pho Senchack. Flash orward to the late 1960s and behold! The upright Moviola, with its two vertical reels, evolved into the atbed, a table top machine with three or our reels running horizontally. And the atbed became known as the KEM, the Steenbeck, or the atbed Moviola according to its brand name.
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The 1970s begat more or editors: viable videotape editing machines. As tape was aster and cheaper, news shows and documentary flmmakers jumped to it. Many independent flmmakers, corporate, and commercial editors gravitated to it in the 1980s as did low budget TV shows. And 1.i Marking the cut point on a KEM. Photo courtesy o Chris Senchack. thus was born the term linear. By the end o the ’80s a majority o TV shows cut on tape and the term nonlinear editor (NLE) arose. Now all this time eature flm editors, with a ew exceptions, remained on flm. They held out until the digital age dawned, bringing flm and tape together 1.j Ediex, nonlinear tape editing system, which harin one machine in the early nessed 12 VHS decks to view and review cuts. Photo courtesy o Tony Schmitz. 1990s. By the decade’s end, news editors, TV editors, commercial editors, independent flmmakers, and eature editors were cutting on digital editing systems as were college students, prosumers, and home moviemakers. And An d th thus us it ca came me to pa pass ss with wi th th the e mi mille llenn nniu ium m th that at th the e computer has made digital technology available to all editors and 1.k Making the cut on a digital editing system. Photo almost all use it. Digital systems, courtesy o Les Perkins. along with the new editing terms they’ve brought orth, are ever changing with each new version, plugin, add-on, download, and capability. Moral: Change will prevail and ever yield to more change. And that is the state o the frmament in which we all dwelleth until kingdom come. Or the next evolution.
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Editors’ Lingo: How Editors Call It and Do It “The cliché about sculpture, that the sculptor fnds the statue which is waiting in the stone, applies equally to editing; the editor fnds the flm which is waiting hidden in the material.” —Tom Pries tly tly,, editor and cinematographer , The Thomas Crown Aair, Deliverance,
and Return o the Pink Panther.
General Cutting Room Terms As editing has moved rom being perormed on flm to being perormed on video tape and then digital editing systems, new terms have been added and old terms have lived on. For instance, picture and sound — flm terms — are reely mingled with audio and video — tape terms — into today’s digital domain. Also, while the days when editors used scissors to cut flm are scores o years behind us, editing is still reerred to as cutting and the editing room is still called the cutting room. As more and more movies are shot, edited, and projected digitally, perhaps in the uture we’ll go to the theater to see not a flm but a “digi.” But or now, flm, video, and digital terms are reely intermixed in the cutting room and everywhere else. Here are the current general terms:
Picture editor, editor, a.k.a. the editor Editor who puts the show together.
Sound editor Editor who perects the show’s sound. Sound editors fnesse the dialogue, ambience, wild track, and narration and add sound eects among other duties.
Dailies Footage, usually shot the previous day, rom the production crew that arrives daily in the cutting.
Shot Camera start to camera stop.
Take A slated shot (which hopeully hope ully all shots have).
Edit (noun) A portion o a take or shot put into a show. 16
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